The Remains of The Day: Examining Lost Identity and Dignity Through Stevens

Introduction

The novel "The Remains of the Day" by Kazuo Ishiguro offers a profound exploration of the multifaceted concept of dignity. The central character, a fastidious butler named Stevens, is resolute in his pursuit of becoming an exemplary and dignified servant, a pursuit he believes is attainable only through unwavering composure and professionalism. However, as he embarks on a reflective motoring trip, the layers of self-deception and disillusionment woven into this ideal become increasingly evident. Through Stevens' interactions with personal elements, including his name, his living quarters, and his attire, Ishiguro subtly underscores the detrimental consequences of excessive propriety and restraint, emphasizing the erosion of one's individuality and the deprivation of human warmth and affection that can result.

The Role of Names and Titles in Stevens' Loss of Identity

Ishiguro deftly employs the usage of names to illustrate how Stevens' profession and ideals have entirely subsumed his sense of self. Set against the backdrop of pre-World War II England, where a rigid social hierarchy prevails, names are emblematic of one's status and standing in society. As a butler in the service of England's elite, Stevens is perpetually obligated to adhere to the strict protocol governing the use of titles, leading to an indelible link in his mind between names and dignity. Furthermore, his daily interactions with titles reinforce his identity as a subordinate to lords and gentlemen. Immersed in the hierarchical milieu of England, he finds it impossible to extricate 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 his father as Mr. Stevens Senior: "Miss Kenton, your tone suggests a lack of attentiveness towards my father. Had you observed him closely, you would have recognized the impropriety of addressing someone of your age and station as 'William'" (54). Although, strictly speaking, Miss Kenton holds a higher position in the household as the head housekeeper compared to Stevens' father, who serves as the under-butler, Stevens takes issue with the use of first names in this context. This incident sheds light on Stevens' creation of an alternative hierarchy based on his own perception of honor and dignity. He contends that his father's ability to maintain emotional composure and withhold personal opinions, even in distressing situations, is what allows him to "exhibit dignity in accordance with his role" (42). In Stevens' view, this ability transcends the traditional household hierarchy.

Furthermore, Ishiguro highlights how Stevens favors the use of surnames because they imply a certain level of dignity in the person being referred to. This preference is particularly evident since the novel is narrated in the first person, and Stevens is exclusively addressed by his last name. The deliberate omission of his first name underscores his unwavering commitment to formality. As his name symbolically shrinks in significance due to his constructed notions of an honor-based system, his individuality diminishes accordingly. By concealing his first name, Ishiguro accentuates the immediate emotional distance that exists between Stevens and those he encounters. The absence of familiarity not only reinforces the boundaries of his rank and status but also hinders genuine emotional connections with others.

The Symbolism of Wardrobe

Additionally, Ishiguro skillfully employs Stevens' unvarying wardrobe to exemplify his unwavering commitment to propriety, a commitment that ultimately hinders 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 manner in which one should wear a suit. He asserts that "The great butlers are great by virtue of their ability to inhabit their professional role and inhabit it to the utmost; they will not be shaken out by external events, however surprising, alarming, or vexing. They wear their professionalism as a decent gentleman will wear his suit: he will not let ruffians or circumstance tear it off him in the public gaze... It is, as I say, a matter of 'dignity'" (42-43). In his pursuit of upholding dignity, Stevens associates the suppression of emotions with being a "great butler." To maintain his self-described dignity, he must always maintain a stoic and unflappable demeanor, thereby 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.

Moreover, this analogy is reinforced by the fact that his wardrobe exclusively consists of professional attire, with no provision for "suitable traveling clothes" (10-11). This serves to highlight that he is perpetually ensconced in the role of a butler, ceaselessly striving to uphold his ideals of dignity. It also implies that his existence is confined solely to his professional duties, devoid of any personal life or casual activities. His daily ritual of donning suits symbolizes the assumption of the persona of an emotionally detached butler, thereby discarding any expressions of vulnerability and emotions and remaining solely focused on his responsibilities.

Stevens' interactions with Miss Kenton and his father

Ishiguro uses Stevens' interactions with Miss Kenton and his father to further underscore how his unwavering commitment to his professional role impedes genuine 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 suppose I haven't.' 'I'm afraid we're extremely busy now, but we can talk again in the morning.' My father was still looking at his hands as though he were faintly irritated by them" (97). Prior to this moment, Stevens' interactions with his father revolved exclusively around work-related matters. This marks the first occasion where one of the Stevens men attempts to openly convey their emotions. However, Stevens' failure to reciprocate results in an awkward and emotionally distant exchange. Despite this being a crucial opportunity to deepen his relationship with his father, the rigid facade of professionalism embodied by his suit effectively prevents his father's words from reaching the core of Stevens the son.

Despite the gravity of the situation, Stevens dismisses his father's expressions of regret and casually suggests resuming their conversation the following morning. Ishiguro underscores the disconnect between Stevens and his father by symbolically referencing Stevens Senior's hands. The dual symbolism of hands as representative of both menial labor and familial love serves to illustrate the two primary sources of regret in Stevens Senior's life. His agitation stems from not having been a "good father," having used his hands primarily for serving others rather than expressing affection toward his son. Despite witnessing the consequences of excessive propriety and restraint through his father's life, Stevens stubbornly clings to these misguided notions of dignity.

