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| Roger Fry, Public domain, via Wikimedia Commons Portrait of E.M. Forster by Roger Fry, 1911 |
Howards End is a landmark novel by E. M. Forster, first published in 1910. It holds a central place in the English literary canon. The novel blends personal relationships with social commentary in a way that feels timeless yet deeply rooted in its era. Forster’s famous guiding phrase for the book, “Only connect…”, sums up both the story and his larger moral vision.
This work stands at the turning point between Victorian tradition and modernist experimentation. It is a rich study of human connection and disconnection, of people struggling to bridge differences of class, gender, and temperament.
While the story focuses on three main families, it also presents a portrait of Edwardian England—a society full of opportunity for some, but rigid barriers for others.
In Howards End, Forster demonstrates his skill in creating fully realised characters. He uses mystery, irony, and moral tension to give the plot emotional power. His observations on class, gender roles, and cultural values are as sharp today as they were over a century ago.
This essay will provide:
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A short summary of the plot of Howards End
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An analysis of Forster’s writing style in the novel
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A discussion of his methods for creating memorable characters
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An exploration of the novel’s use of mystery and irony
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An examination of the social situation surrounding the characters
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Insights into the emotional aspects of the main characters
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A look at Forster’s influences from his literary contemporaries
Short Summary of the Plot
At the heart of Howards End are the intertwined lives of three families: the Schlegels, the Wilcoxes, and Leonard Bast.
The Schlegels—Margaret, Helen, and their younger brother Tibby—are cultured, well-read, and liberal-minded. They live in London and move in artistic and intellectual circles. The Wilcoxes, in contrast, are wealthy, practical, and business-oriented, with strong ties to England’s colonial trade. The third key figure, Leonard Bast, is a poor clerk with literary ambitions but limited resources and opportunity.
The story begins when Helen Schlegel visits the Wilcox family at their country estate, Howards End. She develops a brief romantic attraction to Paul Wilcox. The connection quickly fades, but the incident creates a link between the families.
Later, Margaret befriends the Wilcox matriarch, Mrs. Ruth Wilcox. They share a deep mutual respect. Ruth grows to value Margaret’s insight and warmth so much that, shortly before her death, she writes a note leaving Howards End to Margaret. This note, however, is intercepted and destroyed by the Wilcox family, who do not want the property to pass outside their hands.
In time, Margaret marries Henry Wilcox, Ruth’s widower. The marriage is a union of opposites—Margaret’s sensitivity and Henry’s practical strength. Meanwhile, Helen meets Leonard Bast and becomes determined to help him. She believes he has been wronged after losing his job on Henry’s advice. Her idealistic attempts to help him blur into a personal attachment.
The situation escalates when Helen becomes pregnant by Leonard. She leaves England for a time, then returns to visit Howards End. A violent confrontation occurs when Charles Wilcox, Henry’s son, attacks Leonard. Leonard dies in the struggle, and Charles is imprisoned for manslaughter.
In the end, Margaret inherits Howards End, not because of Ruth’s original wish, but through Henry’s eventual decision to give it to her. The house becomes a symbol of continuity and reconciliation, with Margaret, Helen, Henry, and Helen’s child all living there together.
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| Dora Carrington (1893–1932), Public domain, via Wikimedia Commons Portrait of E. M. Forster by Dora Carrington |
Forster’s Writing Style in Howards End
Forster’s style in Howards End is deceptively simple. His prose is clear and elegant, with short sentences that deliver precise emotional and descriptive impact. He avoids unnecessary ornamentation, yet every line feels deliberate.
He often shifts between an external narrative and reflective commentary. The narrator occasionally steps back from events to address the reader directly, offering moral or philosophical insight. This technique bridges the gap between fiction and moral essay, a hallmark of Forster’s work.
Forster’s descriptions are vivid yet economical. He can evoke a place or mood with a few carefully chosen details. The description of Howards End itself is a prime example. Its “wistaria” and “hen-coops” carry symbolic weight, suggesting a continuity between nature, domestic life, and the human spirit.
His tone balances warmth and detachment. When writing about social pretension or hypocrisy, he uses gentle irony rather than outright satire. The reader senses that Forster understands the flaws of his characters but does not wish to condemn them without compassion.
The pacing of Howards End reflects Forster’s preference for gradual development. He lets characters reveal themselves through dialogue, small actions, and unguarded moments. Plot events feel organic, arising from personality and circumstance rather than contrived twists.
Creating Wonderful Characters
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| Wilsondavidj, CC0, via Wikimedia Commons E. M. Forster |
Forster’s characters in Howards End are among his most memorable creations. He avoids caricature, instead giving each figure a distinct emotional and moral complexity.
Margaret Schlegel serves as the novel’s moral anchor. She is intelligent, diplomatic, and open-hearted. Margaret seeks connection and understanding, even with people who differ greatly from her. Her marriage to Henry Wilcox is an act of both love and practicality. It reflects her belief that bridging divides is worth the effort, even when the gap is wide.
Helen Schlegel is Margaret’s emotional opposite—impulsive, idealistic, and driven by strong feelings. She is quick to champion the underdog, as seen in her determination to help Leonard Bast. Yet her passion can lead to rash decisions, and she struggles with the compromises required in real life.
