Datasets:

autoevaluate

/

autoeval-eval-kmfoda__booksum-kmfoda__booksum-9f206e-47938145232

like 0

Follow

Evaluation on the Hub 34

cliffnotes

all_chapterized_books/110-chapters/chapters_35_to_38.txt

finished_summaries/cliffnotes/Tess of the d'Urbervilles/section_8_part_0.txt

Tess of the d'Urbervilles.chapters 35-38

chapters 35-38

{"name": "Chapters 35-38", "url": "https://web.archive.org/web/20201219151046/https://www.cliffsnotes.com/literature/t/tess-of-the-durbervilles/summary-and-analysis/phase-the-fifth-the-woman-pays-chapters-3538", "summary": "Angel cannot forgive Tess for her past: \"O Tess, forgiveness does not apply to the case! You were one person; now you are another.\" Tess is dumbfounded by Angel's reaction and seeks to have him understand her plight. He cannot see her past as she sees it. Tess suggests that they will no longer be able to live together and that she could end his suffering through divorce or her own suicide. Angel rejects both propositions. He adds injury to insult saying, \"Decrepit families imply decrepit wills, decrepit conduct.\" Tess is nearly speechless. Instead of remaining with his wife on their honeymoon night, Angel sleeps on the couch downstairs. The next morning, Angel is the first to speak, suggesting a reconciliation, but it is a false hope. The couple, sure of marital bliss, now must decide what is to happen next. Tess tries to make her point clear, to bring Angel around to her viewpoint. She accepts her punishment, \"she took everything as her deserts.\" She asks Angel, \"You are not going to live with me -- long, are you, Angel?\" He responds, \"I cannot.\" Finally, Angel suggests that Tess go home to her family in Marlott. She agrees. During the night, Angel, in a deep sleep-walking state, comes to Tess' room and carries her out into the night. He mumbles that his wife is \"Dead, dead, dead!\" Tess does not dare disturb this sleep episode. Angel seems to be recalling the incident in which he carried the milkmaids at Talbothays , taking Tess over a river and into a small ruined chapel, where he lays her in an empty stone coffin. He lies down beside her, continuing to sleep. Tess rouses him carefully and leads him back to the couch in their house. The next morning, Tess does not tell Angel of the evening's events as he begins to pack their belongings for their trip to Talbothays and, from there, to Marlott, Tess' home. At Talbothays, the couple do not disclose their discord. Angel gives Tess a good sum of money before he leaves her and tells her to write to him via his parents if she needs anything. Then he leaves Tess near the entrance to her hometown. Tess enters the town through a back route, going unnoticed into her family's home. When Tess tells her mother of her plight, the two cry over the events. Joan suggests that Tess hide in the house when her father returns so that Joan can prepare John for the shock of a marriage begun and ended in three days. John is indeed astonished, and Tess resolves to remain only a few days at home. During the short period that she is home, Tess receives a letter from Angel telling her he is in the north of England searching for a farm. Tess gives her mother half her money from Angel and leaves home.", "analysis": "Angel is surprised by Tess' revelation. Although Tess had tried several times to recount her sad history, Angel ignored her pleas. Yet, upon hearing her story, he cannot forgive her. The reasons for Angel's intractability are not clear. The best reason that he gives is that one day their children will find out and Tess will have to tell them about the rape and birth of another baby. Perhaps the most telling line from Angel is \"O Tess, forgiveness does not apply to the case! You were one person; now you are another.\" In truth, however, it is not Tess who has changed, but Angel's perception of her. He cannot reconcile in his own mind how a woman who experienced what she has experienced can be the same woman he fell in love with. Hardy tells us that \"ithin the remote depths of his constitution, so gentle and affectionate, there lay hidden a hard logical deposit . . . which turned the edge of everything that attempted to traverse it . . . and with regarding to the other sex, when he ceased to believe he ceased to follow\" and that he \"looked upon as a species of imposter; a guilty woman in the guise of an innocent one.\" During the disclosure of their pasts on their wedding night, it seems clear that each history is equal in scope and severity. Why the disparate punishments? Hardy seems to answer that, even though the crimes are equal, the punishments are often not equal. Angel can escape with little punishment while Tess must be made to suffer a long period of intense suffering. Here, Hardy shows the difference in society's moral code for men and women. Although Angel's past transgressions can be forgiven, Tess', because she is a woman, cannot. And so Tess must bear not only the punishment, but the nagging concern that her sentence is too harsh. Glossary Good-hussif good housewife. dimity a thin, corded or patterned cotton cloth. Apostolic Charity Charity as described by the Apostle Paul in 1 Corinthians 13:4-7. propinquity nearness in time or place. M. Sully-Prudhomme French poet and essayist . fiat an order issued by legal authority, usually beginning with fiat ; decree. Vulpine slyness of or like a fox or foxes; clever, cunning. proclivity a natural or habitual tendency or inclination, esp. toward something discreditable. somnambulistic getting up and moving about in a trance-like state while asleep. beatific making blissful or blessed."}

