Atonement In The Trials Of Arabella

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Written by Ian McEwan and later screen adapted by Joe Wright, Atonement is an extremely effective and well-presented metanarrative. It isn’t until the final stages of the book where the format of the story is disclosed, leaving the audience with an unsuspected shock. However, upon closer inspection, the many indicative and self-referential symbols can be recognised all throughout the novel (2003) and the film (2007). One of the most important and well recognised symbols of the book and the film is the prevalence of ‘The Trials of Arabella’. Before we are introduced to the story line of ‘Atonement’ we are introduced to that of ‘The Trials of Arabella’. “at some moments chilling, at others desperately sad…Arabella… is punished by ill fortune… on an impetuous dash towards a seaside town with her intended... presented by a second chance in the form of an improvised doctor” (Pg.1, McEwan). Written by Briony Tallis, the play gives the reader the actual story line before the plot is actually introduced. Similarly, although in the beginning of the film we do not know what the story is about, the opening scene is of Briony in front of type writer, the scene is accompanied by sounds of a typewriter and this follows Briony out of her room and through the house. Another indication that Cecelia is in fact Arabella is the mention of the protagonist who ‘ran off with an extrinsic fellow. It grieved her parents to see their first born evanesce from her phone to go to Eastbourne without
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