There are moments in literature when the portrayed symmetry is perfect and complete, revealing an ideal image or message to the world. Yet there are others, invariably, when symmetry is only partial and images appear merely quasi-symmetric, revealing a message of its own. In these moments, where there is an evident aim toward perfection, but such a clear lack in its achievement, there is often much more to be gained and learned than in those of complete perfection and idealism. This form of symmetry is largely present within E.M. Forster’s A Passage to India. Throughout his work, it appears that Forster uses this symmetry as a tool to underline not only the imperfect and chaotic relationship between England and India but also that of all humanity as well.
Throughout the story, it appears that Adela’s character parallels India where Ronny’s parallels England. She oscillates in sentiment toward him as she tries to make a decision of matrimony. Resultantly, there are many aspects of his character that turn her away and ultimately cause her to make the decision to refuse his marriage proposal. Yet shortly after, she finds a spark between them that reunites her heart to his, ultimately leading to her acceptance of him. This is similar to many Indians’ opinion of England at the time, which was characterized by severe mistrust yet subtle appreciation; to the point where neither party genuinely understood their sentiment for the other. In this love scene, Forster’s quasi-symmetric idea comes forth through the structure of the text. There is a significant weight placed on Adela’s rejection of him up front, which is then immediately balanced with the same weight of her acceptance, depicting symmetry in text, but confusion and chaos within the plot, rendering it an imperfectly symmetric moment in the story.
Another quasi-symmetric moment is evident in the similar cave experiences of Adela and Mrs. Moore. Both women enter the caves completely intact, but then exit having lost important pieces of who they are, with only an echo to remind them of their former self. The symmetry is found in that both women enter in possession and exit in loss. The dissimilarity and imperfection of it is that Mrs. Moore loses her faith and Adela her purity. While both factors do not align identically, they emulate once again India’s experience with England. As the Indians enter into a western relationship, they inevitably emerge having lost pieces of who they once purely and wholly were—including pieces of their religion. Much like within any human relationship, experiences seem to be the shaping factor of character; but often it is only through loss that one can gain. As the story portrayed a restless echo in the ears of the two women, so is it with every shaping experience; a reminder of what once was but is no more. Echoes in and of themselves are quasi-symmetric. They repeat an identical sound over, but with every repetition, the intensity of the following sound diminishes. So it is with the experience of having lost something precious in exchange for something much less significant.
Forster’s ability to draw attention to subtle detail under the overlying and louder themes of the story is marked by his use of symmetry. The symmetric details he includes never show completeness but always partiality, depicting imperfection and chaos under the surface of the text. Each quasi-symmetric moment in his work, however great or small, points to the complicated and imperfect relationship between India and England, as well as of humanity as a whole. This technique enables readers to understand further depths of Forster’s message due to its application in every circle and every part of human life.
September 11, 2018