Her narrative ended; even its re-assertions and secondary explanations were done. Tess's voice throughout had hardly risen higher than its opening tone; there had been no exculpatory phrase of any kind, and she had not wept. But the complexion even of external things seemed to suffer transmutation as her announcement progressed. The fire in the grate looked impish--demoniacally funny, as if it did not care in the least about her strait. The fender grinned idly, as if it too did not care. The light from the water-bottle was merely engaged in a chromatic problem. All material objects around announced their irresponsibility with terrible iteration. And yet nothing had changed since the moments when he had been kissing her; or rather, nothing in the substance of things. But the essence of things had changed. When she ceased, the auricular impressions from their previous endearments seemed to hustle away into the corner of their brains, repeating themselves as echoes from a time of supremely purblind foolishness. Clare performed the irrelevant act of stirring the fire; the intelligence had not even yet got to the bottom of him. After stirring the embers he rose to his feet; all the force of her disclosure had imparted itself now. His face had withered. In the strenuousness of his concentration he treadled fitfully on the floor. He could not, by any contrivance, think closely enough; that was the meaning of his vague movement. When he spoke it was in the most inadequate, commonplace voice of the many varied tones she had heard from him. "Tess!" "Yes, dearest." "Am I to believe this? From your manner I am to take it as true. O you cannot be out of your mind! You ought to be! Yet you are not... My wife, my Tess--nothing in you warrants such a supposition as that?" "I am not out of my mind," she said. "And yet--" He looked vacantly at her, to resume with dazed senses: "Why didn't you tell me before? Ah, yes, you would have told me, in a way--but I hindered you, I remember!" These and other of his words were nothing but the perfunctory babble of the surface while the depths remained paralyzed. He turned away, and bent over a chair. Tess followed him to the middle of the room, where he was, and stood there staring at him with eyes that did not weep. Presently she slid down upon her knees beside his foot, and from this position she crouched in a heap. "In the name of our love, forgive me!" she whispered with a dry mouth. "I have forgiven you for the same!" And, as he did not answer, she said again-- "Forgive me as you are forgiven! _I_ forgive YOU, Angel." "You--yes, you do." "But you do not forgive me?" "O Tess, forgiveness does not apply to the case! You were one person; now you are another. My God--how can forgiveness meet such a grotesque--prestidigitation as that!" He paused, contemplating this definition; then suddenly broke into horrible laughter--as unnatural and ghastly as a laugh in hell. "Don't--don't! It kills me quite, that!" she shrieked. "O have mercy upon me--have mercy!" He did not answer; and, sickly white, she jumped up. "Angel, Angel! what do you mean by that laugh?" she cried out. "Do you know what this is to me?" He shook his head. "I have been hoping, longing, praying, to make you happy! I have thought what joy it will be to do it, what an unworthy wife I shall be if I do not! That's what I have felt, Angel!" "I know that." "I thought, Angel, that you loved me--me, my very self! If it is I you do love, O how can it be that you look and speak so? It frightens me! Having begun to love you, I love you for ever--in all changes, in all disgraces, because you are yourself. I ask no more. Then how can you, O my own husband, stop loving me?" "I repeat, the woman I have been loving is not you." "But who?" "Another woman in your shape." She perceived in his words the realization of her own apprehensive foreboding in former times. He looked upon her as a species of imposter; a guilty woman in the guise of an innocent one. Terror was upon her white face as she saw it; her cheek was flaccid, and her mouth had almost the aspect of a round little hole. The horrible sense of his view of her so deadened her that she staggered, and he stepped forward, thinking she was going to fall. "Sit down, sit down," he said gently. "You are ill; and it is natural that you should be." She did sit down, without knowing where she was, that strained look still upon her face, and her eyes such as to make his flesh creep. "I don't belong to you any more, then; do I, Angel?" she asked helplessly. "It is not me, but another woman like me that he loved, he says." The image raised caused her to take pity upon herself as one who was ill-used. Her eyes filled as she regarded her position further; she turned round and burst into a flood of self-sympathetic tears. Clare was relieved at this change, for the effect on her of what had happened was beginning to be a trouble to him only less than the woe of the disclosure itself. He waited patiently, apathetically, till the violence of her grief had worn itself out, and her rush of weeping had lessened to a catching gasp at intervals. "Angel," she said suddenly, in her natural tones, the insane, dry voice of terror having left her now. "Angel, am I too wicked for you and me to live together?" "I have not been able to think what we can do." "I shan't ask you to let me live with you, Angel, because I have no right to! I shall not write to mother and sisters to say we be married, as I said I would do; and I shan't finish the good-hussif' I cut out and meant to make while we were in lodgings." "Shan't you?" "No, I shan't do anything, unless you order me to; and if you go away from me I shall not follow 'ee; and if you never speak to me any more I shall not ask why, unless you tell me I may." "And if I order you to do anything?" "I will obey you like your wretched slave, even if it is to lie down and die." "You are very good. But it strikes me that there is a want of harmony between your present mood of self-sacrifice and your past mood of self-preservation." These were the first words of antagonism. To fling elaborate sarcasms at Tess, however, was much like flinging them at a dog or cat. The charms of their subtlety passed by her unappreciated, and she only received them as inimical sounds which meant that anger ruled. She remained mute, not knowing that he was smothering his affection for her. She hardly observed that a tear descended slowly upon his cheek, a tear so large that it magnified the pores of the skin over which it rolled, like the object lens of a microscope. Meanwhile reillumination as to the terrible and total change that her confession had wrought in his life, in his universe, returned to him, and he tried desperately to advance among the new conditions in which he stood. Some consequent action was necessary; yet what? "Tess," he said, as gently as he could speak, "I cannot stay--in this room--just now. I will walk out a little way." He quietly left the room, and the two glasses of wine that he had poured out for their supper--one for her, one for him--remained on the table untasted. This was what their _agape_ had come to. At tea, two or three hours earlier, they had, in the freakishness of affection, drunk from one cup. The closing of the door behind him, gently as it had been pulled to, roused Tess from her stupor. He was gone; she could not stay. Hastily flinging her cloak around her she opened the door and followed, putting out the candles as if she were never coming back. The rain was over and the night was now clear. She was soon close at his heels, for Clare walked slowly and without purpose. His form beside her light gray figure looked black, sinister, and forbidding, and she felt as sarcasm the touch of the jewels of which she had been momentarily so proud. Clare turned at hearing her footsteps, but his recognition of her presence seemed to make no difference to him, and he went on over the five yawning arches of the great bridge in front of the house. The cow and horse tracks in the road were full of water, the rain having been enough to charge them, but not enough to wash them away. Across these minute pools the reflected stars flitted in a quick transit as she passed; she would not have known they were shining overhead if she had not seen them there--the vastest things of the universe imaged in objects so mean. The place to which they had travelled to-day was in the same valley as Talbothays, but some miles lower down the river; and the surroundings being open, she kept easily in sight of him. Away from the house the road wound through the meads, and along these she followed Clare without any attempt to come up with him or to attract him, but with dumb and vacant fidelity. At last, however, her listless walk brought her up alongside him, and still he said nothing. The cruelty of fooled honesty is often great after enlightenment, and it was mighty in Clare now. The outdoor air had apparently taken away from him all tendency to act on impulse; she knew that he saw her without irradiation--in all her bareness; that Time was chanting his satiric psalm at her then-- Behold, when thy face is made bare, he that loved thee shall hate; Thy face shall be no more fair at the fall of thy fate. For thy life shall fall as a leaf and be shed as the rain; And the veil of thine head shall be grief, and the crown shall be pain. He was still intently thinking, and her companionship had now insufficient power to break or divert the strain of thought. What a weak thing her presence must have become to him! She could not help addressing Clare. "What have I done--what HAVE I done! I have not told of anything that interferes with or belies my love for you. You don't think I planned it, do you? It is in your own mind what you are angry at, Angel; it is not in me. O, it is not in me, and I am not that deceitful woman you think me!" "H'm--well. Not deceitful, my wife; but not the same. No, not the same. But do not make me reproach you. I have sworn that I will not; and I will do everything to avoid it." But she went on pleading in her distraction; and perhaps said things that would have been better left to silence. "Angel!--Angel! I was a child--a child when it happened! I knew nothing of men." "You were more sinned against than sinning, that I admit." "Then will you not forgive me?" "I do forgive you, but forgiveness is not all." "And love me?" To this question he did not answer. "O Angel--my mother says that it sometimes happens so!--she knows several cases where they were worse than I, and the husband has not minded it much--has got over it at least. And yet the woman had not loved him as I do you!" "Don't, Tess; don't argue. Different societies, different manners. You almost make me say you are an unapprehending peasant woman, who have never been initiated into the proportions of social things. You don't know what you say." "I am only a peasant by position, not by nature!" She spoke with an impulse to anger, but it went as it came. "So much the worse for you. I think that parson who unearthed your pedigree would have done better if he had held his tongue. I cannot help associating your decline as a family with this other fact--of your want of firmness. Decrepit families imply decrepit wills, decrepit conduct. Heaven, why did you give me a handle for despising you more by informing me of your descent! Here was I thinking you a new-sprung child of nature; there were you, the belated seedling of an effete aristocracy!" "Lots of families are as bad as mine in that! Retty's family were once large landowners, and so were Dairyman Billett's. And the Debbyhouses, who now are carters, were once the De Bayeux family. You find such as I everywhere; 'tis a feature of our county, and I can't help it." "So much the worse for the county." She took these reproaches in their bulk simply, not in their particulars; he did not love her as he had loved her hitherto, and to all else she was indifferent. They wandered on again in silence. It was said afterwards that a cottager of Wellbridge, who went out late that night for a doctor, met two lovers in the pastures, walking very slowly, without converse, one behind the other, as in a funeral procession, and the glimpse that he obtained of their faces seemed to denote that they were anxious and sad. Returning later, he passed them again in the same field, progressing just as slowly, and as regardless of the hour and of the cheerless night as before. It was only on account of his preoccupation with his own affairs, and the illness in his house, that he did not bear in mind the curious incident, which, however, he recalled a long while after. During the interval of the cottager's going and coming, she had said to her husband-- "I don't see how I can help being the cause of much misery to you all your life. The river is down there. I can put an end to myself in it. I am not afraid." "I don't wish to add murder to my other follies," he said. "I will leave something to show that I did it myself--on account of my shame. They will not blame you then." "Don't speak so absurdly--I wish not to hear it. It is nonsense to have such thoughts in this kind of case, which is rather one for satirical laughter than for tragedy. You don't in the least understand the quality of the mishap. It would be viewed in the light of a joke by nine-tenths of the world if it were known. Please oblige me by returning to the house, and going to bed." "I will," said she dutifully. They had rambled round by a road which led to the well-known ruins of the Cistercian abbey behind the mill, the latter having, in centuries past, been attached to the monastic establishment. The mill still worked on, food being a perennial necessity; the abbey had perished, creeds being transient. One continually sees the ministration of the temporary outlasting the ministration of the eternal. Their walk having been circuitous, they were still not far from the house, and in obeying his direction she only had to reach the large stone bridge across the main river and follow the road for a few yards. When she got back, everything remained as she had left it, the fire being still burning. She did not stay downstairs for more than a minute, but proceeded to her chamber, whither the luggage had been taken. Here she sat down on the edge of the bed, looking blankly around, and presently began to undress. In removing the light towards the bedstead its rays fell upon the tester of white dimity; something was hanging beneath it, and she lifted the candle to see what it was. A bough of mistletoe. Angel had put it there; she knew that in an instant. This was the explanation of that mysterious parcel which it had been so difficult to pack and bring; whose contents he would not explain to her, saying that time would soon show her the purpose thereof. In his zest and his gaiety he had hung it there. How foolish and inopportune that mistletoe looked now. Having nothing more to fear, having scarce anything to hope, for that he would relent there seemed no promise whatever, she lay down dully. When sorrow ceases to be speculative, sleep sees her opportunity. Among so many happier moods which forbid repose this was a mood which welcomed it, and in a few minutes the lonely Tess forgot existence, surrounded by the aromatic stillness of the chamber that had once, possibly, been the bride-chamber of her own ancestry. Later on that night Clare also retraced his steps to the house. Entering softly to the sitting-room he obtained a light, and with the manner of one who had considered his course he spread his rugs upon the old horse-hair sofa which stood there, and roughly shaped it to a sleeping-couch. Before lying down he crept shoeless upstairs, and listened at the door of her apartment. Her measured breathing told that she was sleeping profoundly. "Thank God!" murmured Clare; and yet he was conscious of a pang of bitterness at the thought--approximately true, though not wholly so--that having shifted the burden of her life to his shoulders, she was now reposing without care. He turned away to descend; then, irresolute, faced round to her door again. In the act he caught sight of one of the d'Urberville dames, whose portrait was immediately over the entrance to Tess's bedchamber. In the candlelight the painting was more than unpleasant. Sinister design lurked in the woman's features, a concentrated purpose of revenge on the other sex--so it seemed to him then. The Caroline bodice of the portrait was low--precisely as Tess's had been when he tucked it in to show the necklace; and again he experienced the distressing sensation of a resemblance between them. The check was sufficient. He resumed his retreat and descended. His air remained calm and cold, his small compressed mouth indexing his powers of self-control; his face wearing still that terrible sterile expression which had spread thereon since her disclosure. It was the face of a man who was no longer passion's slave, yet who found no advantage in his enfranchisement. He was simply regarding the harrowing contingencies of human experience, the unexpectedness of things. Nothing so pure, so sweet, so virginal as Tess had seemed possible all the long while that he had adored her, up to an hour ago; but The little less, and what worlds away! He argued erroneously when he said to himself that her heart was not indexed in the honest freshness of her face; but Tess had no advocate to set him right. Could it be possible, he continued, that eyes which as they gazed never expressed any divergence from what the tongue was telling, were yet ever seeing another world behind her ostensible one, discordant and contrasting? He reclined on his couch in the sitting-room, and extinguished the light. The night came in, and took up its place there, unconcerned and indifferent; the night which had already swallowed up his happiness, and was now digesting it listlessly; and was ready to swallow up the happiness of a thousand other people with as little disturbance or change of mien. Clare arose in the light of a dawn that was ashy and furtive, as though associated with crime. The fireplace confronted him with its extinct embers; the spread supper-table, whereon stood the two full glasses of untasted wine, now flat and filmy; her vacated seat and his own; the other articles of furniture, with their eternal look of not being able to help it, their intolerable inquiry what was to be done? From above there was no sound; but in a few minutes there came a knock at the door. He remembered that it would be the neighbouring cottager's wife, who was to minister to their wants while they remained here. The presence of a third person in the house would be extremely awkward just now, and, being already dressed, he opened the window and informed her that they could manage to shift for themselves that morning. She had a milk-can in her hand, which he told her to leave at the door. When the dame had gone away he searched in the back quarters of the house for fuel, and speedily lit a fire. There was plenty of eggs, butter, bread, and so on in the larder, and Clare soon had breakfast laid, his experiences at the dairy having rendered him facile in domestic preparations. The smoke of the kindled wood rose from the chimney without like a lotus-headed column; local people who were passing by saw it, and thought of the newly-married couple, and envied their happiness. Angel cast a final glance round, and then going to the foot of the stairs, called in a conventional voice-- "Breakfast is ready!" He opened the front door, and took a few steps in the morning air. When, after a short space, he came back she was already in the sitting-room mechanically readjusting the breakfast things. As she was fully attired, and the interval since his calling her had been but two or three minutes, she must have been dressed or nearly so before he went to summon her. Her hair was twisted up in a large round mass at the back of her head, and she had put on one of the new frocks--a pale blue woollen garment with neck-frillings of white. Her hands and face appeared to be cold, and she had possibly been sitting dressed in the bedroom a long time without any fire. The marked civility of Clare's tone in calling her seemed to have inspired her, for the moment, with a new glimmer of hope. But it soon died when she looked at him. The pair were, in truth, but the ashes of their former fires. To the hot sorrow of the previous night had succeeded heaviness; it seemed as if nothing could kindle either of them to fervour of sensation any more. He spoke gently to her, and she replied with a like undemonstrativeness. At last she came up to him, looking in his sharply-defined face as one who had no consciousness that her own formed a visible object also. "Angel!" she said, and paused, touching him with her fingers lightly as a breeze, as though she could hardly believe to be there in the flesh the man who was once her lover. Her eyes were bright, her pale cheek still showed its wonted roundness, though half-dried tears had left glistening traces thereon; and the usually ripe red mouth was almost as pale as her cheek. Throbbingly alive as she was still, under the stress of her mental grief the life beat so brokenly that a little further pull upon it would cause real illness, dull her characteristic eyes, and make her mouth thin. She looked absolutely pure. Nature, in her fantastic trickery, had set such a seal of maidenhood upon Tess's countenance that he gazed at her with a stupefied air. "Tess! Say it is not true! No, it is not true!" "It is true." "Every word?" "Every word." He looked at her imploringly, as if he would willingly have taken a lie from her lips, knowing it to be one, and have made of it, by some sort of sophistry, a valid denial. However, she only repeated-- "It is true." "Is he living?" Angel then asked. "The baby died." "But the man?" "He is alive." A last despair passed over Clare's face. "Is he in England?" "Yes." He took a few vague steps. "My position--is this," he said abruptly. "I thought--any man would have thought--that by giving up all ambition to win a wife with social standing, with fortune, with knowledge of the world, I should secure rustic innocence as surely as I should secure pink cheeks; but--However, I am no man to reproach you, and I will not." Tess felt his position so entirely that the remainder had not been needed. Therein lay just the distress of it; she saw that he had lost all round. "Angel--I should not have let it go on to marriage with you if I had not known that, after all, there was a last way out of it for you; though I hoped you would never--" Her voice grew husky. "A last way?" "I mean, to get rid of me. You CAN get rid of me." "How?" "By divorcing me." "Good heavens--how can you be so simple! How can I divorce you?" "Can't you--now I have told you? I thought my confession would give you grounds for that." "O Tess--you are too, too--childish--unformed--crude, I suppose! I don't know what you are. You don't understand the law--you don't understand!" "What--you cannot?" "Indeed I cannot." A quick shame mixed with the misery upon his listener's face. "I thought--I thought," she whispered. "O, now I see how wicked I seem to you! Believe me--believe me, on my soul, I never thought but that you could! I hoped you would not; yet I believed, without a doubt, that you could cast me off if you were determined, and didn't love me at--at--all!" "You were mistaken," he said. "O, then I ought to have done it, to have done it last night! But I hadn't the courage. That's just like me!" "The courage to do what?" As she did not answer he took her by the hand. "What were you thinking of doing?" he inquired. "Of putting an end to myself." "When?" She writhed under this inquisitorial manner of his. "Last night," she answered. "Where?" "Under your mistletoe." "My good--! How?" he asked sternly. "I'll tell you, if you won't be angry with me!" she said, shrinking. "It was with the cord of my box. But I could not--do the last thing! I was afraid that it might cause a scandal to your name." The unexpected quality of this confession, wrung from her, and not volunteered, shook him perceptibly. But he still held her, and, letting his glance fall from her face downwards, he said, "Now, listen to this. You must not dare to think of such a horrible thing! How could you! You will promise me as your husband to attempt that no more." "I am ready to promise. I saw how wicked it was." "Wicked! The idea was unworthy of you beyond description." "But, Angel," she pleaded, enlarging her eyes in calm unconcern upon him, "it was thought of entirely on your account--to set you free without the scandal of the divorce that I thought you would have to get. I should never have dreamt of doing it on mine. However, to do it with my own hand is too good for me, after all. It is you, my ruined husband, who ought to strike the blow. I think I should love you more, if that were possible, if you could bring yourself to do it, since there's no other way of escape for 'ee. I feel I am so utterly worthless! So very greatly in the way!" "Ssh!" "Well, since you say no, I won't. I have no wish opposed to yours." He knew this to be true enough. Since the desperation of the night her activities had dropped to zero, and there was no further rashness to be feared. Tess tried to busy herself again over the breakfast-table with more or less success, and they sat down both on the same side, so that their glances did not meet. There was at first something awkward in hearing each other eat and drink, but this could not be escaped; moreover, the amount of eating done was small on both sides. Breakfast over, he rose, and telling her the hour at which he might be expected to dinner, went off to the miller's in a mechanical pursuance of the plan of studying that business, which had been his only practical reason for coming here. When he was gone Tess stood at the window, and presently saw his form crossing the great stone bridge which conducted to the mill premises. He sank behind it, crossed the railway beyond, and disappeared. Then, without a sigh, she turned her attention to the room, and began clearing the table and setting it in order. The charwoman soon came. Her presence was at first a strain upon Tess, but afterwards an alleviation. At half-past twelve she left her assistant alone in the kitchen, and, returning to the sitting-room, waited for the reappearance of Angel's form behind the bridge. About one he showed himself. Her face flushed, although he was a quarter of a mile off. She ran to the kitchen to get the dinner served by the time he should enter. He went first to the room where they had washed their hands together the day before, and as he entered the sitting-room the dish-covers rose from the dishes as if by his own motion. "How punctual!" he said. "Yes. I saw you coming over the bridge," said she. The meal was passed in commonplace talk of what he had been doing during the morning at the Abbey Mill, of the methods of bolting and the old-fashioned machinery, which he feared would not enlighten him greatly on modern improved methods, some of it seeming to have been in use ever since the days it ground for the monks in the adjoining conventual buildings--now a heap of ruins. He left the house again in the course of an hour, coming home at dusk, and occupying himself through the evening with his papers. She feared she was in the way and, when the old woman was gone, retired to the kitchen, where she made herself busy as well as she could for more than an hour. Clare's shape appeared at the door. "You must not work like this," he said. "You are not my servant; you are my wife." She raised her eyes, and brightened somewhat. "I may think myself that--indeed?" she murmured, in piteous raillery. "You mean in name! Well, I don't want to be anything more." "You MAY think so, Tess! You are. What do you mean?" "I don't know," she said hastily, with tears in her accents. "I thought I--because I am not respectable, I mean. I told you I thought I was not respectable enough long ago--and on that account I didn't want to marry you, only--only you urged me!" She broke into sobs, and turned her back to him. It would almost have won round any man but Angel Clare. Within the remote depths of his constitution, so gentle and affectionate as he was in general, there lay hidden a hard logical deposit, like a vein of metal in a soft loam, which turned the edge of everything that attempted to traverse it. It had blocked his acceptance of the Church; it blocked his acceptance of Tess. Moreover, his affection itself was less fire than radiance, and, with regard to the other sex, when he ceased to believe he ceased to follow: contrasting in this with many impressionable natures, who remain sensuously infatuated with what they intellectually despise. He waited till her sobbing ceased. "I wish half the women in England were as respectable as you," he said, in an ebullition of bitterness against womankind in general. "It isn't a question of respectability, but one of principle!" He spoke such things as these and more of a kindred sort to her, being still swayed by the antipathetic wave which warps direct souls with such persistence when once their vision finds itself mocked by appearances. There was, it is true, underneath, a back current of sympathy through which a woman of the world might have conquered him. But Tess did not think of this; she took everything as her deserts, and hardly opened her mouth. The firmness of her devotion to him was indeed almost pitiful; quick-tempered as she naturally was, nothing that he could say made her unseemly; she sought not her own; was not provoked; thought no evil of his treatment of her. She might just now have been Apostolic Charity herself returned to a self-seeking modern world. This evening, night, and morning were passed precisely as the preceding ones had been passed. On one, and only one, occasion did she--the formerly free and independent Tess--venture to make any advances. It was on the third occasion of his starting after a meal to go out to the flour-mill. As he was leaving the table he said "Goodbye," and she replied in the same words, at the same time inclining her mouth in the way of his. He did not avail himself of the invitation, saying, as he turned hastily aside-- "I shall be home punctually." Tess shrank into herself as if she had been struck. Often enough had he tried to reach those lips against her consent--often had he said gaily that her mouth and breath tasted of the butter and eggs and milk and honey on which she mainly lived, that he drew sustenance from them, and other follies of that sort. But he did not care for them now. He observed her sudden shrinking, and said gently-- "You know, I have to think of a course. It was imperative that we should stay together a little while, to avoid the scandal to you that would have resulted from our immediate parting. But you must see it is only for form's sake." "Yes," said Tess absently. He went out, and on his way to the mill stood still, and wished for a moment that he had responded yet more kindly, and kissed her once at least. Thus they lived through this despairing day or two; in the same house, truly; but more widely apart than before they were lovers. It was evident to her that he was, as he had said, living with paralyzed activities in his endeavour to think of a plan of procedure. She was awe-stricken to discover such determination under such apparent flexibility. His consistency was, indeed, too cruel. She no longer expected forgiveness now. More than once she thought of going away from him during his absence at the mill; but she feared that this, instead of benefiting him, might be the means of hampering and humiliating him yet more if it should become known. Meanwhile Clare was meditating, verily. His thought had been unsuspended; he was becoming ill with thinking; eaten out with thinking, withered by thinking; scourged out of all his former pulsating, flexuous domesticity. He walked about saying to himself, "What's to be done--what's to be done?" and by chance she overheard him. It caused her to break the reserve about their future which had hitherto prevailed. "I suppose--you are not going to live with me--long, are you, Angel?" she asked, the sunk corners of her mouth betraying how purely mechanical were the means by which she retained that expression of chastened calm upon her face. "I cannot" he said, "without despising myself, and what is worse, perhaps, despising you. I mean, of course, cannot live with you in the ordinary sense. At present, whatever I feel, I do not despise you. And, let me speak plainly, or you may not see all my difficulties. How can we live together while that man lives?--he being your husband in nature, and not I. If he were dead it might be different... Besides, that's not all the difficulty; it lies in another consideration--one bearing upon the future of other people than ourselves. Think of years to come, and children being born to us, and this past matter getting known--for it must get known. There is not an uttermost part of the earth but somebody comes from it or goes to it from elsewhere. Well, think of wretches of our flesh and blood growing up under a taunt which they will gradually get to feel the full force of with their expanding years. What an awakening for them! What a prospect! Can you honestly say 'Remain' after contemplating this contingency? Don't you think we had better endure the ills we have than fly to others?" Her eyelids, weighted with trouble, continued drooping as before. "I cannot say 'Remain,'" she answered, "I cannot; I had not thought so far." Tess's feminine hope--shall we confess it?--had been so obstinately recuperative as to revive in her surreptitious visions of a domiciliary intimacy continued long enough to break down his coldness even against his judgement. Though unsophisticated in the usual sense, she was not incomplete; and it would have denoted deficiency of womanhood if she had not instinctively known what an argument lies in propinquity. Nothing else would serve her, she knew, if this failed. It was wrong to hope in what was of the nature of strategy, she said to herself: yet that sort of hope she could not extinguish. His last representation had now been made, and it was, as she said, a new view. She had truly never thought so far as that, and his lucid picture of possible offspring who would scorn her was one that brought deadly convictions to an honest heart which was humanitarian to its centre. Sheer experience had already taught her that in some circumstances there was one thing better than to lead a good life, and that was to be saved from leading any life whatever. Like all who have been previsioned by suffering, she could, in the words of M. Sully-Prudhomme, hear a penal sentence in the fiat, "You shall be born," particularly if addressed to potential issue of hers. Yet such is the vulpine slyness of Dame Nature, that, till now, Tess had been hoodwinked by her love for Clare into forgetting it might result in vitalizations that would inflict upon others what she had bewailed as misfortune to herself. She therefore could not withstand his argument. But with the self-combating proclivity of the supersensitive, an answer thereto arose in Clare's own mind, and he almost feared it. It was based on her exceptional physical nature; and she might have used it promisingly. She might have added besides: "On an Australian upland or Texan plain, who is to know or care about my misfortunes, or to reproach me or you?" Yet, like the majority of women, she accepted the momentary presentment as if it were the inevitable. And she may have been right. The intuitive heart of woman knoweth not only its own bitterness, but its husband's, and even if these assumed reproaches were not likely to be addressed to him or to his by strangers, they might have reached his ears from his own fastidious brain. It was the third day of the estrangement. Some might risk the odd paradox that with more animalism he would have been the nobler man. We do not say it. Yet Clare's love was doubtless ethereal to a fault, imaginative to impracticability. With these natures, corporal presence is something less appealing than corporal absence; the latter creating an ideal presence that conveniently drops the defects of the real. She found that her personality did not plead her cause so forcibly as she had anticipated. The figurative phrase was true: she was another woman than the one who had excited his desire. "I have thought over what you say," she remarked to him, moving her forefinger over the tablecloth, her other hand, which bore the ring that mocked them both, supporting her forehead. "It is quite true, all of it; it must be. You must go away from me." "But what can you do?" "I can go home." Clare had not thought of that. "Are you sure?" he inquired. "Quite sure. We ought to part, and we may as well get it past and done. You once said that I was apt to win men against their better judgement; and if I am constantly before your eyes I may cause you to change your plans in opposition to your reason and wish; and afterwards your repentance and my sorrow will be terrible." "And you would like to go home?" he asked. "I want to leave you, and go home." "Then it shall be so." Though she did not look up at him, she started. There was a difference between the proposition and the covenant, which she had felt only too quickly. "I feared it would come to this," she murmured, her countenance meekly fixed. "I don't complain, Angel, I--I think it best. What you said has quite convinced me. Yes, though nobody else should reproach me if we should stay together, yet somewhen, years hence, you might get angry with me for any ordinary matter, and knowing what you do of my bygones, you yourself might be tempted to say words, and they might be overheard, perhaps by my own children. O, what only hurts me now would torture and kill me then! I will go--to-morrow." "And I shall not stay here. Though I didn't like to initiate it, I have seen that it was advisable we should part--at least for a while, till I can better see the shape that things have taken, and can write to you." Tess stole a glance at her husband. He was pale, even tremulous; but, as before, she was appalled by the determination revealed in the depths of this gentle being she had married--the will to subdue the grosser to the subtler emotion, the substance to the conception, the flesh to the spirit. Propensities, tendencies, habits, were as dead leaves upon the tyrannous wind of his imaginative ascendency. He may have observed her look, for he explained-- "I think of people more kindly when I am away from them"; adding cynically, "God knows; perhaps we will shake down together some day, for weariness; thousands have done it!" That day he began to pack up, and she went upstairs and began to pack also. Both knew that it was in their two minds that they might part the next morning for ever, despite the gloss of assuaging conjectures thrown over their proceeding because they were of the sort to whom any parting which has an air of finality is a torture. He knew, and she knew, that, though the fascination which each had exercised over the other--on her part independently of accomplishments--would probably in the first days of their separation be even more potent than ever, time must attenuate that effect; the practical arguments against accepting her as a housemate might pronounce themselves more strongly in the boreal light of a remoter view. Moreover, when two people are once parted--have abandoned a common domicile and a common environment--new growths insensibly bud upward to fill each vacated place; unforeseen accidents hinder intentions, and old plans are forgotten. Midnight came and passed silently, for there was nothing to announce it in the Valley of the Froom. Not long after one o'clock there was a slight creak in the darkened farmhouse once the mansion of the d'Urbervilles. Tess, who used the upper chamber, heard it and awoke. It had come from the corner step of the staircase, which, as usual, was loosely nailed. She saw the door of her bedroom open, and the figure of her husband crossed the stream of moonlight with a curiously careful tread. He was in his shirt and trousers only, and her first flush of joy died when she perceived that his eyes were fixed in an unnatural stare on vacancy. When he reached the middle of the room he stood still and murmured in tones of indescribable sadness-- "Dead! dead! dead!" Under the influence of any strongly-disturbing force, Clare would occasionally walk in his sleep, and even perform strange feats, such as he had done on the night of their return from market just before their marriage, when he re-enacted in his bedroom his combat with the man who had insulted her. Tess saw that continued mental distress had wrought him into that somnambulistic state now. Her loyal confidence in him lay so deep down in her heart, that, awake or asleep, he inspired her with no sort of personal fear. If he had entered with a pistol in his hand he would scarcely have disturbed her trust in his protectiveness. Clare came close, and bent over her. "Dead, dead, dead!" he murmured. After fixedly regarding her for some moments with the same gaze of unmeasurable woe, he bent lower, enclosed her in his arms, and rolled her in the sheet as in a shroud. Then lifting her from the bed with as much respect as one would show to a dead body, he carried her across the room, murmuring-- "My poor, poor Tess--my dearest, darling Tess! So sweet, so good, so true!" The words of endearment, withheld so severely in his waking hours, were inexpressibly sweet to her forlorn and hungry heart. If it had been to save her weary life she would not, by moving or struggling, have put an end to the position she found herself in. Thus she lay in absolute stillness, scarcely venturing to breathe, and, wondering what he was going to do with her, suffered herself to be borne out upon the landing. "My wife--dead, dead!" he said. He paused in his labours for a moment to lean with her against the banister. Was he going to throw her down? Self-solicitude was near extinction in her, and in the knowledge that he had planned to depart on the morrow, possibly for always, she lay in his arms in this precarious position with a sense rather of luxury than of terror. If they could only fall together, and both be dashed to pieces, how fit, how desirable. However, he did not let her fall, but took advantage of the support of the handrail to imprint a kiss upon her lips--lips in the day-time scorned. Then he clasped her with a renewed firmness of hold, and descended the staircase. The creak of the loose stair did not awaken him, and they reached the ground-floor safely. Freeing one of his hands from his grasp of her for a moment, he slid back the door-bar and passed out, slightly striking his stockinged toe against the edge of the door. But this he seemed not to mind, and, having room for extension in the open air, he lifted her against his shoulder, so that he could carry her with ease, the absence of clothes taking much from his burden. Thus he bore her off the premises in the direction of the river a few yards distant. His ultimate intention, if he had any, she had not yet divined; and she found herself conjecturing on the matter as a third person might have done. So easefully had she delivered her whole being up to him that it pleased her to think he was regarding her as his absolute possession, to dispose of as he should choose. It was consoling, under the hovering terror of to-morrow's separation, to feel that he really recognized her now as his wife Tess, and did not cast her off, even if in that recognition he went so far as to arrogate to himself the right of harming her. Ah! now she knew what he was dreaming of--that Sunday morning when he had borne her along through the water with the other dairymaids, who had loved him nearly as much as she, if that were possible, which Tess could hardly admit. Clare did not cross the bridge with her, but proceeding several paces on the same side towards the adjoining mill, at length stood still on the brink of the river. Its waters, in creeping down these miles of meadowland, frequently divided, serpentining in purposeless curves, looping themselves around little islands that had no name, returning and re-embodying themselves as a broad main stream further on. Opposite the spot to which he had brought her was such a general confluence, and the river was proportionately voluminous and deep. Across it was a narrow foot-bridge; but now the autumn flood had washed the handrail away, leaving the bare plank only, which, lying a few inches above the speeding current, formed a giddy pathway for even steady heads; and Tess had noticed from the window of the house in the day-time young men walking across upon it as a feat in balancing. Her husband had possibly observed the same performance; anyhow, he now mounted the plank, and, sliding one foot forward, advanced along it. Was he going to drown her? Probably he was. The spot was lonely, the river deep and wide enough to make such a purpose easy of accomplishment. He might drown her if he would; it would be better than parting to-morrow to lead severed lives. The swift stream raced and gyrated under them, tossing, distorting, and splitting the moon's reflected face. Spots of froth travelled past, and intercepted weeds waved behind the piles. If they could both fall together into the current now, their arms would be so tightly clasped together that they could not be saved; they would go out of the world almost painlessly, and there would be no more reproach to her, or to him for marrying her. His last half-hour with her would have been a loving one, while if they lived till he awoke, his day-time aversion would return, and this hour would remain to be contemplated only as a transient dream. The impulse stirred in her, yet she dared not indulge it, to make a movement that would have precipitated them both into the gulf. How she valued her own life had been proved; but his--she had no right to tamper with it. He reached the other side with her in safety. Here they were within a plantation which formed the Abbey grounds, and taking a new hold of her he went onward a few steps till they reached the ruined choir of the Abbey-church. Against the north wall was the empty stone coffin of an abbot, in which every tourist with a turn for grim humour was accustomed to stretch himself. In this Clare carefully laid Tess. Having kissed her lips a second time he breathed deeply, as if a greatly desired end were attained. Clare then lay down on the ground alongside, when he immediately fell into the deep dead slumber of exhaustion, and remained motionless as a log. The spurt of mental excitement which had produced the effort was now over. Tess sat up in the coffin. The night, though dry and mild for the season, was more than sufficiently cold to make it dangerous for him to remain here long, in his half-clothed state. If he were left to himself he would in all probability stay there till the morning, and be chilled to certain death. She had heard of such deaths after sleep-walking. But how could she dare to awaken him, and let him know what he had been doing, when it would mortify him to discover his folly in respect of her? Tess, however, stepping out of her stone confine, shook him slightly, but was unable to arouse him without being violent. It was indispensable to do something, for she was beginning to shiver, the sheet being but a poor protection. Her excitement had in a measure kept her warm during the few minutes' adventure; but that beatific interval was over. It suddenly occurred to her to try persuasion; and accordingly she whispered in his ear, with as much firmness and decision as she could summon-- "Let us walk on, darling," at the same time taking him suggestively by the arm. To her relief, he unresistingly acquiesced; her words had apparently thrown him back into his dream, which thenceforward seemed to enter on a new phase, wherein he fancied she had risen as a spirit, and was leading him to Heaven. Thus she conducted him by the arm to the stone bridge in front of their residence, crossing which they stood at the manor-house door. Tess's feet were quite bare, and the stones hurt her, and chilled her to the bone; but Clare was in his woollen stockings, and appeared to feel no discomfort. There was no further difficulty. She induced him to lie down on his own sofa bed, and covered him up warmly, lighting a temporary fire of wood, to dry any dampness out of him. The noise of these attentions she thought might awaken him, and secretly wished that they might. But the exhaustion of his mind and body was such that he remained undisturbed. As soon as they met the next morning Tess divined that Angel knew little or nothing of how far she had been concerned in the night's excursion, though, as regarded himself, he may have been aware that he had not lain still. In truth, he had awakened that morning from a sleep deep as annihilation; and during those first few moments in which the brain, like a Samson shaking himself, is trying its strength, he had some dim notion of an unusual nocturnal proceeding. But the realities of his situation soon displaced conjecture on the other subject. He waited in expectancy to discern some mental pointing; he knew that if any intention of his, concluded over-night, did not vanish in the light of morning, it stood on a basis approximating to one of pure reason, even if initiated by impulse of feeling; that it was so far, therefore, to be trusted. He thus beheld in the pale morning light the resolve to separate from her; not as a hot and indignant instinct, but denuded of the passionateness which had made it scorch and burn; standing in its bones; nothing but a skeleton, but none the less there. Clare no longer hesitated. At breakfast, and while they were packing the few remaining articles, he showed his weariness from the night's effort so unmistakeably that Tess was on the point of revealing all that had happened; but the reflection that it would anger him, grieve him, stultify him, to know that he had instinctively manifested a fondness for her of which his common-sense did not approve, that his inclination had compromised his dignity when reason slept, again deterred her. It was too much like laughing at a man when sober for his erratic deeds during intoxication. It just crossed her mind, too, that he might have a faint recollection of his tender vagary, and was disinclined to allude to it from a conviction that she would take amatory advantage of the opportunity it gave her of appealing to him anew not to go. He had ordered by letter a vehicle from the nearest town, and soon after breakfast it arrived. She saw in it the beginning of the end--the temporary end, at least, for the revelation of his tenderness by the incident of the night raised dreams of a possible future with him. The luggage was put on the top, and the man drove them off, the miller and the old waiting-woman expressing some surprise at their precipitate departure, which Clare attributed to his discovery that the mill-work was not of the modern kind which he wished to investigate, a statement that was true so far as it went. Beyond this there was nothing in the manner of their leaving to suggest a fiasco, or that they were not going together to visit friends. Their route lay near the dairy from which they had started with such solemn joy in each other a few days back, and as Clare wished to wind up his business with Mr Crick, Tess could hardly avoid paying Mrs Crick a call at the same time, unless she would excite suspicion of their unhappy state. To make the call as unobtrusive as possible, they left the carriage by the wicket leading down from the high road to the dairy-house, and descended the track on foot, side by side. The withy-bed had been cut, and they could see over the stumps the spot to which Clare had followed her when he pressed her to be his wife; to the left the enclosure in which she had been fascinated by his harp; and far away behind the cow-stalls the mead which had been the scene of their first embrace. The gold of the summer picture was now gray, the colours mean, the rich soil mud, and the river cold. Over the barton-gate the dairyman saw them, and came forward, throwing into his face the kind of jocularity deemed appropriate in Talbothays and its vicinity on the re-appearance of the newly-married. Then Mrs Crick emerged from the house, and several others of their old acquaintance, though Marian and Retty did not seem to be there. Tess valiantly bore their sly attacks and friendly humours, which affected her far otherwise than they supposed. In the tacit agreement of husband and wife to keep their estrangement a secret they behaved as would have been ordinary. And then, although she would rather there had been no word spoken on the subject, Tess had to hear in detail the story of Marian and Retty. The later had gone home to her father's, and Marian had left to look for employment elsewhere. They feared she would come to no good. To dissipate the sadness of this recital Tess went and bade all her favourite cows goodbye, touching each of them with her hand, and as she and Clare stood side by side at leaving, as if united body and soul, there would have been something peculiarly sorry in their aspect to one who should have seen it truly; two limbs of one life, as they outwardly were, his arm touching hers, her skirts touching him, facing one way, as against all the dairy facing the other, speaking in their adieux as "we", and yet sundered like the poles. Perhaps something unusually stiff and embarrassed in their attitude, some awkwardness in acting up to their profession of unity, different from the natural shyness of young couples, may have been apparent, for when they were gone Mrs Crick said to her husband-- "How onnatural the brightness of her eyes did seem, and how they stood like waxen images and talked as if they were in a dream! Didn't it strike 'ee that 'twas so? Tess had always sommat strange in her, and she's not now quite like the proud young bride of a well-be-doing man." They re-entered the vehicle, and were driven along the roads towards Weatherbury and Stagfoot Lane, till they reached the Lane inn, where Clare dismissed the fly and man. They rested here a while, and entering the Vale were next driven onward towards her home by a stranger who did not know their relations. At a midway point, when Nuttlebury had been passed, and where there were cross-roads, Clare stopped the conveyance and said to Tess that if she meant to return to her mother's house it was here that he would leave her. As they could not talk with freedom in the driver's presence he asked her to accompany him for a few steps on foot along one of the branch roads; she assented, and directing the man to wait a few minutes they strolled away. "Now, let us understand each other," he said gently. "There is no anger between us, though there is that which I cannot endure at present. I will try to bring myself to endure it. I will let you know where I go to as soon as I know myself. And if I can bring myself to bear it--if it is desirable, possible--I will come to you. But until I come to you it will be better that you should not try to come to me." The severity of the decree seemed deadly to Tess; she saw his view of her clearly enough; he could regard her in no other light than that of one who had practised gross deceit upon him. Yet could a woman who had done even what she had done deserve all this? But she could contest the point with him no further. She simply repeated after him his own words. "Until you come to me I must not try to come to you?" "Just so." "May I write to you?" "O yes--if you are ill, or want anything at all. I hope that will not be the case; so that it may happen that I write first to you." "I agree to the conditions, Angel; because you know best what my punishment ought to be; only--only--don't make it more than I can bear!" That was all she said on the matter. If Tess had been artful, had she made a scene, fainted, wept hysterically, in that lonely lane, notwithstanding the fury of fastidiousness with which he was possessed, he would probably not have withstood her. But her mood of long-suffering made his way easy for him, and she herself was his best advocate. Pride, too, entered into her submission--which perhaps was a symptom of that reckless acquiescence in chance too apparent in the whole d'Urberville family--and the many effective chords which she could have stirred by an appeal were left untouched. The remainder of their discourse was on practical matters only. He now handed her a packet containing a fairly good sum of money, which he had obtained from his bankers for the purpose. The brilliants, the interest in which seemed to be Tess's for her life only (if he understood the wording of the will), he advised her to let him send to a bank for safety; and to this she readily agreed. These things arranged, he walked with Tess back to the carriage, and handed her in. The coachman was paid and told where to drive her. Taking next his own bag and umbrella--the sole articles he had brought with him hitherwards--he bade her goodbye; and they parted there and then. The fly moved creepingly up a hill, and Clare watched it go with an unpremeditated hope that Tess would look out of the window for one moment. But that she never thought of doing, would not have ventured to do, lying in a half-dead faint inside. Thus he beheld her recede, and in the anguish of his heart quoted a line from a poet, with peculiar emendations of his own-- God's NOT in his heaven: All's WRONG with the world! When Tess had passed over the crest of the hill he turned to go his own way, and hardly knew that he loved her still. As she drove on through Blackmoor Vale, and the landscape of her youth began to open around her, Tess aroused herself from her stupor. Her first thought was how would she be able to face her parents? She reached a turnpike-gate which stood upon the highway to the village. It was thrown open by a stranger, not by the old man who had kept it for many years, and to whom she had been known; he had probably left on New Year's Day, the date when such changes were made. Having received no intelligence lately from her home, she asked the turnpike-keeper for news. "Oh--nothing, miss," he answered. "Marlott is Marlott still. Folks have died and that. John Durbeyfield, too, hev had a daughter married this week to a gentleman-farmer; not from John's own house, you know; they was married elsewhere; the gentleman being of that high standing that John's own folk was not considered well-be-doing enough to have any part in it, the bridegroom seeming not to know how't have been discovered that John is a old and ancient nobleman himself by blood, with family skillentons in their own vaults to this day, but done out of his property in the time o' the Romans. However, Sir John, as we call 'n now, kept up the wedding-day as well as he could, and stood treat to everybody in the parish; and John's wife sung songs at The Pure Drop till past eleven o'clock." Hearing this, Tess felt so sick at heart that she could not decide to go home publicly in the fly with her luggage and belongings. She asked the turnpike-keeper if she might deposit her things at his house for a while, and, on his offering no objection, she dismissed her carriage, and went on to the village alone by a back lane. At sight of her father's chimney she asked herself how she could possibly enter the house? Inside that cottage her relations were calmly supposing her far away on a wedding-tour with a comparatively rich man, who was to conduct her to bouncing prosperity; while here she was, friendless, creeping up to the old door quite by herself, with no better place to go to in the world. She did not reach the house unobserved. Just by the garden-hedge she was met by a girl who knew her--one of the two or three with whom she had been intimate at school. After making a few inquiries as to how Tess came there, her friend, unheeding her tragic look, interrupted with-- "But where's thy gentleman, Tess?" Tess hastily explained that he had been called away on business, and, leaving her interlocutor, clambered over the garden-hedge, and thus made her way to the house. As she went up the garden-path she heard her mother singing by the back door, coming in sight of which she perceived Mrs Durbeyfield on the doorstep in the act of wringing a sheet. Having performed this without observing Tess, she went indoors, and her daughter followed her. The washing-tub stood in the same old place on the same old quarter-hogshead, and her mother, having thrown the sheet aside, was about to plunge her arms in anew. "Why--Tess!--my chil'--I thought you was married!--married really and truly this time--we sent the cider--" "Yes, mother; so I am." "Going to be?" "No--I am married." "Married! Then where's thy husband?" "Oh, he's gone away for a time." "Gone away! When was you married, then? The day you said?" "Yes, Tuesday, mother." "And now 'tis on'y Saturday, and he gone away?" "Yes, he's gone." "What's the meaning o' that? 'Nation seize such husbands as you seem to get, say I!" "Mother!" Tess went across to Joan Durbeyfield, laid her face upon the matron's bosom, and burst into sobs. "I don't know how to tell 'ee, mother! You said to me, and wrote to me, that I was not to tell him. But I did tell him--I couldn't help it--and he went away!" "O you little fool--you little fool!" burst out Mrs Durbeyfield, splashing Tess and herself in her agitation. "My good God! that ever I should ha' lived to say it, but I say it again, you little fool!" Tess was convulsed with weeping, the tension of so many days having relaxed at last. "I know it--I know--I know!" she gasped through her sobs. "But, O my mother, I could not help it! He was so good--and I felt the wickedness of trying to blind him as to what had happened! If--if--it were to be done again--I should do the same. I could not--I dared not--so sin--against him!" "But you sinned enough to marry him first!" "Yes, yes; that's where my misery do lie! But I thought he could get rid o' me by law if he were determined not to overlook it. And O, if you knew--if you could only half know how I loved him--how anxious I was to have him--and how wrung I was between caring so much for him and my wish to be fair to him!" Tess was so shaken that she could get no further, and sank, a helpless thing, into a chair. "Well, well; what's done can't be undone! I'm sure I don't know why children o' my bringing forth should all be bigger simpletons than other people's--not to know better than to blab such a thing as that, when he couldn't ha' found it out till too late!" Here Mrs Durbeyfield began shedding tears on her own account as a mother to be pitied. "What your father will say I don't know," she continued; "for he's been talking about the wedding up at Rolliver's and The Pure Drop every day since, and about his family getting back to their rightful position through you--poor silly man!--and now you've made this mess of it! The Lord-a-Lord!" As if to bring matters to a focus, Tess's father was heard approaching at that moment. He did not, however, enter immediately, and Mrs Durbeyfield said that she would break the bad news to him herself, Tess keeping out of sight for the present. After her first burst of disappointment Joan began to take the mishap as she had taken Tess's original trouble, as she would have taken a wet holiday or failure in the potato-crop; as a thing which had come upon them irrespective of desert or folly; a chance external impingement to be borne with; not a lesson. Tess retreated upstairs and beheld casually that the beds had been shifted, and new arrangements made. Her old bed had been adapted for two younger children. There was no place here for her now. The room below being unceiled she could hear most of what went on there. Presently her father entered, apparently carrying in a live hen. He was a foot-haggler now, having been obliged to sell his second horse, and he travelled with his basket on his arm. The hen had been carried about this morning as it was often carried, to show people that he was in his work, though it had lain, with its legs tied, under the table at Rolliver's for more than an hour. "We've just had up a story about--" Durbeyfield began, and thereupon related in detail to his wife a discussion which had arisen at the inn about the clergy, originated by the fact of his daughter having married into a clerical family. "They was formerly styled 'sir', like my own ancestry," he said, "though nowadays their true style, strictly speaking, is 'clerk' only." As Tess had wished that no great publicity should be given to the event, he had mentioned no particulars. He hoped she would remove that prohibition soon. He proposed that the couple should take Tess's own name, d'Urberville, as uncorrupted. It was better than her husbands's. He asked if any letter had come from her that day. Then Mrs Durbeyfield informed him that no letter had come, but Tess unfortunately had come herself. When at length the collapse was explained to him, a sullen mortification, not usual with Durbeyfield, overpowered the influence of the cheering glass. Yet the intrinsic quality of the event moved his touchy sensitiveness less than its conjectured effect upon the minds of others. "To think, now, that this was to be the end o't!" said Sir John. "And I with a family vault under that there church of Kingsbere as big as Squire Jollard's ale-cellar, and my folk lying there in sixes and sevens, as genuine county bones and marrow as any recorded in history. And now to be sure what they fellers at Rolliver's and The Pure Drop will say to me! How they'll squint and glane, and say, 'This is yer mighty match is it; this is yer getting back to the true level of yer forefathers in King Norman's time!' I feel this is too much, Joan; I shall put an end to myself, title and all--I can bear it no longer! ... But she can make him keep her if he's married her?" "Why, yes. But she won't think o' doing that." "D'ye think he really have married her?--or is it like the first--" Poor Tess, who had heard as far as this, could not bear to hear more. The perception that her word could be doubted even here, in her own parental house, set her mind against the spot as nothing else could have done. How unexpected were the attacks of destiny! And if her father doubted her a little, would not neighbours and acquaintance doubt her much? O, she could not live long at home! A few days, accordingly, were all that she allowed herself here, at the end of which time she received a short note from Clare, informing her that he had gone to the North of England to look at a farm. In her craving for the lustre of her true position as his wife, and to hide from her parents the vast extent of the division between them, she made use of this letter as her reason for again departing, leaving them under the impression that she was setting out to join him. Still further to screen her husband from any imputation of unkindness to her, she took twenty-five of the fifty pounds Clare had given her, and handed the sum over to her mother, as if the wife of a man like Angel Clare could well afford it, saying that it was a slight return for the trouble and humiliation she had brought upon them in years past. With this assertion of her dignity she bade them farewell; and after that there were lively doings in the Durbeyfield household for some time on the strength of Tess's bounty, her mother saying, and, indeed, believing, that the rupture which had arisen between the young husband and wife had adjusted itself under their strong feeling that they could not live apart from each other.

