IndexIntroductionThe Role of Names and Titles in Stevens' Loss of IdentityThe Symbolism of the WardrobeStevens' Interactions with Miss Kenton and Her FatherThe Parallel Rooms: Symbolism of conformity and SubmissionConclusionIntroductionThe novel "The Remains of the Day" by Kazuo Ishiguro offers a profound exploration of the multifaceted concept of dignity. The central character, a meticulous butler named Stevens, is single-minded in his quest to become an exemplary and dignified servant, a goal he believes is achievable only through unwavering composure and professionalism. However, as he embarks on a reflective automotive journey, the layers of self-deception and disillusionment woven into this ideal become increasingly apparent. Through Stevens's interactions with personal elements, including his name, his housing, and his clothing, Ishiguro subtly highlights the harmful consequences of excessive propriety and moderation, emphasizing the erosion of one's individuality and the deprivation of human warmth and of the affection that can derive from it. We say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay The Role of Names and Titles in Stevens's Loss of Identity Ishiguro skillfully employs the use of names to illustrate how Stevens's profession and ideals have completely subsumed his sense of self. Set against the backdrop of pre-World War II England, where a rigid social hierarchy prevails, the names are emblematic of one's status and position in society. As a butler serving the English elite, Stevens is perpetually obliged to respect the rigid protocol governing the use of titles, creating in his mind an indelible link between names and dignity. Furthermore, his daily interactions with the titles reinforce his identity as a subordinate to lords and gentlemen. Immersed in the hierarchical environment of England, he finds it impossible to disentangle his identity from his occupation. This deep-rooted association of names with honor is exemplified in his rebuke of Miss Kenton, the housekeeper of Darlington Hall, for not addressing her father as Mr. Stevens Senior: "Miss Kenton, your tone suggests a lack of attention towards my father . If you had observed him closely, you would have recognized the inappropriateness of addressing someone of your age and position as 'William'" (54). Although, strictly speaking, Miss Kenton holds a higher position in the family as head housekeeper than Stevens's father, who serves as underbutler, Stevens disputes the use of the names in this context. This incident sheds light on Stevens' creation of an alternative hierarchy based on his perception of honor and dignity. She argues that her father's ability to maintain emotional composure and hold back personal opinions, even in distressing situations, is what allows him to "exhibit dignity in accordance with his role" (42). According to Stevens, this ability transcends the traditional family hierarchy. Furthermore, Ishiguro points out that Stevens favors the use of surnames because they imply a certain level of dignity in the person to whom he refers. This preference is particularly evident since the novel is narrated in the first person and Stevens is referred to exclusively by his surname. The deliberate omission of his name highlights his unwavering commitment to formality. As his name symbolically diminishes in meaning due to his constructed notions of an honor-based system, his individuality diminishes accordingly. By hiding his name, Ishiguro accentuates the immediate emotional distance thatexists between Stevens and those he encounters. The absence of familiarity not only reinforces the boundaries of his rank and status, but also hinders authentic emotional connections with others. The Symbolism of the Wardrobe Furthermore, Ishiguro skillfully employs Stevens' unchanging wardrobe to exemplify his unwavering commitment to propriety, a commitment that ultimately prevents him from expressing a wide range of human emotions and establishing meaningful relationships. Stevens, in his reflection on the qualities of a great butler, equates the attributes of a butler to the way one should wear a suit. He states that "Great butlers are great by virtue of their ability to inhabit their professional role and to inhabit it to the fullest; they are not shaken by external events, however surprising, alarming, or irritating. They wear their professionalism like a respectable gentleman he will wear his suit: he will not suffer scoundrels or circumstances to tear it off him before the eyes of the public... It is, as I have said, a question of 'dignity'" (42-43). In his pursuit of defending dignity, Stevens associates the repression of emotions with being a "great butler." To maintain his self-defined dignity, he must always maintain a stoic and unflappable demeanor, thus inhibiting his self-expression. Stevens goes to great lengths to compartmentalize his identity, distinguishing between Stevens the individual and Stevens the butler, drawing an analogy between "inhabiting his professional role" and always wearing a suit. Furthermore, this analogy is strengthened by the fact that his wardrobe consists exclusively of professional clothing, without providing "clothes suitable for travel" (10-11). This serves to highlight that he is perpetually ensconced in the role of butler, ceaselessly striving to uphold his ideals of dignity. This