Henry Wilcox represents a certain type of Edwardian man: successful, confident, but emotionally limited. He values efficiency, order, and business acumen. He often fails to understand the inner lives of others, particularly women and those outside his class. Yet he is not portrayed as a villain—Forster gives him moments of vulnerability that humanise him.
Leonard Bast is one of Forster’s most tragic figures. His yearning for culture and self-improvement reflects the aspirations of many in the lower-middle class. But his position in society leaves him exposed to hardship and bad luck. His end is a poignant critique of the barriers that prevent upward mobility.
Forster reveals character through subtle dialogue and symbolic action. A single gesture—Henry’s avoidance of emotional discussion, Helen’s sudden departures, Leonard’s careful handling of a book—speaks volumes about their inner lives.
The Use of Mystery and Irony
While not a detective story, Howards End uses mystery to create depth. The most significant mystery is the fate of Mrs. Wilcox’s bequest. Her decision to leave Howards End to Margaret is never fully explained to the Schlegels until later, and the Wilcoxes’ destruction of her note adds secrecy and moral tension.
There is also a symbolic mystery: why does the house, Howards End, matter so much? Forster gradually reveals that it represents a sense of rootedness and moral stability, qualities his characters are searching for in a changing world.
Irony is a constant undercurrent. The Schlegels’ well-meaning advice to Leonard—to change his job based on Henry’s opinion—sets in motion the chain of events that leads to his ruin. The novel’s central message, “Only connect,” is itself ironic, as many attempts at connection fail or cause pain.
Forster’s irony is gentle but pointed. He uses it to expose self-deception, social hypocrisy, and the unintended consequences of good intentions. This prevents the novel from becoming overly sentimental, keeping its moral vision grounded.
Social Situation in the Novel
Howards End offers a sharp portrait of Edwardian society. It was a time when Britain’s imperial wealth was at its height, yet the old aristocracy was giving way to a new class of industrial and commercial elites.
The Wilcoxes embody this new business class. They have money and influence, but their cultural life is limited. They view the arts and intellectual pursuits as secondary to economic success. Their values emphasise property, efficiency, and expansion.
The Schlegels represent the liberal, cultured middle class. They are financially comfortable but not wealthy in the Wilcox sense. Their lives are filled with books, concerts, and philosophical discussions. They believe in social responsibility, though their security cushions them from the harsher realities faced by those they wish to help.
Leonard Bast is a bridge between these worlds, but he cannot cross it. His education and aspirations align more with the Schlegels, yet his income and status keep him in the precarious lower-middle class. Forster uses Leonard to show how class barriers limit opportunity, even in a supposedly meritocratic society.
Gender expectations also shape the story. Margaret and Helen are independent-minded women, but they must navigate a society that still expects women to defer to men in matters of property and authority. Margaret’s eventual ownership of Howards End is therefore both a personal and symbolic victory.
Emotional Aspects of the Main Characters
Forster’s characters are not just social types; they are emotionally rich individuals whose inner lives drive the story.
Margaret’s emotional journey is one of balance. She must reconcile loyalty to her sister with commitment to her husband. She learns to maintain her moral integrity while adapting to Henry’s limitations.
Helen’s emotions are more turbulent. She reacts strongly to perceived injustice and is willing to defy social norms to act on her convictions. Her relationship with Leonard is rooted less in passion than in a deep sense of solidarity with his struggles.
Henry’s emotions are often hidden beneath a layer of practicality. He is uncomfortable with open displays of feeling, yet grief and guilt break through his reserve by the novel’s end.
Leonard’s emotional life is defined by longing—for beauty, for knowledge, for a place in the world. His tragedy is that the system offers him no safe path to realise these longings.
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| Dora Carrington (1893–1932), Public domain, via Wikimedia Commons Portrait of E. M. Forster by Dora Carrington |
Forster’s Influences
Forster’s work reflects the literary climate of the early 20th century. He admired Henry James, whose psychological depth and focus on moral choice influenced his own characterisation. Like James, Forster is interested in the subtleties of human interaction and the moral implications of personal decisions.
He was also influenced by contemporaries such as Arnold Bennett and H. G. Wells. Bennett’s realism and Wells’s social critique both left traces in Forster’s work. However, Forster sought a middle path—avoiding Bennett’s heavy detail and Wells’s overt didacticism in favour of a more balanced narrative.
The Bloomsbury Group, with its emphasis on art, individuality, and unconventional moral views, also shaped Forster’s outlook. While not a formal member during Howards End’s writing, he shared many of their ideals about personal connection and intellectual freedom.
Conclusion
Howards End remains powerful because it speaks to both the heart and the mind. It is a novel about people trying to understand each other across barriers of class, temperament, and experience. Forster’s style is graceful and precise, his characters deeply human, his themes enduring.
Through Margaret, Helen, Henry, and Leonard, Forster explores the costs and rewards of connection. His gentle irony and use of mystery keep the story engaging while revealing uncomfortable truths. The social critique woven into the novel is still relevant, reminding us that structural inequalities and human misunderstandings remain intertwined.
More than a century after its publication, Howards End continues to resonate. It invites us to see ourselves in its characters, to reflect on our own connections, and to ask whether we, too, can bridge the gaps between us.
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