Chapters 35-38

https://web.archive.org/web/20201219151046/https://www.cliffsnotes.com/literature/t/tess-of-the-durbervilles/summary-and-analysis/phase-the-fifth-the-woman-pays-chapters-3538

Angel cannot forgive Tess for her past: "O Tess, forgiveness does not apply to the case! You were one person; now you are another." Tess is dumbfounded by Angel's reaction and seeks to have him understand her plight. He cannot see her past as she sees it. Tess suggests that they will no longer be able to live together and that she could end his suffering through divorce or her own suicide. Angel rejects both propositions. He adds injury to insult saying, "Decrepit families imply decrepit wills, decrepit conduct." Tess is nearly speechless. Instead of remaining with his wife on their honeymoon night, Angel sleeps on the couch downstairs. The next morning, Angel is the first to speak, suggesting a reconciliation, but it is a false hope. The couple, sure of marital bliss, now must decide what is to happen next. Tess tries to make her point clear, to bring Angel around to her viewpoint. She accepts her punishment, "she took everything as her deserts." She asks Angel, "You are not going to live with me -- long, are you, Angel?" He responds, "I cannot." Finally, Angel suggests that Tess go home to her family in Marlott. She agrees. During the night, Angel, in a deep sleep-walking state, comes to Tess' room and carries her out into the night. He mumbles that his wife is "Dead, dead, dead!" Tess does not dare disturb this sleep episode. Angel seems to be recalling the incident in which he carried the milkmaids at Talbothays , taking Tess over a river and into a small ruined chapel, where he lays her in an empty stone coffin. He lies down beside her, continuing to sleep. Tess rouses him carefully and leads him back to the couch in their house. The next morning, Tess does not tell Angel of the evening's events as he begins to pack their belongings for their trip to Talbothays and, from there, to Marlott, Tess' home. At Talbothays, the couple do not disclose their discord. Angel gives Tess a good sum of money before he leaves her and tells her to write to him via his parents if she needs anything. Then he leaves Tess near the entrance to her hometown. Tess enters the town through a back route, going unnoticed into her family's home. When Tess tells her mother of her plight, the two cry over the events. Joan suggests that Tess hide in the house when her father returns so that Joan can prepare John for the shock of a marriage begun and ended in three days. John is indeed astonished, and Tess resolves to remain only a few days at home. During the short period that she is home, Tess receives a letter from Angel telling her he is in the north of England searching for a farm. Tess gives her mother half her money from Angel and leaves home.

Angel is surprised by Tess' revelation. Although Tess had tried several times to recount her sad history, Angel ignored her pleas. Yet, upon hearing her story, he cannot forgive her. The reasons for Angel's intractability are not clear. The best reason that he gives is that one day their children will find out and Tess will have to tell them about the rape and birth of another baby. Perhaps the most telling line from Angel is "O Tess, forgiveness does not apply to the case! You were one person; now you are another." In truth, however, it is not Tess who has changed, but Angel's perception of her. He cannot reconcile in his own mind how a woman who experienced what she has experienced can be the same woman he fell in love with. Hardy tells us that "ithin the remote depths of his constitution, so gentle and affectionate, there lay hidden a hard logical deposit . . . which turned the edge of everything that attempted to traverse it . . . and with regarding to the other sex, when he ceased to believe he ceased to follow" and that he "looked upon as a species of imposter; a guilty woman in the guise of an innocent one." During the disclosure of their pasts on their wedding night, it seems clear that each history is equal in scope and severity. Why the disparate punishments? Hardy seems to answer that, even though the crimes are equal, the punishments are often not equal. Angel can escape with little punishment while Tess must be made to suffer a long period of intense suffering. Here, Hardy shows the difference in society's moral code for men and women. Although Angel's past transgressions can be forgiven, Tess', because she is a woman, cannot. And so Tess must bear not only the punishment, but the nagging concern that her sentence is too harsh. Glossary Good-hussif good housewife. dimity a thin, corded or patterned cotton cloth. Apostolic Charity Charity as described by the Apostle Paul in 1 Corinthians 13:4-7. propinquity nearness in time or place. M. Sully-Prudhomme French poet and essayist . fiat an order issued by legal authority, usually beginning with fiat ; decree. Vulpine slyness of or like a fox or foxes; clever, cunning. proclivity a natural or habitual tendency or inclination, esp. toward something discreditable. somnambulistic getting up and moving about in a trance-like state while asleep. beatific making blissful or blessed.

shmoop

all_chapterized_books/44747-chapters/25.txt

finished_summaries/shmoop/The Red and the Black/section_24_part_0.txt

The Red and the Black.part 1.chapter 25

part 1, chapter 25

{"name": "Part 1, Chapter 25", "url": "https://web.archive.org/web/20200920104425/https://www.shmoop.com/study-guides/literature/red-and-the-black/summary/part-1-chapter-25", "summary": "Julien goes to the door of the seminary, where he's greeted by a man who's so mean and ugly looking that it's tough to look him in the eye. The man takes Julien into an inner room to a man who's writing at a desk. The man at the desk eventually looks up. This is Father Pirard, one of the dudes who'll now be in charge of Julien. The guy practically interrogates Julien and makes him super nervous. He also lays out all the strict rules of the seminary. It turns out that Father Chelan from Verrieres has asked for Julien to have a scholarship into the seminary. Pirard respects the man a lot, so he agrees, although he's not sure whether Julien is totally sincere about entering the priesthood. And he's right to be suspicious. The man is impressed and pleased that Julien speaks fluent Latin. Pirard is also pleased that Julien seems to know his theology pretty well. When asked about how much money he has brought to the seminary, Julien lies. He doesn't want the priests to know in case he goes out some night and drops a bunch of money at a bar. Father Pirard shows Julien to his room.", "analysis": ""}