Another instance illustrating Stevens' inability to nurture meaningful relationships occurs when Miss Kenton informs him of her engagement and the possibility of her 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 warmest congratulations. But I repeat, there are matters of global significance taking place upstairs, and I must return to my post'" (219). Stevens suppresses his feelings for Miss Kenton and feigns indifference to her announcement. When he refers to "matters of global significance," he is, in essence, reassuring himself of the paramount importance of his role as a butler, implying that his feelings for Miss Kenton should be subjugated for the greater good. Stevens consistently resorts to his butler's duties whenever he faces situations that might force him to reveal his emotions. The suit that represents his butler persona restricts him from assuming any other roles, be it that of a son or a companion.

Furthermore, in both of these scenarios, Stevens lets opportunities slip away, whether it be his father's passing or Miss Kenton's resignation. This failure to act results in unresolved relationships and an enduring desire for closure, especially in the case of Miss Kenton. His suppression of emotions, coupled with his unwavering commitment to his professional duties, compels him to embark on a cross-country journey to ascertain whether Miss Kenton is genuinely content in her marriage (238). In parallel to the fate of his father, Stevens' rigid devotion to his ideals thwarts his prospects for love and affection, leaving him in a state of loneliness and filled with regret.

The Parallel Rooms: Symbolism of Conformity and Subservience

Ishiguro masterfully employs the striking similarities between Stevens' and his father's rooms to underscore the extent to which their defining characteristics are derived 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 stark and bereft of color.' 'It has served me perfectly well thus far as it is, Miss Kenton'" (52). Stevens' room functions merely as a utilitarian space for him to inhabit after his working hours, devoid of any personal touches or warmth. Ironically, when he encounters his father's room, which closely mirrors his own, he perceives it as akin to a prison cell: "I was newly struck by the smallness and starkness of it. Indeed, I recall my impression at the time was of having stepped into a prison cell, but then this might have had much to do with the pale early light as with the size of the room or the bareness of its walls" (64). The resemblance between Stevens' and his father's rooms 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 insight into the personalities of their inhabitants, and their starkness serves as a testament to how completely both men are consumed by their roles at Darlington Hall. Ishiguro subtly foreshadows the effects of this starkness through Stevens' observations of his father: "When I saw him stood upright before me, I could not be sure to what extent he was hunched over due to infirmity and what extent due to the habit of accommodating the steeply sloped ceilings of the room" (65). Stevens' father's posture has seemingly conformed to the very structure of Darlington Hall itself, shaped by his lifelong commitment to servitude and the ideals of an unflappable butler. This unyielding dedication and adaptation to his work have literally left him physically compromised, eroding his agency and human essence—an ominous sign of what awaits Stevens himself.

Much like his father, Stevens surrenders his sense of individuality and convictions, allowing blind devotion and loyalty to transform him into a mere extension of his employer, Lord Darlington. When Lord Darlington, later accused of Nazi sympathies, instructs Stevens to dismiss all the Jewish employees, Stevens deliberates: “The maids had been perfectly satisfactory employees and...my every instinct opposed the idea of their dismissal. Nevertheless, my duty in this instance was quite clear, and as I saw it, there was nothing to be gained at all in irresponsibly displaying such personal doubts” (148). In following Lord Darlington's orders and betraying his own morals, Stevens allows Lord Darlington's choices and beliefs to supersede his own. Despite his inner reservations, he acquiesces to Lord Darlington's authority, deeming his lordship better qualified to make judgments on matters beyond Stevens' comprehension. This acquiescence stems from Stevens' belief that his own opinions and values hold less weight than those of a titled gentleman. He undermines himself when he asserts, "I am not in a position to understand...the nature of Jewry." While Stevens may not fully grasp complex global issues, he possesses a basic sense of morality that should prevent him from condoning the unjust and prejudiced act of firing employees based on their religion. Stevens' misguided belief that honor can only be attained by aligning with the most prestigious and wealthy gentlemen further reinforces his complicity in his own subservience.

Conclusion

In conclusion, Kazuo Ishiguro's "The Remains of the Day" delves deeply into the complexities of dignity, identity, and the human condition. Through the character of Stevens, a devoted butler, Ishiguro meticulously crafts a narrative that unveils the consequences of unwavering adherence to societal norms and personal ideals of dignity. This essay has explored how Ishiguro employs various literary devices and character interactions to convey the overarching theme that excessive propriety and restraint can erode one's individuality, hinder genuine connections with others, and lead to a life marked by regret.

Stevens' relentless pursuit of the ideal of a "great butler" underscores the high price he pays for his unwavering commitment to dignity as he defines it. His obsession with maintaining professionalism and emotional detachment ultimately confines him within the rigid boundaries of his role, preventing him from experiencing the full spectrum of human emotions and establishing meaningful relationships. As exemplified through his interactions with his father and Miss Kenton, Stevens' inability to express vulnerability or deviate from the butler persona leaves him isolated and unable to seize opportunities for genuine connection.

Furthermore, the stark and barren representation of Stevens' living quarters, as well as his father's, serves as a powerful symbol of their complete subjugation to their roles. This physical embodiment of their emotional confinement highlights the dangers of allowing one's identity to be entirely defined by their occupation. Stevens' transformation into a mere extension of Lord Darlington, culminating in his acquiescence to morally questionable directives, epitomizes how devotion to one's job can compromise personal values and individuality.