also implies that his existence is limited exclusively to his professional duties, devoid of any personal life or casual activity. His daily ritual of donning clothes symbolizes taking on the personality of an emotionally detached butler, thus discarding all expressions of vulnerability and emotion and remaining focused solely on his responsibilities. Stevens' Interactions with Miss Kenton and Her Father Ishiguro uses Stevens' interactions with Miss Kenton and her father to further highlight how his unwavering commitment to his professional role prevents authentic connections with his loved ones. When Stevens visits his ailing father, who has recently suffered a stroke, he maintains an impersonal tone despite the somber and emotionally charged nature of their conversation: "'I'm proud of you. A good son. I hope I've been a good father to you . I guess not. "I'm afraid we're very busy now, but we can talk again in the morning." My father kept looking at his hands as if he were slightly annoyed by them" (97). Prior to this point, Stevens' interactions with his father revolved exclusively around work-related matters. This marks the first occasion on which one of Stevens' men attempts to openly convey his emotions. However, Stevens' inability to reciprocate results in an awkward and emotionally distant exchange. While this is a crucial opportunity to deepen his relationship with his father, the rigid façade of professionalism embodied by his suit actually prevents his father's words from reaching Stevens Jr.'s core. Despite the gravity of the situation, Stevens dismisses his father's expressions of regret and casually suggests resuming the conversation the following morning. Ishiguro highlights the disconnect between Stevens and his father by symbolically referencing Stevens Senior's hands. TheThe dual symbolism of the hands as representing both menial labor and familial love serves to illustrate the two major sources of regret in Stevens Senior's life. His agitation stems from not having been a "good father", having used his hands primarily to serve others rather than to express affection towards his son. Despite witnessing the consequences of excessive propriety and moderation in his father's life, Stevens stubbornly clings to these mistaken notions of dignity. Another example that illustrates Stevens' inability to cultivate meaningful relationships occurs when Miss Kenton informs him of his engagement and the possibility of his resignation. In response to her revelation, Stevens remains emotionally detached, offering his congratulations while dismissing the significance of her news: "'Miss Kenton, you have my heartfelt congratulations. But then again, there are matters of global importance taking place on the floor of above, and I must return to my place'" (219). Stevens represses his feelings for Miss Kenton and feigns indifference to her announcement. When he refers to "matters of global importance," he is essentially reassuring himself of the paramount importance of his role as butler, implying that his feelings for Miss Kenton should be subdued for the greater good. Stevens constantly resorts to his butler duties whenever he is faced with situations that might force him to reveal his emotions. The suit that represents his butler character prevents him from taking on any other role, whether that of son or companion. Furthermore, in both of these scenarios, Stevens lets opportunities pass him by, whether it be his father's death or Miss Kenton's resignation. This inability to act results in unresolved relationships and a persistent desire for closure, especially in Miss Kenton's case. His repression of emotions, combined with his unwavering commitment to his professional duties, forces him to undertake a cross-country journey to ascertain whether Miss Kenton is truly happy in her marriage (238). Paralleling his father's fate, Stevens' rigid devotion to his ideals hinders his prospects for love and affection, leaving him in a state of loneliness and regret. The Parallel Rooms: Symbolism of Conformity and SubmissionIshiguro masterfully employs the striking similarities between Stevens's rooms and his father's to highlight the extent to which their distinctive characteristics derive from their respective roles at Darlington Hall. When Miss Kenton first glimpses Stevens' room, she remarks: "'But surely, Mr. Stevens, there is no need to keep your room so bare and colorless.' 'It has served me perfectly thus far, Miss Kenton'" (52). Stevens' room functions simply as a utilitarian space to be inhabited after work hours, devoid of any personal touch or warmth. Paradoxically, when he encounters his father's room, which closely mirrors his own, he perceives it as a prison cell: "I was once again struck by its smallness and its essentiality. In fact, I remember that my impression at that moment was of having entered a prison cell, but this may have had as much to do with the pale morning light as with the size of the room or the starkness of its walls" (64). The similarity between Stevens's rooms and those of his father is undeniable, yet Stevens remains oblivious to the parallel, failing to recognize that he himself is imprisoned by his rigid notions of dignity and honor. Furthermore, both rooms offer little information about the personalities of their inhabitants. , and their crudeness testifies to how much both,.