CHAPTER XXV THE SEMINARY Three hundred and thirty-six dinners at eighty-five centimes. Three hundred and thirty-six suppers at fifty centimes. Chocolate to those who are entitled to it. How much profit can be made on the contract?--_Valenod of Besancon_. He saw in the distance the iron gilt cross on the door. He approached slowly. His legs seemed to give way beneath him. "So here is this hell upon earth which I shall be unable to leave." Finally he made up his mind to ring. The noise of the bell reverberated as though through a solitude. At the end of ten minutes a pale man, clothed in black, came and opened the door. Julien looked at him, and immediately lowered his eyes. This porter had a singular physiognomy. The green projecting pupils of his eyes were as round as those of a cat. The straight lines of his eyebrows betokened the impossibility of any sympathy. His thin lips came round in a semicircle over projecting teeth. None the less, his physiognomy did not so much betoken crime as rather that perfect callousness which is so much more terrifying to the young. The one sentiment which Julien's rapid gaze surmised in this long and devout face was a profound contempt for every topic of conversation which did not deal with things celestial. Julien raised his eyes with an effort, and in a voice rendered quavering by the beating of his heart explained that he desired to speak to M. Pirard, the director of the Seminary. Without saying a word the man in black signed to him to follow. They ascended two stories by a large staircase with a wooden rail, whose warped stairs inclined to the side opposite the wall, and seemed on the point of falling. A little door with a big cemetery cross of white wood painted black at the top was opened with difficulty, and the porter made him enter a dark low room, whose whitewashed walls were decorated with two big pictures blackened by age. In this room Julien was left alone. He was overwhelmed. His heart was beating violently. He would have been happy to have ventured to cry. A silence of death reigned over the whole house. At the end of a quarter of an hour, which seemed a whole day to him, the sinister looking porter reappeared on the threshold of a door at the other end of the room, and without vouchsafing a word, signed to him to advance. He entered into a room even larger than the first, and very badly lighted. The walls also were whitened, but there was no furniture. Only in a corner near the door Julien saw as he passed a white wooden bed, two straw chairs, and a little pinewood armchair without any cushions. He perceived at the other end of the room, near a small window with yellow panes decorated with badly kept flower vases, a man seated at a table, and covered with a dilapidated cassock. He appeared to be in a temper, and took one after the other a number of little squares of paper, which he arranged on his table after he had written some words on them. He did not notice Julien's presence. The latter did not move, but kept standing near the centre of the room in the place where the porter, who had gone out and shut the door, had left him. Ten minutes passed in this way: the badly dressed man kept on writing all the time. Julien's emotion and terror were so great that he thought he was on the point of falling. A philosopher would have said, possibly wrongly, "It is a violent impression made by ugliness on a soul intended by nature to love the beautiful." The man who was writing lifted up his head. Julien only perceived it after a moment had passed, and even after seeing it, he still remained motionless, as though struck dead by the terrible look of which he was the victim. Julien's troubled eyes just managed to make out a long face, all covered with red blotches except the forehead, which manifested a mortal pallor. Two little black eyes, calculated to terrify the most courageous, shone between these red cheeks and that white forehead. The vast area of his forehead was bounded by thick, flat, jet black hair. "Will you come near, yes or no?" said the man at last, impatiently. Julien advanced with an uneasy step, and at last, paler than he had ever been in his life and on the point of falling, stopped three paces from the little white wooden table which was covered with the squares of paper. "Nearer," said the man. Julien advanced still further, holding out his hand, as though trying to lean on something. "Your name?" "Julien Sorel." "You are certainly very late," said the man to him, as he rivetted again on him that terrible gaze. Julien could not endure this look. Holding out his hand as though to support himself, he fell all his length along the floor. The man rang. Julien had only lost the use of his eyes and the power of movement. He heard steps approaching. He was lifted up and placed on the little armchair of white wood. He heard the terrible man saying to the porter, "He has had an epileptic fit apparently, and this is the finishing touch." When Julien was able to open his eyes, the man with the red face was going on with his writing. The porter had disappeared. "I must have courage," said our hero to himself, "and above all, hide what I feel." He felt violently sick. "If anything happens to me, God knows what they will think of me." Finally the man stopped writing and looked sideways at Julien. "Are you in a fit state to answer me?" "Yes, sir," said Julien in an enfeebled voice. "Ah, that's fortunate." The man in black had half got up, and was looking impatiently for a letter in the drawer of his pinewood table, which opened with a grind. He found it, sat down slowly, and looking again at Julien in a manner calculated to suck out of him the little life which he still possessed, said, "You have been recommended to me by M. Chelan. He was the best cure in the diocese; he was an upright man if there ever was one, and my friend for thirty years." "Oh. It's to M. Pirard then that I have the honour of speaking?" said Julien in a dying voice. "Apparently," replied the director of the seminary, as he looked at him disagreeably. The glitter of his little eyes doubled and was followed by an involuntary movement of the muscles of the corner of the mouth. It was the physiognomy of the tiger savouring in advance the pleasure of devouring its prey. "Chelan's letter is short," he said, as though speaking to himself. "_Intelligenti pauca_. In the present time it is impossible to write too little." He read aloud:-- "I recommend to you Julien Sorel of this parish, whom I baptized nearly twenty years ago, the son of a rich carpenter who gives him nothing. Julien will be a remarkable worker in the vineyard of the Lord. He lacks neither memory nor intelligence; he has some faculty for reflection. Will he persevere in his calling? Is he sincere?" "Sincere," repeated the abbe Pirard with an astonished air, looking at Julien. But the abbe's look was already less devoid of all humanity. "Sincere," he repeated, lowering his voice, and resuming his reading:-- "I ask you for a stipend for Julien Sorel. He will earn it by passing the necessary examinations. I have taught him a little theology, that old and good theology of the Bossuets, the Arnaults, and the Fleury's. If the person does not suit you, send him back to me. The director of the workhouse, whom you know well, offers him eight hundred to be tutor to his children. My inner self is tranquil, thanks to God. I am accustoming myself to the terrible blow, 'Vale et me ama.'" The abbe Pirard, speaking more slowly as he read the signature, pronounced with a sigh the word, "Chelan." "He is tranquil," he said, "in fact his righteousness deserves such a recompense. May God grant it to me in such a case." He looked up to heaven and made the sign of the cross. At the sight of that sacred sign Julien felt an alleviation of the profound horror which had frozen him since his entry into the house. "I have here three hundred and twenty-one aspirants for the most holy state," said the abbe Pirard at last, in a tone, which though severe, was not malicious; "only seven or eight have been recommended to me by such men as the abbe Chelan; so you will be the ninth of these among the three hundred and twenty-one. But my protection means neither favour nor weakness, it means doubled care, and doubled severity against vice. Go and lock that door." Julian made an effort to walk, and managed not to fall. He noticed that a little window near the entrance door looked out on to the country. He saw the trees; that sight did him as much good as the sight of old friends. "'Loquerisne linquam latinam?'" (Do you speak Latin?) said the abbe Pirard to him as he came back. "'Ita, pater optime,'" (Yes, excellent Father) answered Julien, recovering himself a little. But it was certain that nobody in the world had ever appeared to him less excellent than had M. Pirard for the last half hour. The conversation continued in Latin. The expression in the abbe's eyes softened. Julien regained some self-possession. "How weak I am," he thought, "to let myself be imposed on by these appearances of virtue. The man is probably nothing more than a rascal, like M. Maslon," and Julien congratulated himself on having hidden nearly all his money in his boots. The abbe Pirard examined Julien in theology; he was surprised at the extent of his knowledge, but his astonishment increased when he questioned him in particular on sacred scriptures. But when it came to questions of the doctrines of the Fathers, he perceived that Julien scarcely even knew the names of Saint Jerome, Saint Augustin, Saint Bonaventure, Saint Basile, etc., etc. "As a matter of fact," thought the abbe Pirard, "this is simply that fatal tendency to Protestantism for which I have always reproached Chelan. A profound, and only too profound knowledge of the Holy Scriptures." (Julien had just started speaking to him, without being questioned on the point, about the real time when Genesis, the Pentateuch, etc., has been written). "To what does this never-ending reasoning over the Holy Scriptures lead to?" thought the abbe Pirard, "if not to self-examination, that is to say, the most awful Protestantism. And by the side of this imprudent knowledge, nothing about the Fathers to compensate for that tendency." But the astonishment of the director of the seminary was quite unbounded when having questioned Julien about the authority of the Pope, and expecting to hear the maxims of the ancient Gallican Church, the young man recited to him the whole book of M. de Maistre "Strange man, that Chelan," thought the abbe Pirard. "Did he show him the book simply to teach him to make fun of it?" It was in vain that he questioned Julien and endeavoured to guess if he seriously believed in the doctrine of M. de Maistre. The young man only answered what he had learnt by heart. From this moment Julien was really happy. He felt that he was master of himself. After a very long examination, it seemed to him that M. Pirard's severity towards him was only affected. Indeed, the director of the seminary would have embraced Julien in the name of logic, for he found so much clearness, precision and lucidity in his answers, had it not been for the principles of austere gravity towards his theology pupils which he had inculcated in himself for the last fifteen years. "Here we have a bold and healthy mind," he said to himself, "but corpus debile" (the body is weak). "Do you often fall like that?" he said to Julien in French, pointing with his finger to the floor. "It's the first time in my life. The porter's face unnerved me," added Julien, blushing like a child. The abbe Pirard almost smiled. "That's the result of vain worldly pomp. You are apparently accustomed to smiling faces, those veritable theatres of falsehood. Truth is austere, Monsieur, but is not our task down here also austere? You must be careful that your conscience guards against that weakness of yours, too much sensibility to vain external graces." "If you had not been recommended to me," said the abbe Pirard, resuming the Latin language with an obvious pleasure, "If you had not been recommended by a man, by the abbe Chelan, I would talk to you the vain language of that world, to which it would appear you are only too well accustomed. I would tell you that the full stipend which you solicit is the most difficult thing in the world to obtain. But the fifty-six years which the abbe Chelan has spent in apostolic work have stood him in poor stead if he cannot dispose of a stipend at the seminary." After these words, the abbe Pirard recommended Julien not to enter any secret society or congregation without his consent. "I give you my word of honour," said Julien, with all an honest man's expansion of heart. The director of the seminary smiled for the first time. "That expression is not used here," he said to him. "It is too reminiscent of that vain honour of worldly people, which leads them to so many errors and often to so many crimes. You owe me obedience by virtue of paragraph seventeen of the bull Unam Eccesiam of St. Pius the Fifth. I am your ecclesiastical superior. To hear in this house, my dear son, is to obey. How much money, have you?" ("So here we are," said Julien to himself, "that was the reason of the 'my very dear son')." "Thirty-five francs, my father." "Write out carefully how you use that money. You will have to give me an account of it." This painful audience had lasted three hours. Julien summoned the porter. "Go and install Julien Sorel in cell No. 103," said the abbe Pirard to the man. As a great favour he let Julien have a place all to himself. "Carry his box there," he added. Julien lowered his eyes, and recognised his box just in front of him. He had been looking at it for three hours and had not recognised it. As he arrived at No. 103, which was a little room eight feet square on the top story of the house, Julien noticed that it looked out on to the ramparts, and he perceived beyond them the pretty plain which the Doubs divides from the town. "What a charming view!" exclaimed Julien. In speaking like this he did not feel what the words actually expressed. The violent sensations which he had experienced during the short time that he had been at Besancon had absolutely exhausted his strength. He sat down near the window on the one wooden chair in the cell, and fell at once into a profound sleep. He did not hear either the supper bell or the bell for benediction. They had forgotten him. When the first rays of the sun woke him up the following morning, he found himself lying on the floor.

Part 1, Chapter 25

https://web.archive.org/web/20200920104425/https://www.shmoop.com/study-guides/literature/red-and-the-black/summary/part-1-chapter-25

Julien goes to the door of the seminary, where he's greeted by a man who's so mean and ugly looking that it's tough to look him in the eye. The man takes Julien into an inner room to a man who's writing at a desk. The man at the desk eventually looks up. This is Father Pirard, one of the dudes who'll now be in charge of Julien. The guy practically interrogates Julien and makes him super nervous. He also lays out all the strict rules of the seminary. It turns out that Father Chelan from Verrieres has asked for Julien to have a scholarship into the seminary. Pirard respects the man a lot, so he agrees, although he's not sure whether Julien is totally sincere about entering the priesthood. And he's right to be suspicious. The man is impressed and pleased that Julien speaks fluent Latin. Pirard is also pleased that Julien seems to know his theology pretty well. When asked about how much money he has brought to the seminary, Julien lies. He doesn't want the priests to know in case he goes out some night and drops a bunch of money at a bar. Father Pirard shows Julien to his room.

gradesaver

all_chapterized_books/110-chapters/43.txt

finished_summaries/gradesaver/Tess of the D'Urbervilles/section_4_part_8.txt

Tess of the D'Urbervilles.chapter 42

chapter 42

{"name": "Chapter 42", "url": "https://web.archive.org/web/20210410060617/https://www.gradesaver.com/tess-of-the-durbervilles/study-guide/summary-phase-5-chapters-35-44", "summary": "Tess starts again alone toward Chalk-Newton, where she has breakfast at an inn. At this inn, several young men are troublesomely complimentary to her because of her good looks. After leaving the inn, Tess covers her chin and hair with a handkerchief and cuts off her eyebrows to deflect against men's admiration. She thinks that she will always be ugly as long as Angel is not with her. Tess walks onward, from farm to farm in the direction of the place from which Marian had written her. Tess finally reaches Flintcomb-Ash, the place of Marian's sojourn. The place is barren and rough. Tess's plain appearance surprises Marian, who thinks that she has been abused. Tess asks that Marian not call her Mrs. Clare. Marian tells Tess that she will be employed at swede-hacking, a rough profession. Tess asks Marian to say nothing about Angel, for she does not wish to bring his name down to the dirt.", "analysis": "In this chapter, Hardy focuses on the innate sexuality within Tess Durbeyfield, framing it as a force that Tess can do little to control and which remains the center of her life's maladies. Tess has remained the focus of sexual attention for primarily manipulative or self-serving reasons, as when her parents use her looks to gain her a gentleman husband and Alec d'Urberville uses her only as an object for his lust. By rejecting Tess, Angel Clare himself frames Tess in terms of her sexuality. Her attempt to remove this sexual component of herself by making herself less attractive therefore represents a measure of self-defense. Tess mutilates herself in order to ward off the attention that has damaged her. Flintcomb-Ash serves as a territorial representation of the adversity that Tess faces. The territory is barren and rough, in contrast to the more idyllic region of Talbothays Dairy; this parallels Tess's impoverished situation as well as her new appearance. Yet Tess accepts the surroundings at Flintcomb-Ash largely because of the adversity it offers; she considers it as a form of purgatory, as shown when she refuses to allow Marian to speak about Angel, whom she still considers too noble for the conditions she now faces"}

It was now broad day, and she started again, emerging cautiously upon the highway. But there was no need for caution; not a soul was at hand, and Tess went onward with fortitude, her recollection of the birds' silent endurance of their night of agony impressing upon her the relativity of sorrows and the tolerable nature of her own, if she could once rise high enough to despise opinion. But that she could not do so long as it was held by Clare. She reached Chalk-Newton, and breakfasted at an inn, where several young men were troublesomely complimentary to her good looks. Somehow she felt hopeful, for was it not possible that her husband also might say these same things to her even yet? She was bound to take care of herself on the chance of it, and keep off these casual lovers. To this end Tess resolved to run no further risks from her appearance. As soon as she got out of the village she entered a thicket and took from her basket one of the oldest field-gowns, which she had never put on even at the dairy--never since she had worked among the stubble at Marlott. She also, by a felicitous thought, took a handkerchief from her bundle and tied it round her face under her bonnet, covering her chin and half her cheeks and temples, as if she were suffering from toothache. Then with her little scissors, by the aid of a pocket looking-glass, she mercilessly nipped her eyebrows off, and thus insured against aggressive admiration, she went on her uneven way. "What a mommet of a maid!" said the next man who met her to a companion. Tears came into her eyes for very pity of herself as she heard him. "But I don't care!" she said. "O no--I don't care! I'll always be ugly now, because Angel is not here, and I have nobody to take care of me. My husband that was is gone away, and never will love me any more; but I love him just the same, and hate all other men, and like to make 'em think scornfully of me!" Thus Tess walks on; a figure which is part of the landscape; a fieldwoman pure and simple, in winter guise; a gray serge cape, a red woollen cravat, a stuff skirt covered by a whitey-brown rough wrapper, and buff-leather gloves. Every thread of that old attire has become faded and thin under the stroke of raindrops, the burn of sunbeams, and the stress of winds. There is no sign of young passion in her now-- The maiden's mouth is cold . . . Fold over simple fold Binding her head. Inside this exterior, over which the eye might have roved as over a thing scarcely percipient, almost inorganic, there was the record of a pulsing life which had learnt too well, for its years, of the dust and ashes of things, of the cruelty of lust and the fragility of love. Next day the weather was bad, but she trudged on, the honesty, directness, and impartiality of elemental enmity disconcerting her but little. Her object being a winter's occupation and a winter's home, there was no time to lose. Her experience of short hirings had been such that she was determined to accept no more. Thus she went forward from farm to farm in the direction of the place whence Marian had written to her, which she determined to make use of as a last shift only, its rumoured stringencies being the reverse of tempting. First she inquired for the lighter kinds of employment, and, as acceptance in any variety of these grew hopeless, applied next for the less light, till, beginning with the dairy and poultry tendance that she liked best, she ended with the heavy and course pursuits which she liked least--work on arable land: work of such roughness, indeed, as she would never have deliberately voluteered for. Towards the second evening she reached the irregular chalk table-land or plateau, bosomed with semi-globular tumuli--as if Cybele the Many-breasted were supinely extended there--which stretched between the valley of her birth and the valley of her love. Here the air was dry and cold, and the long cart-roads were blown white and dusty within a few hours after rain. There were few trees, or none, those that would have grown in the hedges being mercilessly plashed down with the quickset by the tenant-farmers, the natural enemies of tree, bush, and brake. In the middle distance ahead of her she could see the summits of Bulbarrow and of Nettlecombe Tout, and they seemed friendly. They had a low and unassuming aspect from this upland, though as approached on the other side from Blackmoor in her childhood they were as lofty bastions against the sky. Southerly, at many miles' distance, and over the hills and ridges coastward, she could discern a surface like polished steel: it was the English Channel at a point far out towards France. Before her, in a slight depression, were the remains of a village. She had, in fact, reached Flintcomb-Ash, the place of Marian's sojourn. There seemed to be no help for it; hither she was doomed to come. The stubborn soil around her showed plainly enough that the kind of labour in demand here was of the roughest kind; but it was time to rest from searching, and she resolved to stay, particularly as it began to rain. At the entrance to the village was a cottage whose gable jutted into the road, and before applying for a lodging she stood under its shelter, and watched the evening close in. "Who would think I was Mrs Angel Clare!" she said. The wall felt warm to her back and shoulders, and she found that immediately within the gable was the cottage fireplace, the heat of which came through the bricks. She warmed her hands upon them, and also put her cheek--red and moist with the drizzle--against their comforting surface. The wall seemed to be the only friend she had. She had so little wish to leave it that she could have stayed there all night. Tess could hear the occupants of the cottage--gathered together after their day's labour--talking to each other within, and the rattle of their supper-plates was also audible. But in the village-street she had seen no soul as yet. The solitude was at last broken by the approach of one feminine figure, who, though the evening was cold, wore the print gown and the tilt-bonnet of summer time. Tess instinctively thought it might be Marian, and when she came near enough to be distinguishable in the gloom, surely enough it was she. Marian was even stouter and redder in the face than formerly, and decidedly shabbier in attire. At any previous period of her existence Tess would hardly have cared to renew the acquaintance in such conditions; but her loneliness was excessive, and she responded readily to Marian's greeting. Marian was quite respectful in her inquiries, but seemed much moved by the fact that Tess should still continue in no better condition than at first; though she had dimly heard of the separation. "Tess--Mrs Clare--the dear wife of dear he! And is it really so bad as this, my child? Why is your cwomely face tied up in such a way? Anybody been beating 'ee? Not HE?" "No, no, no! I merely did it not to be clipsed or colled, Marian." She pulled off in disgust a bandage which could suggest such wild thoughts. "And you've got no collar on" (Tess had been accustomed to wear a little white collar at the dairy). "I know it, Marian." "You've lost it travelling." "I've not lost it. The truth is, I don't care anything about my looks; and so I didn't put it on." "And you don't wear your wedding-ring?" "Yes, I do; but not in public. I wear it round my neck on a ribbon. I don't wish people to think who I am by marriage, or that I am married at all; it would be so awkward while I lead my present life." Marian paused. "But you BE a gentleman's wife; and it seems hardly fair that you should live like this!" "O yes it is, quite fair; though I am very unhappy." "Well, well. HE married you--and you can be unhappy!" "Wives are unhappy sometimes; from no fault of their husbands--from their own." "You've no faults, deary; that I'm sure of. And he's none. So it must be something outside ye both." "Marian, dear Marian, will you do me a good turn without asking questions? My husband has gone abroad, and somehow I have overrun my allowance, so that I have to fall back upon my old work for a time. Do not call me Mrs Clare, but Tess, as before. Do they want a hand here?" "O yes; they'll take one always, because few care to come. 'Tis a starve-acre place. Corn and swedes are all they grow. Though I be here myself, I feel 'tis a pity for such as you to come." "But you used to be as good a dairywoman as I." "Yes; but I've got out o' that since I took to drink. Lord, that's the only comfort I've got now! If you engage, you'll be set swede-hacking. That's what I be doing; but you won't like it." "O--anything! Will you speak for me?" "You will do better by speaking for yourself." "Very well. Now, Marian, remember--nothing about HIM if I get the place. I don't wish to bring his name down to the dirt." Marian, who was really a trustworthy girl though of coarser grain than Tess, promised anything she asked. "This is pay-night," she said, "and if you were to come with me you would know at once. I be real sorry that you are not happy; but 'tis because he's away, I know. You couldn't be unhappy if he were here, even if he gie'd ye no money--even if he used you like a drudge." "That's true; I could not!" They walked on together and soon reached the farmhouse, which was almost sublime in its dreariness. There was not a tree within sight; there was not, at this season, a green pasture--nothing but fallow and turnips everywhere, in large fields divided by hedges plashed to unrelieved levels. Tess waited outside the door of the farmhouse till the group of workfolk had received their wages, and then Marian introduced her. The farmer himself, it appeared, was not at home, but his wife, who represented him this evening, made no objection to hiring Tess, on her agreeing to remain till Old Lady-Day. Female field-labour was seldom offered now, and its cheapness made it profitable for tasks which women could perform as readily as men. Having signed the agreement, there was nothing more for Tess to do at present than to get a lodging, and she found one in the house at whose gable-wall she had warmed herself. It was a poor subsistence that she had ensured, but it would afford a shelter for the winter at any rate. That night she wrote to inform her parents of her new address, in case a letter should arrive at Marlott from her husband. But she did not tell them of the sorriness of her situation: it might have brought reproach upon him.

Chapter 42

https://web.archive.org/web/20210410060617/https://www.gradesaver.com/tess-of-the-durbervilles/study-guide/summary-phase-5-chapters-35-44

Tess starts again alone toward Chalk-Newton, where she has breakfast at an inn. At this inn, several young men are troublesomely complimentary to her because of her good looks. After leaving the inn, Tess covers her chin and hair with a handkerchief and cuts off her eyebrows to deflect against men's admiration. She thinks that she will always be ugly as long as Angel is not with her. Tess walks onward, from farm to farm in the direction of the place from which Marian had written her. Tess finally reaches Flintcomb-Ash, the place of Marian's sojourn. The place is barren and rough. Tess's plain appearance surprises Marian, who thinks that she has been abused. Tess asks that Marian not call her Mrs. Clare. Marian tells Tess that she will be employed at swede-hacking, a rough profession. Tess asks Marian to say nothing about Angel, for she does not wish to bring his name down to the dirt.

In this chapter, Hardy focuses on the innate sexuality within Tess Durbeyfield, framing it as a force that Tess can do little to control and which remains the center of her life's maladies. Tess has remained the focus of sexual attention for primarily manipulative or self-serving reasons, as when her parents use her looks to gain her a gentleman husband and Alec d'Urberville uses her only as an object for his lust. By rejecting Tess, Angel Clare himself frames Tess in terms of her sexuality. Her attempt to remove this sexual component of herself by making herself less attractive therefore represents a measure of self-defense. Tess mutilates herself in order to ward off the attention that has damaged her. Flintcomb-Ash serves as a territorial representation of the adversity that Tess faces. The territory is barren and rough, in contrast to the more idyllic region of Talbothays Dairy; this parallels Tess's impoverished situation as well as her new appearance. Yet Tess accepts the surroundings at Flintcomb-Ash largely because of the adversity it offers; she considers it as a form of purgatory, as shown when she refuses to allow Marian to speak about Angel, whom she still considers too noble for the conditions she now faces

gradesaver

all_chapterized_books/151-chapters/1.txt

finished_summaries/gradesaver/The Rime of the Ancient Mariner/section_0_part_0.txt

The Rime of the Ancient Mariner.part 1

part 1

{"name": "Part 1", "url": "https://web.archive.org/web/20210422155712/https://www.gradesaver.com/the-rime-of-the-ancient-mariner/study-guide/summary-part-1", "summary": "In the poem's first line, we meet its protagonist, \"an ancient Mariner.\" He stops one of three people on their way to a wedding celebration. The leader of the group, the Wedding Guest, tries to resist being stopped by the strange old man with the \"long grey beard and glittering eye.\" He explains that he is on his way to enjoy the wedding merriment; he is the closest living relative to the groom, and the festivities have already begun. Still, the Ancient Mariner takes his hand and begins his story. The Wedding Guest has no choice but to sit down on a rock to listen. The Ancient Mariner explains that one clear and bright day, he set out sail on a ship full of happy seamen. They sailed along smoothly until they reached the equator. Suddenly, the sounds of the wedding interrupt the Ancient Mariner's story. The Wedding Guest beats his chest impatiently as the blushing bride enters the reception hall and music plays. However, he is compelled to continue listening to the Ancient Mariner, who goes on with his tale. As soon as the ship reached the equator, a terrible storm hit and forced the ship southwards. The wind blew with such force that the ship pitched down in the surf as though it were fleeing an enemy. Then the sailors reached a calm patch of sea that was \"wondrous cold\", full of snow and glistening green icebergs as tall as the ship's mast. The sailors were the only living things in this frightening, enclosed world where the ice made terrible groaning sounds that echoed all around. Finally, an Albatross emerged from the mist, and the sailors revered it as a sign of good luck, as though it were a \"Christian soul\" sent by God to save them. No sooner than the sailors fed the Albatross did the ice break apart, allowing the captain to steer out of the freezing world. The wind picked up again, and continued for nine days. All the while, the Albatross followed the ship, ate the food the sailors gave it, and played with them. At this point, the Wedding Guest notices that the Ancient Mariner looks at once grave and crazed. He exclaims: \"God save thee, ancient Mariner! / From the fiends that plague thee thus!- / Why lookst thou so?\" The Ancient Mariner responds that he shot the Albatross with his crossbow.", "analysis": "In editions where it is included, the Latin epigraph serves as a semi-thesis for the poem. It is a Latin quote from Burnet's \"Archaeologiae Philosophicae\" , which Coleridge translates as follows: I readily believe that there are more invisible than visible Natures in the universe. But who will explain for us the family of all these beings, and the ranks and relations and distinguishing features and functions of each? What do they do? What places do they inhabit? The human mind has always sought the knowledge of these things, but never attained it. Meanwhile I do not deny that it is helpful sometimes to contemplate in the mind, as on a tablet, the image of a greater and better world, lest the intellect, habituated to the petty things of daily life, narrow itself and sink wholly into trivial thoughts. But at the same time we must be watchful for the truth and keep a sense of proportion, so that we may distinguish the certain from the uncertain, day from night. Burnet, who authored the original quote, begins by acknowledging that \"invisible natures\" such as spirits, ghosts, and angels exist; moreover, there are more of them than their readily-perceivable counterparts such as humans and animals. However, \"invisible natures\" are difficult to classify, because people perceive them only occasionally. Burnet asserts that while it is important to strive to understand the ethereal and ideal, one must stay grounded in the temporal, imperfect world. By maintaining a balance between these two worlds, one avoids becoming too idealistic or too hopeless, and can eventually reach the truth. By prefacing \"The Rime of the Ancient Mariner\" with this quote, Coleridge asks the reader to pay careful attention to the near-constant interactions between the spiritual and temporal worlds in the poem. Like the Ancient Mariner, the reader must navigate these interactions and worlds in order to understand the truth ingrained in the poem. The Ancient Mariner as a character can be identified with a number of archetypes: the wise man, the writer, the traitor, and more. The epigraph suggests that regardless of with whom the reader associates the Ancient Mariner, there is great importance in the way in which he manages to balance the spiritual and temporal worlds. From the Ancient Mariner's first interaction with the Wedding Guest, we know there is more to him than the fact that he appears unnaturally old. He has a \"glittering eye\" that immediately unnerves the Wedding Guest, who presumes he is mad and calls him a \"grey-beard loon.\" Yet there is more to his \"glittering eye\" than mere madness, as he is able to compel the Wedding Guest to listen to his story with the fascination of a three-year-old child. Although he is clearly human, the Ancient Mariner seems to have a touch of the otherworldly in him. Throughout Part 1, the temporal world interjects itself into the storytelling haze in which the Ancient Mariner captures the Wedding Guest and reader. For example, just as the Ancient Mariner begins his tale, the joyful sound of a bassoon at the wedding reception distracts the Wedding Guest. He \"beat his breast\" in frustration that he is missing the festivities. In light of Burnet's quote, one can say that the temporal world with its \"petty\" pleasures tempts the Wedding Guest. He is of that world - indeed he is next of kin to the bridegroom and therefore intimate with the festival's worldly joy. Meanwhile, the Ancient Mariner cannot enjoy the temporal world because he is condemned to perpetually relive the story of his past. In the Ancient Mariner's story itself, the spiritual and temporal worlds are confounded the moment the sailors cross the equator. Suddenly the natural world - which is closely connected to the spiritual world - makes the sailors lose control of their course. The storm drives them into an icy world that is called \"the land of mist and snow\" throughout the rest of the poem. The word \"rime\" can mean \"ice\", and can also be interpreted as an alternate spelling of the word \"rhyme.\" Therefore, as much as the poem is the rhymed story of the Ancient Mariner, it is also the tale of the \"land of mist and snow\": the \"rime\", where the Ancient Mariner's troubles begin. By calling the poem \"The Rime of the Ancient Mariner,\" Coleridge equates the \"rhyme\" or tale with the actual \"rime\" or icy world. As we learn at the story's end, the Ancient Mariner is condemned to feel perpetual pangs of terror that force him to tell his \"rhyme,\" a fate just as confining and terrifying as the \"rime\" itself is initially for the sailors."}

PART THE FIRST. It is an ancient Mariner, And he stoppeth one of three. "By thy long grey beard and glittering eye, Now wherefore stopp'st thou me? "The Bridegroom's doors are opened wide, And I am next of kin; The guests are met, the feast is set: May'st hear the merry din." He holds him with his skinny hand, "There was a ship," quoth he. "Hold off! unhand me, grey-beard loon!" Eftsoons his hand dropt he. He holds him with his glittering eye-- The Wedding-Guest stood still, And listens like a three years child: The Mariner hath his will. The Wedding-Guest sat on a stone: He cannot chuse but hear; And thus spake on that ancient man, The bright-eyed Mariner. The ship was cheered, the harbour cleared, Merrily did we drop Below the kirk, below the hill, Below the light-house top. The Sun came up upon the left, Out of the sea came he! And he shone bright, and on the right Went down into the sea. Higher and higher every day, Till over the mast at noon-- The Wedding-Guest here beat his breast, For he heard the loud bassoon. The bride hath paced into the hall, Red as a rose is she; Nodding their heads before her goes The merry minstrelsy. The Wedding-Guest he beat his breast, Yet he cannot chuse but hear; And thus spake on that ancient man, The bright-eyed Mariner. And now the STORM-BLAST came, and he Was tyrannous and strong: He struck with his o'ertaking wings, And chased south along. With sloping masts and dipping prow, As who pursued with yell and blow Still treads the shadow of his foe And forward bends his head, The ship drove fast, loud roared the blast, And southward aye we fled. And now there came both mist and snow, And it grew wondrous cold: And ice, mast-high, came floating by, As green as emerald. And through the drifts the snowy clifts Did send a dismal sheen: Nor shapes of men nor beasts we ken-- The ice was all between. The ice was here, the ice was there, The ice was all around: It cracked and growled, and roared and howled, Like noises in a swound! At length did cross an Albatross: Thorough the fog it came; As if it had been a Christian soul, We hailed it in God's name. It ate the food it ne'er had eat, And round and round it flew. The ice did split with a thunder-fit; The helmsman steered us through! And a good south wind sprung up behind; The Albatross did follow, And every day, for food or play, Came to the mariners' hollo! In mist or cloud, on mast or shroud, It perched for vespers nine; Whiles all the night, through fog-smoke white, Glimmered the white Moon-shine. "God save thee, ancient Mariner! From the fiends, that plague thee thus!-- Why look'st thou so?"--With my cross-bow I shot the ALBATROSS.

Part 1

https://web.archive.org/web/20210422155712/https://www.gradesaver.com/the-rime-of-the-ancient-mariner/study-guide/summary-part-1

In the poem's first line, we meet its protagonist, "an ancient Mariner." He stops one of three people on their way to a wedding celebration. The leader of the group, the Wedding Guest, tries to resist being stopped by the strange old man with the "long grey beard and glittering eye." He explains that he is on his way to enjoy the wedding merriment; he is the closest living relative to the groom, and the festivities have already begun. Still, the Ancient Mariner takes his hand and begins his story. The Wedding Guest has no choice but to sit down on a rock to listen. The Ancient Mariner explains that one clear and bright day, he set out sail on a ship full of happy seamen. They sailed along smoothly until they reached the equator. Suddenly, the sounds of the wedding interrupt the Ancient Mariner's story. The Wedding Guest beats his chest impatiently as the blushing bride enters the reception hall and music plays. However, he is compelled to continue listening to the Ancient Mariner, who goes on with his tale. As soon as the ship reached the equator, a terrible storm hit and forced the ship southwards. The wind blew with such force that the ship pitched down in the surf as though it were fleeing an enemy. Then the sailors reached a calm patch of sea that was "wondrous cold", full of snow and glistening green icebergs as tall as the ship's mast. The sailors were the only living things in this frightening, enclosed world where the ice made terrible groaning sounds that echoed all around. Finally, an Albatross emerged from the mist, and the sailors revered it as a sign of good luck, as though it were a "Christian soul" sent by God to save them. No sooner than the sailors fed the Albatross did the ice break apart, allowing the captain to steer out of the freezing world. The wind picked up again, and continued for nine days. All the while, the Albatross followed the ship, ate the food the sailors gave it, and played with them. At this point, the Wedding Guest notices that the Ancient Mariner looks at once grave and crazed. He exclaims: "God save thee, ancient Mariner! / From the fiends that plague thee thus!- / Why lookst thou so?" The Ancient Mariner responds that he shot the Albatross with his crossbow.

In editions where it is included, the Latin epigraph serves as a semi-thesis for the poem. It is a Latin quote from Burnet's "Archaeologiae Philosophicae" , which Coleridge translates as follows: I readily believe that there are more invisible than visible Natures in the universe. But who will explain for us the family of all these beings, and the ranks and relations and distinguishing features and functions of each? What do they do? What places do they inhabit? The human mind has always sought the knowledge of these things, but never attained it. Meanwhile I do not deny that it is helpful sometimes to contemplate in the mind, as on a tablet, the image of a greater and better world, lest the intellect, habituated to the petty things of daily life, narrow itself and sink wholly into trivial thoughts. But at the same time we must be watchful for the truth and keep a sense of proportion, so that we may distinguish the certain from the uncertain, day from night. Burnet, who authored the original quote, begins by acknowledging that "invisible natures" such as spirits, ghosts, and angels exist; moreover, there are more of them than their readily-perceivable counterparts such as humans and animals. However, "invisible natures" are difficult to classify, because people perceive them only occasionally. Burnet asserts that while it is important to strive to understand the ethereal and ideal, one must stay grounded in the temporal, imperfect world. By maintaining a balance between these two worlds, one avoids becoming too idealistic or too hopeless, and can eventually reach the truth. By prefacing "The Rime of the Ancient Mariner" with this quote, Coleridge asks the reader to pay careful attention to the near-constant interactions between the spiritual and temporal worlds in the poem. Like the Ancient Mariner, the reader must navigate these interactions and worlds in order to understand the truth ingrained in the poem. The Ancient Mariner as a character can be identified with a number of archetypes: the wise man, the writer, the traitor, and more. The epigraph suggests that regardless of with whom the reader associates the Ancient Mariner, there is great importance in the way in which he manages to balance the spiritual and temporal worlds. From the Ancient Mariner's first interaction with the Wedding Guest, we know there is more to him than the fact that he appears unnaturally old. He has a "glittering eye" that immediately unnerves the Wedding Guest, who presumes he is mad and calls him a "grey-beard loon." Yet there is more to his "glittering eye" than mere madness, as he is able to compel the Wedding Guest to listen to his story with the fascination of a three-year-old child. Although he is clearly human, the Ancient Mariner seems to have a touch of the otherworldly in him. Throughout Part 1, the temporal world interjects itself into the storytelling haze in which the Ancient Mariner captures the Wedding Guest and reader. For example, just as the Ancient Mariner begins his tale, the joyful sound of a bassoon at the wedding reception distracts the Wedding Guest. He "beat his breast" in frustration that he is missing the festivities. In light of Burnet's quote, one can say that the temporal world with its "petty" pleasures tempts the Wedding Guest. He is of that world - indeed he is next of kin to the bridegroom and therefore intimate with the festival's worldly joy. Meanwhile, the Ancient Mariner cannot enjoy the temporal world because he is condemned to perpetually relive the story of his past. In the Ancient Mariner's story itself, the spiritual and temporal worlds are confounded the moment the sailors cross the equator. Suddenly the natural world - which is closely connected to the spiritual world - makes the sailors lose control of their course. The storm drives them into an icy world that is called "the land of mist and snow" throughout the rest of the poem. The word "rime" can mean "ice", and can also be interpreted as an alternate spelling of the word "rhyme." Therefore, as much as the poem is the rhymed story of the Ancient Mariner, it is also the tale of the "land of mist and snow": the "rime", where the Ancient Mariner's troubles begin. By calling the poem "The Rime of the Ancient Mariner," Coleridge equates the "rhyme" or tale with the actual "rime" or icy world. As we learn at the story's end, the Ancient Mariner is condemned to feel perpetual pangs of terror that force him to tell his "rhyme," a fate just as confining and terrifying as the "rime" itself is initially for the sailors.

sparknotes

all_chapterized_books/28054-chapters/93.txt

finished_summaries/sparknotes/The Brothers Karamazov/section_14_part_14.txt

The Brothers Karamazov.book 12.chapter 14

book 12, chapter 14

{"name": "book 12, Chapter 14", "url": "https://web.archive.org/web/20210305110438/https://www.sparknotes.com/lit/brothersk/section15/", "summary": "Our Peasants Stood Up for Themselves Most of the crowd has been completely won over to Dmitri's side. Everyone expects that he will be set free. But the jury returns in a short time and declares that Dmitri is guilty. The crowd is outraged. Dmitri cries out that he is innocent and that he forgives Katerina. Grushenka cries out from the balcony, and Dmitri is led away.", "analysis": "Book XII: A Judicial Error, Chapters 1-14 Dmitri's trial in Book XII is in many ways an anticlimax"}

Chapter XIV. The Peasants Stand Firm This was how Fetyukovitch concluded his speech, and the enthusiasm of the audience burst like an irresistible storm. It was out of the question to stop it: the women wept, many of the men wept too, even two important personages shed tears. The President submitted, and even postponed ringing his bell. The suppression of such an enthusiasm would be the suppression of something sacred, as the ladies cried afterwards. The orator himself was genuinely touched. And it was at this moment that Ippolit Kirillovitch got up to make certain objections. People looked at him with hatred. "What? What's the meaning of it? He positively dares to make objections," the ladies babbled. But if the whole world of ladies, including his wife, had protested he could not have been stopped at that moment. He was pale, he was shaking with emotion, his first phrases were even unintelligible, he gasped for breath, could hardly speak clearly, lost the thread. But he soon recovered himself. Of this new speech of his I will quote only a few sentences. "... I am reproached with having woven a romance. But what is this defense if not one romance on the top of another? All that was lacking was poetry. Fyodor Pavlovitch, while waiting for his mistress, tears open the envelope and throws it on the floor. We are even told what he said while engaged in this strange act. Is not this a flight of fancy? And what proof have we that he had taken out the money? Who heard what he said? The weak-minded idiot, Smerdyakov, transformed into a Byronic hero, avenging society for his illegitimate birth--isn't this a romance in the Byronic style? And the son who breaks into his father's house and murders him without murdering him is not even a romance--this is a sphinx setting us a riddle which he cannot solve himself. If he murdered him, he murdered him, and what's the meaning of his murdering him without having murdered him--who can make head or tail of this? "Then we are admonished that our tribune is a tribune of true and sound ideas and from this tribune of 'sound ideas' is heard a solemn declaration that to call the murder of a father 'parricide' is nothing but a prejudice! But if parricide is a prejudice, and if every child is to ask his father why he is to love him, what will become of us? What will become of the foundations of society? What will become of the family? Parricide, it appears, is only a bogy of Moscow merchants' wives. The most precious, the most sacred guarantees for the destiny and future of Russian justice are presented to us in a perverted and frivolous form, simply to attain an object--to obtain the justification of something which cannot be justified. 'Oh, crush him by mercy,' cries the counsel for the defense; but that's all the criminal wants, and to-morrow it will be seen how much he is crushed. And is not the counsel for the defense too modest in asking only for the acquittal of the prisoner? Why not found a charity in the honor of the parricide to commemorate his exploit among future generations? Religion and the Gospel are corrected--that's all mysticism, we are told, and ours is the only true Christianity which has been subjected to the analysis of reason and common sense. And so they set up before us a false semblance of Christ! 'What measure ye mete so it shall be meted unto you again,' cried the counsel for the defense, and instantly deduces that Christ teaches us to measure as it is measured to us--and this from the tribune of truth and sound sense! We peep into the Gospel only on the eve of making speeches, in order to dazzle the audience by our acquaintance with what is, anyway, a rather original composition, which may be of use to produce a certain effect--all to serve the purpose! But what Christ commands us is something very different: He bids us beware of doing this, because the wicked world does this, but we ought to forgive and to turn the other cheek, and not to measure to our persecutors as they measure to us. This is what our God has taught us and not that to forbid children to murder their fathers is a prejudice. And we will not from the tribune of truth and good sense correct the Gospel of our Lord, Whom the counsel for the defense deigns to call only 'the crucified lover of humanity,' in opposition to all orthodox Russia, which calls to Him, 'For Thou art our God!' " At this the President intervened and checked the over-zealous speaker, begging him not to exaggerate, not to overstep the bounds, and so on, as presidents always do in such cases. The audience, too, was uneasy. The public was restless: there were even exclamations of indignation. Fetyukovitch did not so much as reply; he only mounted the tribune to lay his hand on his heart and, with an offended voice, utter a few words full of dignity. He only touched again, lightly and ironically, on "romancing" and "psychology," and in an appropriate place quoted, "Jupiter, you are angry, therefore you are wrong," which provoked a burst of approving laughter in the audience, for Ippolit Kirillovitch was by no means like Jupiter. Then, _a propos_ of the accusation that he was teaching the young generation to murder their fathers, Fetyukovitch observed, with great dignity, that he would not even answer. As for the prosecutor's charge of uttering unorthodox opinions, Fetyukovitch hinted that it was a personal insinuation and that he had expected in this court to be secure from accusations "damaging to my reputation as a citizen and a loyal subject." But at these words the President pulled him up, too, and Fetyukovitch concluded his speech with a bow, amid a hum of approbation in the court. And Ippolit Kirillovitch was, in the opinion of our ladies, "crushed for good." Then the prisoner was allowed to speak. Mitya stood up, but said very little. He was fearfully exhausted, physically and mentally. The look of strength and independence with which he had entered in the morning had almost disappeared. He seemed as though he had passed through an experience that day, which had taught him for the rest of his life something very important he had not understood till then. His voice was weak, he did not shout as before. In his words there was a new note of humility, defeat and submission. "What am I to say, gentlemen of the jury? The hour of judgment has come for me, I feel the hand of God upon me! The end has come to an erring man! But, before God, I repeat to you, I am innocent of my father's blood! For the last time I repeat, it wasn't I killed him! I was erring, but I loved what is good. Every instant I strove to reform, but I lived like a wild beast. I thank the prosecutor, he told me many things about myself that I did not know; but it's not true that I killed my father, the prosecutor is mistaken. I thank my counsel, too. I cried listening to him; but it's not true that I killed my father, and he needn't have supposed it. And don't believe the doctors. I am perfectly sane, only my heart is heavy. If you spare me, if you let me go, I will pray for you. I will be a better man. I give you my word before God I will! And if you will condemn me, I'll break my sword over my head myself and kiss the pieces. But spare me, do not rob me of my God! I know myself, I shall rebel! My heart is heavy, gentlemen ... spare me!" He almost fell back in his place: his voice broke: he could hardly articulate the last phrase. Then the judges proceeded to put the questions and began to ask both sides to formulate their conclusions. But I will not describe the details. At last the jury rose to retire for consultation. The President was very tired, and so his last charge to the jury was rather feeble. "Be impartial, don't be influenced by the eloquence of the defense, but yet weigh the arguments. Remember that there is a great responsibility laid upon you," and so on and so on. The jury withdrew and the court adjourned. People could get up, move about, exchange their accumulated impressions, refresh themselves at the buffet. It was very late, almost one o'clock in the night, but nobody went away: the strain was so great that no one could think of repose. All waited with sinking hearts; though that is, perhaps, too much to say, for the ladies were only in a state of hysterical impatience and their hearts were untroubled. An acquittal, they thought, was inevitable. They all prepared themselves for a dramatic moment of general enthusiasm. I must own there were many among the men, too, who were convinced that an acquittal was inevitable. Some were pleased, others frowned, while some were simply dejected, not wanting him to be acquitted. Fetyukovitch himself was confident of his success. He was surrounded by people congratulating him and fawning upon him. "There are," he said to one group, as I was told afterwards, "there are invisible threads binding the counsel for the defense with the jury. One feels during one's speech if they are being formed. I was aware of them. They exist. Our cause is won. Set your mind at rest." "What will our peasants say now?" said one stout, cross-looking, pock- marked gentleman, a landowner of the neighborhood, approaching a group of gentlemen engaged in conversation. "But they are not all peasants. There are four government clerks among them." "Yes, there are clerks," said a member of the district council, joining the group. "And do you know that Nazaryev, the merchant with the medal, a juryman?" "What of him?" "He is a man with brains." "But he never speaks." "He is no great talker, but so much the better. There's no need for the Petersburg man to teach him: he could teach all Petersburg himself. He's the father of twelve children. Think of that!" "Upon my word, you don't suppose they won't acquit him?" one of our young officials exclaimed in another group. "They'll acquit him for certain," said a resolute voice. "It would be shameful, disgraceful, not to acquit him!" cried the official. "Suppose he did murder him--there are fathers and fathers! And, besides, he was in such a frenzy.... He really may have done nothing but swing the pestle in the air, and so knocked the old man down. But it was a pity they dragged the valet in. That was simply an absurd theory! If I'd been in Fetyukovitch's place, I should simply have said straight out: 'He murdered him; but he is not guilty, hang it all!' " "That's what he did, only without saying, 'Hang it all!' " "No, Mihail Semyonovitch, he almost said that, too," put in a third voice. "Why, gentlemen, in Lent an actress was acquitted in our town who had cut the throat of her lover's lawful wife." "Oh, but she did not finish cutting it." "That makes no difference. She began cutting it." "What did you think of what he said about children? Splendid, wasn't it?" "Splendid!" "And about mysticism, too!" "Oh, drop mysticism, do!" cried some one else; "think of Ippolit and his fate from this day forth. His wife will scratch his eyes out to-morrow for Mitya's sake." "Is she here?" "What an idea! If she'd been here she'd have scratched them out in court. She is at home with toothache. He he he!" "He he he!" In a third group: "I dare say they will acquit Mitenka, after all." "I should not be surprised if he turns the 'Metropolis' upside down to- morrow. He will be drinking for ten days!" "Oh, the devil!" "The devil's bound to have a hand in it. Where should he be if not here?" "Well, gentlemen, I admit it was eloquent. But still it's not the thing to break your father's head with a pestle! Or what are we coming to?" "The chariot! Do you remember the chariot?" "Yes; he turned a cart into a chariot!" "And to-morrow he will turn a chariot into a cart, just to suit his purpose." "What cunning chaps there are nowadays! Is there any justice to be had in Russia?" But the bell rang. The jury deliberated for exactly an hour, neither more nor less. A profound silence reigned in the court as soon as the public had taken their seats. I remember how the jurymen walked into the court. At last! I won't repeat the questions in order, and, indeed, I have forgotten them. I remember only the answer to the President's first and chief question: "Did the prisoner commit the murder for the sake of robbery and with premeditation?" (I don't remember the exact words.) There was a complete hush. The foreman of the jury, the youngest of the clerks, pronounced, in a clear, loud voice, amidst the deathlike stillness of the court: "Yes, guilty!" And the same answer was repeated to every question: "Yes, guilty!" and without the slightest extenuating comment. This no one had expected; almost every one had reckoned upon a recommendation to mercy, at least. The deathlike silence in the court was not broken--all seemed petrified: those who desired his conviction as well as those who had been eager for his acquittal. But that was only for the first instant, and it was followed by a fearful hubbub. Many of the men in the audience were pleased. Some were rubbing their hands with no attempt to conceal their joy. Those who disagreed with the verdict seemed crushed, shrugged their shoulders, whispered, but still seemed unable to realize this. But how shall I describe the state the ladies were in? I thought they would create a riot. At first they could scarcely believe their ears. Then suddenly the whole court rang with exclamations: "What's the meaning of it? What next?" They leapt up from their places. They seemed to fancy that it might be at once reconsidered and reversed. At that instant Mitya suddenly stood up and cried in a heartrending voice, stretching his hands out before him: "I swear by God and the dreadful Day of Judgment I am not guilty of my father's blood! Katya, I forgive you! Brothers, friends, have pity on the other woman!" He could not go on, and broke into a terrible sobbing wail that was heard all over the court in a strange, unnatural voice unlike his own. From the farthest corner at the back of the gallery came a piercing shriek--it was Grushenka. She had succeeded in begging admittance to the court again before the beginning of the lawyers' speeches. Mitya was taken away. The passing of the sentence was deferred till next day. The whole court was in a hubbub but I did not wait to hear. I only remember a few exclamations I heard on the steps as I went out. "He'll have a twenty years' trip to the mines!" "Not less." "Well, our peasants have stood firm." "And have done for our Mitya."

book 12, Chapter 14

https://web.archive.org/web/20210305110438/https://www.sparknotes.com/lit/brothersk/section15/

Our Peasants Stood Up for Themselves Most of the crowd has been completely won over to Dmitri's side. Everyone expects that he will be set free. But the jury returns in a short time and declares that Dmitri is guilty. The crowd is outraged. Dmitri cries out that he is innocent and that he forgives Katerina. Grushenka cries out from the balcony, and Dmitri is led away.

Book XII: A Judicial Error, Chapters 1-14 Dmitri's trial in Book XII is in many ways an anticlimax

gradesaver

all_chapterized_books/23042-chapters/6.txt

finished_summaries/gradesaver/The Tempest/section_2_part_2.txt

The Tempest.act 3.scene 2

act 3, scene 2

{"name": "act 3, Scene 2", "url": "https://web.archive.org/web/20210309152602/https://www.gradesaver.com/the-tempest/study-guide/summary-act-iii", "summary": "Stephano, Trinculo, and Caliban are drinking; Trinculo and Stephano continue to insult Caliban, though Caliban only protests against Trinculo's remarks, and tries to get Stephano to defend him. Caliban begins to tell the other two about the tyranny of his old master, Prospero, and how he wants to be rid of Prospero forever; Ariel enters, causes further discord among the group, and gets Caliban to form a murder plot against Prospero. Caliban promises Stephano that if Prospero is successfully killed, he will allow Stephano to be ruler of the island, and will be his servant. He also promises that Stephano will get Miranda if the plot is successfulAriel leaves, to tell Prospero of these developments", "analysis": ""}

SCENE II. _Another part of the island._ _Enter CALIBAN, STEPHANO, and TRINCULO._ _Ste._ Tell not me;--when the butt is out, we will drink water; not a drop before: therefore bear up, and board 'em. Servant-monster, drink to me. _Trin._ Servant-monster! the folly of this island! They say there's but five upon this isle: we are three of them; if 5 th' other two be brained like us, the state totters. _Ste._ Drink, servant-monster, when I bid thee: thy eyes are almost set in thy head. _Trin._ Where should they be set else? he were a brave monster indeed, if they were set in his tail. 10 _Ste._ My man-monster hath drowned his tongue in sack: for my part, the sea cannot drown me; I swam, ere I could recover the shore, five-and-thirty leagues off and on. By this light, thou shalt be my lieutenant, monster, or my standard. 15 _Trin._ Your lieutenant, if you list; he's no standard. _Ste._ We'll not run, Monsieur Monster. _Trin._ Nor go neither; but you'll lie, like dogs, and yet say nothing neither. _Ste._ Moon-calf, speak once in thy life, if thou beest a 20 good moon-calf. _Cal._ How does thy honour? Let me lick thy shoe. I'll not serve him, he is not valiant. _Trin._ Thou liest, most ignorant monster: I am in case to justle a constable. Why, thou debauched fish, thou, was 25 there ever man a coward that hath drunk so much sack as I to-day? Wilt thou tell a monstrous lie, being but half a fish and half a monster? _Cal._ Lo, how he mocks me! wilt thou let him, my lord? _Trin._ 'Lord,' quoth he! That a monster should be 30 such a natural! _Cal._ Lo, lo, again! bite him to death, I prithee. _Ste._ Trinculo, keep a good tongue in your head: if you prove a mutineer,--the next tree! The poor monster's my subject, and he shall not suffer indignity. 35 _Cal._ I thank my noble lord. Wilt thou be pleased to hearken once again to the suit I made to thee? _Ste._ Marry, will I: kneel and repeat it; I will stand, and so shall Trinculo. _Enter ARIEL, invisible._ _Cal._ As I told thee before, I am subject to a tyrant, a 40 sorcerer, that by his cunning hath cheated me of the island. _Ari._ Thou liest. _Cal._ Thou liest, thou jesting monkey, thou: I would my valiant master would destroy thee! I do not lie. _Ste._ Trinculo, if you trouble him any more in's tale, by 45 this hand, I will supplant some of your teeth. _Trin._ Why, I said nothing. _Ste._ Mum, then, and no more. Proceed. _Cal._ I say, by sorcery he got this isle; From me he got it. If thy greatness will 50 Revenge it on him,--for I know thou darest, But this thing dare not,-- _Ste._ That's most certain. _Cal._ Thou shalt be lord of it, and I'll serve thee. _Ste._ How now shall this be compassed? Canst thou 55 bring me to the party? _Cal._ Yea, yea, my lord: I'll yield him thee asleep, Where thou mayst knock a nail into his head. _Ari._ Thou liest; thou canst not. _Cal._ What a pied ninny's this! Thou scurvy patch! 60 I do beseech thy Greatness, give him blows, And take his bottle from him: when that's gone, He shall drink nought but brine; for I'll not show him Where the quick freshes are. _Ste._ Trinculo, run into no further danger: interrupt the 65 monster one word further, and, by this hand, I'll turn my mercy out o' doors, and make a stock-fish of thee. _Trin._ Why, what did I? I did nothing. I'll go farther off. _Ste._ Didst thou not say he lied? 70 _Ari._ Thou liest. _Ste._ Do I so? take thou that. [_Beats him._] As you like this, give me the lie another time. _Trin._ I did not give the lie. Out o' your wits, and hearing too? A pox o' your bottle! this can sack and 75 drinking do. A murrain on your monster, and the devil take your fingers! _Cal._ Ha, ha, ha! _Ste._ Now, forward with your tale. --Prithee, stand farther off. 80 _Cal._ Beat him enough: after a little time, I'll beat him too. _Ste._ Stand farther. Come, proceed. _Cal._ Why, as I told thee, 'tis a custom with him I' th' afternoon to sleep: there thou mayst brain him, Having first seized his books; or with a log 85 Batter his skull, or paunch him with a stake, Or cut his wezand with thy knife. Remember First to possess his books; for without them He's but a sot, as I am, nor hath not One spirit to command: they all do hate him 90 As rootedly as I. Burn but his books. He has brave utensils,--for so he calls them,-- Which, when he has a house, he'll deck withal. And that most deeply to consider is The beauty of his daughter; he himself 95 Calls her a nonpareil: I never saw a woman, But only Sycorax my dam and she; But she as far surpasseth Sycorax As great'st does least. _Ste._ Is it so brave a lass? _Cal._ Ay, lord; she will become thy bed, I warrant, 100 And bring thee forth brave brood. _Ste._ Monster, I will kill this man: his daughter and I will be king and queen,--save our Graces!--and Trinculo and thyself shall be viceroys. Dost thou like the plot, Trinculo? 105 _Trin._ Excellent. _Ste._ Give me thy hand: I am sorry I beat thee; but, while thou livest, keep a good tongue in thy head. _Cal._ Within this half hour will he be asleep: Wilt thou destroy him then? _Ste._ Ay, on mine honour. 110 _Ari._ This will I tell my master. _Cal._ Thou makest me merry; I am full of pleasure: Let us be jocund: will you troll the catch You taught me but while-ere? _Ste._ At thy request, monster, I will do reason, any 115 reason. --Come on. Trinculo, let us sing. [_Sings._ Flout 'em and scout 'em, and scout 'em and flout 'em; Thought is free. _Cal._ That's not the tune. [_Ariel plays the tune on a tabor and pipe._ _Ste._ What is this same? 120 _Trin._ This is the tune of our catch, played by the picture of Nobody. _Ste._ If thou beest a man, show thyself in thy likeness: if thou beest a devil, take't as thou list. _Trin._ O, forgive me my sins! 125 _Ste._ He that dies pays all debts: I defy thee. Mercy upon us! _Cal._ Art thou afeard? _Ste._ No, monster, not I. _Cal._ Be not afeard; the isle is full of noises, 130 Sounds and sweet airs, that give delight, and hurt not. Sometimes a thousand twangling instruments Will hum about mine ears; and sometime voices, That, if I then had waked after long sleep, Will make me sleep again: and then, in dreaming, 135 The clouds methought would open, and show riches Ready to drop upon me; that, when I waked, I cried to dream again. _Ste._ This will prove a brave kingdom to me, where I shall have my music for nothing. 140 _Cal._ When Prospero is destroyed. _Ste._ That shall be by and by: I remember the story. _Trin._ The sound is going away; let's follow it, and after do our work. _Ste._ Lead, monster; we'll follow. I would I could see 145 this taborer; he lays it on. _Trin._ Wilt come? I'll follow, Stephano. [_Exeunt._ Notes: III, 2. SCENE II. Another...] Theobald. The other... Pope. Enter ...] Enter S. and T. reeling, Caliban following with a bottle. Capell. Enter C. S. and T. with a bottle. Johnson.] 8: _head_] F1. _heart_ F2 F3 F4. 13, 14: _on. By this light, thou_] _on, by this light thou_ Ff. _on, by this light. --Thou_ Capell. 25: _debauched_] _debosh'd_ Ff. 37: _to the suit I made to thee_] _the suit I made thee_ Steevens, who prints all Caliban's speeches as verse. 60: Johnson conjectured that this line was spoken by Stephano. 68: _farther_] F1 _no further_ F2 F3 F4. 72: [Beats him.] Rowe. 84: _there_] _then_ Collier MS. 89: _nor_] _and_ Pope. 93: _deck_] _deck't_ Hanmer. 96: _I never saw a woman_] _I ne'er saw woman_ Pope. 99: _great'st does least_] _greatest does the least_ Rowe. 115, 116:] Printed as verse in Ff. 115: _any_] F1. _and_ F2 F3 F4. 117: _scout 'em, and scout 'em_] Pope. _cout 'em and skowt 'em_ Ff. 125: _sins_] _sin_ F4. 132: _twangling_] _twanging_ Pope. 133: _sometime_] F1. _sometimes_ F2 F3 F4. 137: _that_] om. Pope. 147: Trin. _Will come? I'll follow, Stephano_] Trin. _Wilt come?_ Ste. _I'll follow._ Capell. Ste. _... Wilt come?_ Trin. _I'll follow, Stephano._ Ritson conj.

act 3, Scene 2

https://web.archive.org/web/20210309152602/https://www.gradesaver.com/the-tempest/study-guide/summary-act-iii

Stephano, Trinculo, and Caliban are drinking; Trinculo and Stephano continue to insult Caliban, though Caliban only protests against Trinculo's remarks, and tries to get Stephano to defend him. Caliban begins to tell the other two about the tyranny of his old master, Prospero, and how he wants to be rid of Prospero forever; Ariel enters, causes further discord among the group, and gets Caliban to form a murder plot against Prospero. Caliban promises Stephano that if Prospero is successfully killed, he will allow Stephano to be ruler of the island, and will be his servant. He also promises that Stephano will get Miranda if the plot is successfulAriel leaves, to tell Prospero of these developments

sparknotes

all_chapterized_books/28054-chapters/13.txt

finished_summaries/sparknotes/The Brothers Karamazov/section_2_part_4.txt

The Brothers Karamazov.book 2.chapter 8

book 2, chapter 8

{"name": "book 2, Chapter 8", "url": "https://web.archive.org/web/20210305110438/https://www.sparknotes.com/lit/brothersk/section3/", "summary": "Scandal Fyodor Pavlovich creates another scene before leaving the monastery. He angrily bursts in on the luncheon at the Father Superior's and launches into a long, vulgar tirade about the idiocy and hypocrisy of monastic life. Fyodor finally leaves, and as Ivan unhappily loads him into a carriage, he shouts back at Alyosha to leave the monastery and come home at once. The carriage drives away, and Fyodor begins contemplating the cognac he will have when they return home.", "analysis": "Book II: An Inappropriate Gathering, Chapters 5-8 Ivan's argument with the monks in Chapters 5 and 6 provides an approach to the world's problems that contrasts with the active love promoted by Zosima in the previous section. Unlike Zosima, who emphasizes the role of the individual conscience, Ivan proposes sweeping social changes designed to promote a specific outcome. While Zosima believes that every person should strive to do good, Ivan argues that civilization should erase the distinction between church and state in order to reduce criminality. Ivan's position differs from Zosima's in three specific ways. First, Ivan is interested in abstract conceptions of society and large groups of people, while Zosima is interested in the experience of the individual. Zosima proposes a way of life that, if everyone were to follow it, would make a better world, and Ivan proposes a change in the order of the world that, if enacted, would possibly make a better life for individuals. This difference is understandable given Ivan's and Zosima's own characteristics. Zosima is capable of loving human beings on an individual level, while Ivan is only capable of loving humanity in the abstract. Second, Zosima conceives of religion as a positive force, but Ivan believes it is negative. Zosima's approach to religion is to suggest ways that the individual can act to do good, while Ivan's is to suggest ways that religion can prevent the individual from doing evil. Because Zosima believes people are naturally loving and positive, he emphasizes the good that people can do for one another. Because Ivan believes people are naturally suspicious and negative, he emphasizes the evil that people must be prevented from doing to one another. The third difference between Zosima's and Ivan's arguments is their level of sincerity. Zosima wholeheartedly believes what he says, whereas Ivan argues from a detached, academic standpoint. Ivan does believe that powerful ecclesiastical courts would improve society. But he does not believe in God, making his desire for a religious society seem perplexingly out of line with his real beliefs. Nonetheless, Ivan thinks that religious courts would be most effective in controlling the masses, even if religion itself is false. The fact that Zosima is able to see Ivan's religious doubt even as Ivan argues for increased religious authority shows Zosima's penetrating understanding of human nature. These chapters represent the conflict between faith and doubt as a struggle between simple love for humanity and complicated theorizing about humanity. Zosima and Ivan both argue convincingly for their ideas, but Zosima's simple faith is more impressive than Ivan's highly complex doubt. Dostoevsky's treatment of philosophical concepts in this chapter is similar to his treatment of them in the rest of the novel. Dostoevsky frequently makes compelling abstract cases for two sides of an argument, and then, through the example of the characters' behavior, indicates the superiority of love, faith, and goodness. Zosima's enigmatic action when he kneels before Dmitri is open to a variety of interpretations. Zosima is able to understand other people's minds because his faith is logical and clearheaded. His kneeling before Dmitri indicates his understanding of something that no other character can see yet: that Dmitri, deep down, is a good man who will be forced to suffer before he can be redeemed. The narrative suggests that Zosima's insight is vastly superior to the sly theorizing of Rakitin in Chapter 7--Zosima is able to predict Dmitri's real future, whereas the rational Rakitin predicts that Dmitri will come to a violent end. In this way, Zosima's bow fore-shadows Dmitri's eventual fate. It also foreshadows a number of similarly enigmatic gestures made throughout the novel in moments of moral conflict, including Christ kissing the Grand Inquisitor and Alyosha kissing Ivan in Book V. Ivan's argument that the entire notion of morality is dependent on the idea that the soul is immortal has a direct bearing on Fyodor Pavlovich's character. If, as Ivan proposes, the idea of good and evil is dependent upon the existence of God, then Fyodor Pavlovich's gross sensuality is a perfectly logical way for him to behave, as he does not believe in God. All of Fyodor Pavlovich's morally questionable actions are irrelevant if morality is only a tool for securing a comfortable afterlife. Ivan himself seems to understand that Fyodor Pavlovich lives the logical extension of Ivan's own beliefs. This relationship between the two characters explains the simultaneous love and hatred Ivan feels toward his father. Ivan hates Fyodor Pavlovich because Ivan dislikes the idea that his argument about morality could justify such an abhorrent figure as Fyodor. But Ivan must tolerate Fyodor Pavlovich, because criticizing him would undermine his argument"}

Chapter VIII. The Scandalous Scene Miuesov, as a man of breeding and delicacy, could not but feel some inward qualms, when he reached the Father Superior's with Ivan: he felt ashamed of having lost his temper. He felt that he ought to have disdained that despicable wretch, Fyodor Pavlovitch, too much to have been upset by him in Father Zossima's cell, and so to have forgotten himself. "The monks were not to blame, in any case," he reflected, on the steps. "And if they're decent people here (and the Father Superior, I understand, is a nobleman) why not be friendly and courteous with them? I won't argue, I'll fall in with everything, I'll win them by politeness, and ... and ... show them that I've nothing to do with that AEsop, that buffoon, that Pierrot, and have merely been taken in over this affair, just as they have." He determined to drop his litigation with the monastery, and relinquish his claims to the wood-cutting and fishery rights at once. He was the more ready to do this because the rights had become much less valuable, and he had indeed the vaguest idea where the wood and river in question were. These excellent intentions were strengthened when he entered the Father Superior's dining-room, though, strictly speaking, it was not a dining- room, for the Father Superior had only two rooms altogether; they were, however, much larger and more comfortable than Father Zossima's. But there was no great luxury about the furnishing of these rooms either. The furniture was of mahogany, covered with leather, in the old-fashioned style of 1820; the floor was not even stained, but everything was shining with cleanliness, and there were many choice flowers in the windows; the most sumptuous thing in the room at the moment was, of course, the beautifully decorated table. The cloth was clean, the service shone; there were three kinds of well-baked bread, two bottles of wine, two of excellent mead, and a large glass jug of kvas--both the latter made in the monastery, and famous in the neighborhood. There was no vodka. Rakitin related afterwards that there were five dishes: fish-soup made of sterlets, served with little fish patties; then boiled fish served in a special way; then salmon cutlets, ice pudding and compote, and finally, blanc-mange. Rakitin found out about all these good things, for he could not resist peeping into the kitchen, where he already had a footing. He had a footing everywhere, and got information about everything. He was of an uneasy and envious temper. He was well aware of his own considerable abilities, and nervously exaggerated them in his self-conceit. He knew he would play a prominent part of some sort, but Alyosha, who was attached to him, was distressed to see that his friend Rakitin was dishonorable, and quite unconscious of being so himself, considering, on the contrary, that because he would not steal money left on the table he was a man of the highest integrity. Neither Alyosha nor any one else could have influenced him in that. Rakitin, of course, was a person of too little consequence to be invited to the dinner, to which Father Iosif, Father Paissy, and one other monk were the only inmates of the monastery invited. They were already waiting when Miuesov, Kalganov, and Ivan arrived. The other guest, Maximov, stood a little aside, waiting also. The Father Superior stepped into the middle of the room to receive his guests. He was a tall, thin, but still vigorous old man, with black hair streaked with gray, and a long, grave, ascetic face. He bowed to his guests in silence. But this time they approached to receive his blessing. Miuesov even tried to kiss his hand, but the Father Superior drew it back in time to avoid the salute. But Ivan and Kalganov went through the ceremony in the most simple-hearted and complete manner, kissing his hand as peasants do. "We must apologize most humbly, your reverence," began Miuesov, simpering affably, and speaking in a dignified and respectful tone. "Pardon us for having come alone without the gentleman you invited, Fyodor Pavlovitch. He felt obliged to decline the honor of your hospitality, and not without reason. In the reverend Father Zossima's cell he was carried away by the unhappy dissension with his son, and let fall words which were quite out of keeping ... in fact, quite unseemly ... as"--he glanced at the monks--"your reverence is, no doubt, already aware. And therefore, recognizing that he had been to blame, he felt sincere regret and shame, and begged me, and his son Ivan Fyodorovitch, to convey to you his apologies and regrets. In brief, he hopes and desires to make amends later. He asks your blessing, and begs you to forget what has taken place." As he uttered the last word of his tirade, Miuesov completely recovered his self-complacency, and all traces of his former irritation disappeared. He fully and sincerely loved humanity again. The Father Superior listened to him with dignity, and, with a slight bend of the head, replied: "I sincerely deplore his absence. Perhaps at our table he might have learnt to like us, and we him. Pray be seated, gentlemen." He stood before the holy image, and began to say grace, aloud. All bent their heads reverently, and Maximov clasped his hands before him, with peculiar fervor. It was at this moment that Fyodor Pavlovitch played his last prank. It must be noted that he really had meant to go home, and really had felt the impossibility of going to dine with the Father Superior as though nothing had happened, after his disgraceful behavior in the elder's cell. Not that he was so very much ashamed of himself--quite the contrary perhaps. But still he felt it would be unseemly to go to dinner. Yet his creaking carriage had hardly been brought to the steps of the hotel, and he had hardly got into it, when he suddenly stopped short. He remembered his own words at the elder's: "I always feel when I meet people that I am lower than all, and that they all take me for a buffoon; so I say let me play the buffoon, for you are, every one of you, stupider and lower than I." He longed to revenge himself on every one for his own unseemliness. He suddenly recalled how he had once in the past been asked, "Why do you hate so and so, so much?" And he had answered them, with his shameless impudence, "I'll tell you. He has done me no harm. But I played him a dirty trick, and ever since I have hated him." Remembering that now, he smiled quietly and malignantly, hesitating for a moment. His eyes gleamed, and his lips positively quivered. "Well, since I have begun, I may as well go on," he decided. His predominant sensation at that moment might be expressed in the following words, "Well, there is no rehabilitating myself now. So let me shame them for all I am worth. I will show them I don't care what they think--that's all!" He told the coachman to wait, while with rapid steps he returned to the monastery and straight to the Father Superior's. He had no clear idea what he would do, but he knew that he could not control himself, and that a touch might drive him to the utmost limits of obscenity, but only to obscenity, to nothing criminal, nothing for which he could be legally punished. In the last resort, he could always restrain himself, and had marveled indeed at himself, on that score, sometimes. He appeared in the Father Superior's dining-room, at the moment when the prayer was over, and all were moving to the table. Standing in the doorway, he scanned the company, and laughing his prolonged, impudent, malicious chuckle, looked them all boldly in the face. "They thought I had gone, and here I am again," he cried to the whole room. For one moment every one stared at him without a word; and at once every one felt that something revolting, grotesque, positively scandalous, was about to happen. Miuesov passed immediately from the most benevolent frame of mind to the most savage. All the feelings that had subsided and died down in his heart revived instantly. "No! this I cannot endure!" he cried. "I absolutely cannot! and ... I certainly cannot!" The blood rushed to his head. He positively stammered; but he was beyond thinking of style, and he seized his hat. "What is it he cannot?" cried Fyodor Pavlovitch, "that he absolutely cannot and certainly cannot? Your reverence, am I to come in or not? Will you receive me as your guest?" "You are welcome with all my heart," answered the Superior. "Gentlemen!" he added, "I venture to beg you most earnestly to lay aside your dissensions, and to be united in love and family harmony--with prayer to the Lord at our humble table." "No, no, it is impossible!" cried Miuesov, beside himself. "Well, if it is impossible for Pyotr Alexandrovitch, it is impossible for me, and I won't stop. That is why I came. I will keep with Pyotr Alexandrovitch everywhere now. If you will go away, Pyotr Alexandrovitch, I will go away too, if you remain, I will remain. You stung him by what you said about family harmony, Father Superior, he does not admit he is my relation. That's right, isn't it, von Sohn? Here's von Sohn. How are you, von Sohn?" "Do you mean me?" muttered Maximov, puzzled. "Of course I mean you," cried Fyodor Pavlovitch. "Who else? The Father Superior could not be von Sohn." "But I am not von Sohn either. I am Maximov." "No, you are von Sohn. Your reverence, do you know who von Sohn was? It was a famous murder case. He was killed in a house of harlotry--I believe that is what such places are called among you--he was killed and robbed, and in spite of his venerable age, he was nailed up in a box and sent from Petersburg to Moscow in the luggage van, and while they were nailing him up, the harlots sang songs and played the harp, that is to say, the piano. So this is that very von Sohn. He has risen from the dead, hasn't he, von Sohn?" "What is happening? What's this?" voices were heard in the group of monks. "Let us go," cried Miuesov, addressing Kalganov. "No, excuse me," Fyodor Pavlovitch broke in shrilly, taking another step into the room. "Allow me to finish. There in the cell you blamed me for behaving disrespectfully just because I spoke of eating gudgeon, Pyotr Alexandrovitch. Miuesov, my relation, prefers to have _plus de noblesse que de sincerite_ in his words, but I prefer in mine _plus de sincerite que de noblesse_, and--damn the _noblesse_! That's right, isn't it, von Sohn? Allow me, Father Superior, though I am a buffoon and play the buffoon, yet I am the soul of honor, and I want to speak my mind. Yes, I am the soul of honor, while in Pyotr Alexandrovitch there is wounded vanity and nothing else. I came here perhaps to have a look and speak my mind. My son, Alexey, is here, being saved. I am his father; I care for his welfare, and it is my duty to care. While I've been playing the fool, I have been listening and having a look on the sly; and now I want to give you the last act of the performance. You know how things are with us? As a thing falls, so it lies. As a thing once has fallen, so it must lie for ever. Not a bit of it! I want to get up again. Holy Father, I am indignant with you. Confession is a great sacrament, before which I am ready to bow down reverently; but there in the cell, they all kneel down and confess aloud. Can it be right to confess aloud? It was ordained by the holy Fathers to confess in secret: then only your confession will be a mystery, and so it was of old. But how can I explain to him before every one that I did this and that ... well, you understand what--sometimes it would not be proper to talk about it--so it is really a scandal! No, Fathers, one might be carried along with you to the Flagellants, I dare say ... at the first opportunity I shall write to the Synod, and I shall take my son, Alexey, home." We must note here that Fyodor Pavlovitch knew where to look for the weak spot. There had been at one time malicious rumors which had even reached the Archbishop (not only regarding our monastery, but in others where the institution of elders existed) that too much respect was paid to the elders, even to the detriment of the authority of the Superior, that the elders abused the sacrament of confession and so on and so on--absurd charges which had died away of themselves everywhere. But the spirit of folly, which had caught up Fyodor Pavlovitch, and was bearing him on the current of his own nerves into lower and lower depths of ignominy, prompted him with this old slander. Fyodor Pavlovitch did not understand a word of it, and he could not even put it sensibly, for on this occasion no one had been kneeling and confessing aloud in the elder's cell, so that he could not have seen anything of the kind. He was only speaking from confused memory of old slanders. But as soon as he had uttered his foolish tirade, he felt he had been talking absurd nonsense, and at once longed to prove to his audience, and above all to himself, that he had not been talking nonsense. And, though he knew perfectly well that with each word he would be adding more and more absurdity, he could not restrain himself, and plunged forward blindly. "How disgraceful!" cried Pyotr Alexandrovitch. "Pardon me!" said the Father Superior. "It was said of old, 'Many have begun to speak against me and have uttered evil sayings about me. And hearing it I have said to myself: it is the correction of the Lord and He has sent it to heal my vain soul.' And so we humbly thank you, honored guest!" and he made Fyodor Pavlovitch a low bow. "Tut--tut--tut--sanctimoniousness and stock phrases! Old phrases and old gestures. The old lies and formal prostrations. We know all about them. A kiss on the lips and a dagger in the heart, as in Schiller's _Robbers_. I don't like falsehood, Fathers, I want the truth. But the truth is not to be found in eating gudgeon and that I proclaim aloud! Father monks, why do you fast? Why do you expect reward in heaven for that? Why, for reward like that I will come and fast too! No, saintly monk, you try being virtuous in the world, do good to society, without shutting yourself up in a monastery at other people's expense, and without expecting a reward up aloft for it--you'll find that a bit harder. I can talk sense, too, Father Superior. What have they got here?" He went up to the table. "Old port wine, mead brewed by the Eliseyev Brothers. Fie, fie, fathers! That is something beyond gudgeon. Look at the bottles the fathers have brought out, he he he! And who has provided it all? The Russian peasant, the laborer, brings here the farthing earned by his horny hand, wringing it from his family and the tax-gatherer! You bleed the people, you know, holy fathers." "This is too disgraceful!" said Father Iosif. Father Paissy kept obstinately silent. Miuesov rushed from the room, and Kalganov after him. "Well, Father, I will follow Pyotr Alexandrovitch! I am not coming to see you again. You may beg me on your knees, I shan't come. I sent you a thousand roubles, so you have begun to keep your eye on me. He he he! No, I'll say no more. I am taking my revenge for my youth, for all the humiliation I endured." He thumped the table with his fist in a paroxysm of simulated feeling. "This monastery has played a great part in my life! It has cost me many bitter tears. You used to set my wife, the crazy one, against me. You cursed me with bell and book, you spread stories about me all over the place. Enough, fathers! This is the age of Liberalism, the age of steamers and railways. Neither a thousand, nor a hundred roubles, no, nor a hundred farthings will you get out of me!" It must be noted again that our monastery never had played any great part in his life, and he never had shed a bitter tear owing to it. But he was so carried away by his simulated emotion, that he was for one moment almost believing it himself. He was so touched he was almost weeping. But at that very instant, he felt that it was time to draw back. The Father Superior bowed his head at his malicious lie, and again spoke impressively: "It is written again, 'Bear circumspectly and gladly dishonor that cometh upon thee by no act of thine own, be not confounded and hate not him who hath dishonored thee.' And so will we." "Tut, tut, tut! Bethinking thyself and the rest of the rigmarole. Bethink yourselves, Fathers, I will go. But I will take my son, Alexey, away from here for ever, on my parental authority. Ivan Fyodorovitch, my most dutiful son, permit me to order you to follow me. Von Sohn, what have you to stay for? Come and see me now in the town. It is fun there. It is only one short verst; instead of lenten oil, I will give you sucking-pig and kasha. We will have dinner with some brandy and liqueur to it.... I've cloudberry wine. Hey, von Sohn, don't lose your chance." He went out, shouting and gesticulating. It was at that moment Rakitin saw him and pointed him out to Alyosha. "Alexey!" his father shouted, from far off, catching sight of him. "You come home to me to-day, for good, and bring your pillow and mattress, and leave no trace behind." Alyosha stood rooted to the spot, watching the scene in silence. Meanwhile, Fyodor Pavlovitch had got into the carriage, and Ivan was about to follow him in grim silence without even turning to say good-by to Alyosha. But at this point another almost incredible scene of grotesque buffoonery gave the finishing touch to the episode. Maximov suddenly appeared by the side of the carriage. He ran up, panting, afraid of being too late. Rakitin and Alyosha saw him running. He was in such a hurry that in his impatience he put his foot on the step on which Ivan's left foot was still resting, and clutching the carriage he kept trying to jump in. "I am going with you!" he kept shouting, laughing a thin mirthful laugh with a look of reckless glee in his face. "Take me, too." "There!" cried Fyodor Pavlovitch, delighted. "Did I not say he was von Sohn. It is von Sohn himself, risen from the dead. Why, how did you tear yourself away? What did you _vonsohn_ there? And how could you get away from the dinner? You must be a brazen-faced fellow! I am that myself, but I am surprised at you, brother! Jump in, jump in! Let him pass, Ivan. It will be fun. He can lie somewhere at our feet. Will you lie at our feet, von Sohn? Or perch on the box with the coachman. Skip on to the box, von Sohn!" But Ivan, who had by now taken his seat, without a word gave Maximov a violent punch in the breast and sent him flying. It was quite by chance he did not fall. "Drive on!" Ivan shouted angrily to the coachman. "Why, what are you doing, what are you about? Why did you do that?" Fyodor Pavlovitch protested. But the carriage had already driven away. Ivan made no reply. "Well, you are a fellow," Fyodor Pavlovitch said again. After a pause of two minutes, looking askance at his son, "Why, it was you got up all this monastery business. You urged it, you approved of it. Why are you angry now?" "You've talked rot enough. You might rest a bit now," Ivan snapped sullenly. Fyodor Pavlovitch was silent again for two minutes. "A drop of brandy would be nice now," he observed sententiously, but Ivan made no response. "You shall have some, too, when we get home." Ivan was still silent. Fyodor Pavlovitch waited another two minutes. "But I shall take Alyosha away from the monastery, though you will dislike it so much, most honored Karl von Moor." Ivan shrugged his shoulders contemptuously, and turning away stared at the road. And they did not speak again all the way home.

book 2, Chapter 8

https://web.archive.org/web/20210305110438/https://www.sparknotes.com/lit/brothersk/section3/

Scandal Fyodor Pavlovich creates another scene before leaving the monastery. He angrily bursts in on the luncheon at the Father Superior's and launches into a long, vulgar tirade about the idiocy and hypocrisy of monastic life. Fyodor finally leaves, and as Ivan unhappily loads him into a carriage, he shouts back at Alyosha to leave the monastery and come home at once. The carriage drives away, and Fyodor begins contemplating the cognac he will have when they return home.

Book II: An Inappropriate Gathering, Chapters 5-8 Ivan's argument with the monks in Chapters 5 and 6 provides an approach to the world's problems that contrasts with the active love promoted by Zosima in the previous section. Unlike Zosima, who emphasizes the role of the individual conscience, Ivan proposes sweeping social changes designed to promote a specific outcome. While Zosima believes that every person should strive to do good, Ivan argues that civilization should erase the distinction between church and state in order to reduce criminality. Ivan's position differs from Zosima's in three specific ways. First, Ivan is interested in abstract conceptions of society and large groups of people, while Zosima is interested in the experience of the individual. Zosima proposes a way of life that, if everyone were to follow it, would make a better world, and Ivan proposes a change in the order of the world that, if enacted, would possibly make a better life for individuals. This difference is understandable given Ivan's and Zosima's own characteristics. Zosima is capable of loving human beings on an individual level, while Ivan is only capable of loving humanity in the abstract. Second, Zosima conceives of religion as a positive force, but Ivan believes it is negative. Zosima's approach to religion is to suggest ways that the individual can act to do good, while Ivan's is to suggest ways that religion can prevent the individual from doing evil. Because Zosima believes people are naturally loving and positive, he emphasizes the good that people can do for one another. Because Ivan believes people are naturally suspicious and negative, he emphasizes the evil that people must be prevented from doing to one another. The third difference between Zosima's and Ivan's arguments is their level of sincerity. Zosima wholeheartedly believes what he says, whereas Ivan argues from a detached, academic standpoint. Ivan does believe that powerful ecclesiastical courts would improve society. But he does not believe in God, making his desire for a religious society seem perplexingly out of line with his real beliefs. Nonetheless, Ivan thinks that religious courts would be most effective in controlling the masses, even if religion itself is false. The fact that Zosima is able to see Ivan's religious doubt even as Ivan argues for increased religious authority shows Zosima's penetrating understanding of human nature. These chapters represent the conflict between faith and doubt as a struggle between simple love for humanity and complicated theorizing about humanity. Zosima and Ivan both argue convincingly for their ideas, but Zosima's simple faith is more impressive than Ivan's highly complex doubt. Dostoevsky's treatment of philosophical concepts in this chapter is similar to his treatment of them in the rest of the novel. Dostoevsky frequently makes compelling abstract cases for two sides of an argument, and then, through the example of the characters' behavior, indicates the superiority of love, faith, and goodness. Zosima's enigmatic action when he kneels before Dmitri is open to a variety of interpretations. Zosima is able to understand other people's minds because his faith is logical and clearheaded. His kneeling before Dmitri indicates his understanding of something that no other character can see yet: that Dmitri, deep down, is a good man who will be forced to suffer before he can be redeemed. The narrative suggests that Zosima's insight is vastly superior to the sly theorizing of Rakitin in Chapter 7--Zosima is able to predict Dmitri's real future, whereas the rational Rakitin predicts that Dmitri will come to a violent end. In this way, Zosima's bow fore-shadows Dmitri's eventual fate. It also foreshadows a number of similarly enigmatic gestures made throughout the novel in moments of moral conflict, including Christ kissing the Grand Inquisitor and Alyosha kissing Ivan in Book V. Ivan's argument that the entire notion of morality is dependent on the idea that the soul is immortal has a direct bearing on Fyodor Pavlovich's character. If, as Ivan proposes, the idea of good and evil is dependent upon the existence of God, then Fyodor Pavlovich's gross sensuality is a perfectly logical way for him to behave, as he does not believe in God. All of Fyodor Pavlovich's morally questionable actions are irrelevant if morality is only a tool for securing a comfortable afterlife. Ivan himself seems to understand that Fyodor Pavlovich lives the logical extension of Ivan's own beliefs. This relationship between the two characters explains the simultaneous love and hatred Ivan feels toward his father. Ivan hates Fyodor Pavlovich because Ivan dislikes the idea that his argument about morality could justify such an abhorrent figure as Fyodor. But Ivan must tolerate Fyodor Pavlovich, because criticizing him would undermine his argument

sparknotes

all_chapterized_books/174-chapters/07.txt

finished_summaries/sparknotes/The Picture of Dorian Gray/section_3_part_1.txt

The Picture of Dorian Gray.chapter 7

chapter 7

{"name": "Chapter 7", "url": "https://web.archive.org/web/20210228142327/https://www.sparknotes.com/lit/doriangray/section4/", "summary": "The theater is crowded when the men arrive. Dorian continues to wax eloquent about Sibyl's beauty, and Basil assures Dorian that he will support the marriage wholeheartedly since Dorian is so obviously in love. When the play begins, however, Sibyl is terrible, and her acting only worsens as the evening wears on. Unable to understand the change that has come over his beloved, Dorian is heartbroken. Basil and Lord Henry leave him, and he makes his way backstage to find Sibyl, who is quite happy despite her dreadful performance. She explains that before she met Dorian and experienced true love, she was able to inhabit other characters and feel their emotions easily, which made possible her success as an actress. Now, however, these pretend emotions no longer interest her, since they pale in relation to her real feelings for Dorian. She realizes that \"the words I had to speak were unreal, were not my words, were not what I wanted to say. As a result, she declares that her career on the stage is over. Dorian, horrified by this decision, realizes that he was in love not with her but with her acting. He spurns her cruelly and tells her that he wishes never to see her again. After a night spent wandering the streets of London, Dorian returns to his home. There, he looks at Basil's portrait of him and notices the painting has changed--a faint sneer has appeared at the corner of his likeness's mouth. He is astonished. Remembering his wish that the painting would bear the burden and marks of age and lifestyle for him, Dorian is suddenly overcome with shame about his behavior toward Sibyl. He pulls a screen in front of the portrait and goes to bed, resolving to make amends with Sibyl in the morning", "analysis": "Dorian's romance with Sibyl represents the possibility that he will not accept Lord Henry's philosophy and will instead learn to prize human beings and emotions over art. His love for her allows him to resist Lord Henry's seductive words, noting to Lord Henry, \"When I am with her, I regret all that you have taught me. . . . he mere touch of Sibyl Vane's hand makes me forget you and all your wrong, fascinating, poisonous, delightful theories.\" But just as Lord Henry appreciates Dorian as a work of art rather than as a human being, what Dorian values most about Sibyl is her talent as an actress--her ability to portray an ideal, not her true self. The extent of Lord Henry's influence is painfully clear as Dorian heartlessly snubs Sibyl, who claims that her real love for him prohibits her from acting out such emotions onstage. Surely, to modern readers, Sibyl's devotion to Dorian--not to mention her grief over losing him--seems a bit melodramatic. She is a rather thinly drawn character, but she serves two important functions. First, she forces us to question what precisely art is and when its effects are good. Second, she shows the pernicious consequences of a philosophy that places beauty and self-pleasure above consideration for others. Sibyl's tragic fate enables us to be as critical of Wilde's philosophies as he himself was at the end of his life. Sibyl's claim that Dorian gives her \"something higher, something of which all art is but a reflection\" stands in undeniable contrast to Lord Henry's philosophy, in which art is the highest experience and life imitates art rather than vice versa. Indeed, time and again, Lord Henry delights in ignoring the significance of human emotions. Even though Sibyl's conception of art as a reflection of grand emotions counters Lord Henry's philosophy of art, it resonates throughout the remainder of the novel. Indeed, Sibyl's philosophy is echoed in the very portrait of Dorian, since it is a reflection of Dorian's true self. The answer to the narrator's question as to whether the changing portrait \"ould ... teach to loathe his own soul\" is yes, as Dorian grows increasingly uncomfortable over the course of the novel with what the disfigured portrait signifies about himself. As the novel progresses and the painting continues to register the effects of time and dissipation, we see the degree to which Dorian is undone by the sins that his portrait reflects and the degree to which he suffers for allowing the painting to act as a \"visible emblem of conscience.\" The aging of Dorian's likeness in the portrait ultimately contradicts some of Lord Henry's--and Wilde's--beliefs about art: the painting does not exist in a moral vacuum. Instead, the painting both shows the deleterious effects of sin and gives Dorian a sense of freedom from morality; it thus influences and is influenced by morality."}

For some reason or other, the house was crowded that night, and the fat Jew manager who met them at the door was beaming from ear to ear with an oily tremulous smile. He escorted them to their box with a sort of pompous humility, waving his fat jewelled hands and talking at the top of his voice. Dorian Gray loathed him more than ever. He felt as if he had come to look for Miranda and had been met by Caliban. Lord Henry, upon the other hand, rather liked him. At least he declared he did, and insisted on shaking him by the hand and assuring him that he was proud to meet a man who had discovered a real genius and gone bankrupt over a poet. Hallward amused himself with watching the faces in the pit. The heat was terribly oppressive, and the huge sunlight flamed like a monstrous dahlia with petals of yellow fire. The youths in the gallery had taken off their coats and waistcoats and hung them over the side. They talked to each other across the theatre and shared their oranges with the tawdry girls who sat beside them. Some women were laughing in the pit. Their voices were horribly shrill and discordant. The sound of the popping of corks came from the bar. "What a place to find one's divinity in!" said Lord Henry. "Yes!" answered Dorian Gray. "It was here I found her, and she is divine beyond all living things. When she acts, you will forget everything. These common rough people, with their coarse faces and brutal gestures, become quite different when she is on the stage. They sit silently and watch her. They weep and laugh as she wills them to do. She makes them as responsive as a violin. She spiritualizes them, and one feels that they are of the same flesh and blood as one's self." "The same flesh and blood as one's self! Oh, I hope not!" exclaimed Lord Henry, who was scanning the occupants of the gallery through his opera-glass. "Don't pay any attention to him, Dorian," said the painter. "I understand what you mean, and I believe in this girl. Any one you love must be marvellous, and any girl who has the effect you describe must be fine and noble. To spiritualize one's age--that is something worth doing. If this girl can give a soul to those who have lived without one, if she can create the sense of beauty in people whose lives have been sordid and ugly, if she can strip them of their selfishness and lend them tears for sorrows that are not their own, she is worthy of all your adoration, worthy of the adoration of the world. This marriage is quite right. I did not think so at first, but I admit it now. The gods made Sibyl Vane for you. Without her you would have been incomplete." "Thanks, Basil," answered Dorian Gray, pressing his hand. "I knew that you would understand me. Harry is so cynical, he terrifies me. But here is the orchestra. It is quite dreadful, but it only lasts for about five minutes. Then the curtain rises, and you will see the girl to whom I am going to give all my life, to whom I have given everything that is good in me." A quarter of an hour afterwards, amidst an extraordinary turmoil of applause, Sibyl Vane stepped on to the stage. Yes, she was certainly lovely to look at--one of the loveliest creatures, Lord Henry thought, that he had ever seen. There was something of the fawn in her shy grace and startled eyes. A faint blush, like the shadow of a rose in a mirror of silver, came to her cheeks as she glanced at the crowded enthusiastic house. She stepped back a few paces and her lips seemed to tremble. Basil Hallward leaped to his feet and began to applaud. Motionless, and as one in a dream, sat Dorian Gray, gazing at her. Lord Henry peered through his glasses, murmuring, "Charming! charming!" The scene was the hall of Capulet's house, and Romeo in his pilgrim's dress had entered with Mercutio and his other friends. The band, such as it was, struck up a few bars of music, and the dance began. Through the crowd of ungainly, shabbily dressed actors, Sibyl Vane moved like a creature from a finer world. Her body swayed, while she danced, as a plant sways in the water. The curves of her throat were the curves of a white lily. Her hands seemed to be made of cool ivory. Yet she was curiously listless. She showed no sign of joy when her eyes rested on Romeo. The few words she had to speak-- Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this; For saints have hands that pilgrims' hands do touch, And palm to palm is holy palmers' kiss-- with the brief dialogue that follows, were spoken in a thoroughly artificial manner. The voice was exquisite, but from the point of view of tone it was absolutely false. It was wrong in colour. It took away all the life from the verse. It made the passion unreal. Dorian Gray grew pale as he watched her. He was puzzled and anxious. Neither of his friends dared to say anything to him. She seemed to them to be absolutely incompetent. They were horribly disappointed. Yet they felt that the true test of any Juliet is the balcony scene of the second act. They waited for that. If she failed there, there was nothing in her. She looked charming as she came out in the moonlight. That could not be denied. But the staginess of her acting was unbearable, and grew worse as she went on. Her gestures became absurdly artificial. She overemphasized everything that she had to say. The beautiful passage-- Thou knowest the mask of night is on my face, Else would a maiden blush bepaint my cheek For that which thou hast heard me speak to-night-- was declaimed with the painful precision of a schoolgirl who has been taught to recite by some second-rate professor of elocution. When she leaned over the balcony and came to those wonderful lines-- Although I joy in thee, I have no joy of this contract to-night: It is too rash, too unadvised, too sudden; Too like the lightning, which doth cease to be Ere one can say, "It lightens." Sweet, good-night! This bud of love by summer's ripening breath May prove a beauteous flower when next we meet-- she spoke the words as though they conveyed no meaning to her. It was not nervousness. Indeed, so far from being nervous, she was absolutely self-contained. It was simply bad art. She was a complete failure. Even the common uneducated audience of the pit and gallery lost their interest in the play. They got restless, and began to talk loudly and to whistle. The Jew manager, who was standing at the back of the dress-circle, stamped and swore with rage. The only person unmoved was the girl herself. When the second act was over, there came a storm of hisses, and Lord Henry got up from his chair and put on his coat. "She is quite beautiful, Dorian," he said, "but she can't act. Let us go." "I am going to see the play through," answered the lad, in a hard bitter voice. "I am awfully sorry that I have made you waste an evening, Harry. I apologize to you both." "My dear Dorian, I should think Miss Vane was ill," interrupted Hallward. "We will come some other night." "I wish she were ill," he rejoined. "But she seems to me to be simply callous and cold. She has entirely altered. Last night she was a great artist. This evening she is merely a commonplace mediocre actress." "Don't talk like that about any one you love, Dorian. Love is a more wonderful thing than art." "They are both simply forms of imitation," remarked Lord Henry. "But do let us go. Dorian, you must not stay here any longer. It is not good for one's morals to see bad acting. Besides, I don't suppose you will want your wife to act, so what does it matter if she plays Juliet like a wooden doll? She is very lovely, and if she knows as little about life as she does about acting, she will be a delightful experience. There are only two kinds of people who are really fascinating--people who know absolutely everything, and people who know absolutely nothing. Good heavens, my dear boy, don't look so tragic! The secret of remaining young is never to have an emotion that is unbecoming. Come to the club with Basil and myself. We will smoke cigarettes and drink to the beauty of Sibyl Vane. She is beautiful. What more can you want?" "Go away, Harry," cried the lad. "I want to be alone. Basil, you must go. Ah! can't you see that my heart is breaking?" The hot tears came to his eyes. His lips trembled, and rushing to the back of the box, he leaned up against the wall, hiding his face in his hands. "Let us go, Basil," said Lord Henry with a strange tenderness in his voice, and the two young men passed out together. A few moments afterwards the footlights flared up and the curtain rose on the third act. Dorian Gray went back to his seat. He looked pale, and proud, and indifferent. The play dragged on, and seemed interminable. Half of the audience went out, tramping in heavy boots and laughing. The whole thing was a _fiasco_. The last act was played to almost empty benches. The curtain went down on a titter and some groans. As soon as it was over, Dorian Gray rushed behind the scenes into the greenroom. The girl was standing there alone, with a look of triumph on her face. Her eyes were lit with an exquisite fire. There was a radiance about her. Her parted lips were smiling over some secret of their own. When he entered, she looked at him, and an expression of infinite joy came over her. "How badly I acted to-night, Dorian!" she cried. "Horribly!" he answered, gazing at her in amazement. "Horribly! It was dreadful. Are you ill? You have no idea what it was. You have no idea what I suffered." The girl smiled. "Dorian," she answered, lingering over his name with long-drawn music in her voice, as though it were sweeter than honey to the red petals of her mouth. "Dorian, you should have understood. But you understand now, don't you?" "Understand what?" he asked, angrily. "Why I was so bad to-night. Why I shall always be bad. Why I shall never act well again." He shrugged his shoulders. "You are ill, I suppose. When you are ill you shouldn't act. You make yourself ridiculous. My friends were bored. I was bored." She seemed not to listen to him. She was transfigured with joy. An ecstasy of happiness dominated her. "Dorian, Dorian," she cried, "before I knew you, acting was the one reality of my life. It was only in the theatre that I lived. I thought that it was all true. I was Rosalind one night and Portia the other. The joy of Beatrice was my joy, and the sorrows of Cordelia were mine also. I believed in everything. The common people who acted with me seemed to me to be godlike. The painted scenes were my world. I knew nothing but shadows, and I thought them real. You came--oh, my beautiful love!--and you freed my soul from prison. You taught me what reality really is. To-night, for the first time in my life, I saw through the hollowness, the sham, the silliness of the empty pageant in which I had always played. To-night, for the first time, I became conscious that the Romeo was hideous, and old, and painted, that the moonlight in the orchard was false, that the scenery was vulgar, and that the words I had to speak were unreal, were not my words, were not what I wanted to say. You had brought me something higher, something of which all art is but a reflection. You had made me understand what love really is. My love! My love! Prince Charming! Prince of life! I have grown sick of shadows. You are more to me than all art can ever be. What have I to do with the puppets of a play? When I came on to-night, I could not understand how it was that everything had gone from me. I thought that I was going to be wonderful. I found that I could do nothing. Suddenly it dawned on my soul what it all meant. The knowledge was exquisite to me. I heard them hissing, and I smiled. What could they know of love such as ours? Take me away, Dorian--take me away with you, where we can be quite alone. I hate the stage. I might mimic a passion that I do not feel, but I cannot mimic one that burns me like fire. Oh, Dorian, Dorian, you understand now what it signifies? Even if I could do it, it would be profanation for me to play at being in love. You have made me see that." He flung himself down on the sofa and turned away his face. "You have killed my love," he muttered. She looked at him in wonder and laughed. He made no answer. She came across to him, and with her little fingers stroked his hair. She knelt down and pressed his hands to her lips. He drew them away, and a shudder ran through him. Then he leaped up and went to the door. "Yes," he cried, "you have killed my love. You used to stir my imagination. Now you don't even stir my curiosity. You simply produce no effect. I loved you because you were marvellous, because you had genius and intellect, because you realized the dreams of great poets and gave shape and substance to the shadows of art. You have thrown it all away. You are shallow and stupid. My God! how mad I was to love you! What a fool I have been! You are nothing to me now. I will never see you again. I will never think of you. I will never mention your name. You don't know what you were to me, once. Why, once ... Oh, I can't bear to think of it! I wish I had never laid eyes upon you! You have spoiled the romance of my life. How little you can know of love, if you say it mars your art! Without your art, you are nothing. I would have made you famous, splendid, magnificent. The world would have worshipped you, and you would have borne my name. What are you now? A third-rate actress with a pretty face." The girl grew white, and trembled. She clenched her hands together, and her voice seemed to catch in her throat. "You are not serious, Dorian?" she murmured. "You are acting." "Acting! I leave that to you. You do it so well," he answered bitterly. She rose from her knees and, with a piteous expression of pain in her face, came across the room to him. She put her hand upon his arm and looked into his eyes. He thrust her back. "Don't touch me!" he cried. A low moan broke from her, and she flung herself at his feet and lay there like a trampled flower. "Dorian, Dorian, don't leave me!" she whispered. "I am so sorry I didn't act well. I was thinking of you all the time. But I will try--indeed, I will try. It came so suddenly across me, my love for you. I think I should never have known it if you had not kissed me--if we had not kissed each other. Kiss me again, my love. Don't go away from me. I couldn't bear it. Oh! don't go away from me. My brother ... No; never mind. He didn't mean it. He was in jest.... But you, oh! can't you forgive me for to-night? I will work so hard and try to improve. Don't be cruel to me, because I love you better than anything in the world. After all, it is only once that I have not pleased you. But you are quite right, Dorian. I should have shown myself more of an artist. It was foolish of me, and yet I couldn't help it. Oh, don't leave me, don't leave me." A fit of passionate sobbing choked her. She crouched on the floor like a wounded thing, and Dorian Gray, with his beautiful eyes, looked down at her, and his chiselled lips curled in exquisite disdain. There is always something ridiculous about the emotions of people whom one has ceased to love. Sibyl Vane seemed to him to be absurdly melodramatic. Her tears and sobs annoyed him. "I am going," he said at last in his calm clear voice. "I don't wish to be unkind, but I can't see you again. You have disappointed me." She wept silently, and made no answer, but crept nearer. Her little hands stretched blindly out, and appeared to be seeking for him. He turned on his heel and left the room. In a few moments he was out of the theatre. Where he went to he hardly knew. He remembered wandering through dimly lit streets, past gaunt, black-shadowed archways and evil-looking houses. Women with hoarse voices and harsh laughter had called after him. Drunkards had reeled by, cursing and chattering to themselves like monstrous apes. He had seen grotesque children huddled upon door-steps, and heard shrieks and oaths from gloomy courts. As the dawn was just breaking, he found himself close to Covent Garden. The darkness lifted, and, flushed with faint fires, the sky hollowed itself into a perfect pearl. Huge carts filled with nodding lilies rumbled slowly down the polished empty street. The air was heavy with the perfume of the flowers, and their beauty seemed to bring him an anodyne for his pain. He followed into the market and watched the men unloading their waggons. A white-smocked carter offered him some cherries. He thanked him, wondered why he refused to accept any money for them, and began to eat them listlessly. They had been plucked at midnight, and the coldness of the moon had entered into them. A long line of boys carrying crates of striped tulips, and of yellow and red roses, defiled in front of him, threading their way through the huge, jade-green piles of vegetables. Under the portico, with its grey, sun-bleached pillars, loitered a troop of draggled bareheaded girls, waiting for the auction to be over. Others crowded round the swinging doors of the coffee-house in the piazza. The heavy cart-horses slipped and stamped upon the rough stones, shaking their bells and trappings. Some of the drivers were lying asleep on a pile of sacks. Iris-necked and pink-footed, the pigeons ran about picking up seeds. After a little while, he hailed a hansom and drove home. For a few moments he loitered upon the doorstep, looking round at the silent square, with its blank, close-shuttered windows and its staring blinds. The sky was pure opal now, and the roofs of the houses glistened like silver against it. From some chimney opposite a thin wreath of smoke was rising. It curled, a violet riband, through the nacre-coloured air. In the huge gilt Venetian lantern, spoil of some Doge's barge, that hung from the ceiling of the great, oak-panelled hall of entrance, lights were still burning from three flickering jets: thin blue petals of flame they seemed, rimmed with white fire. He turned them out and, having thrown his hat and cape on the table, passed through the library towards the door of his bedroom, a large octagonal chamber on the ground floor that, in his new-born feeling for luxury, he had just had decorated for himself and hung with some curious Renaissance tapestries that had been discovered stored in a disused attic at Selby Royal. As he was turning the handle of the door, his eye fell upon the portrait Basil Hallward had painted of him. He started back as if in surprise. Then he went on into his own room, looking somewhat puzzled. After he had taken the button-hole out of his coat, he seemed to hesitate. Finally, he came back, went over to the picture, and examined it. In the dim arrested light that struggled through the cream-coloured silk blinds, the face appeared to him to be a little changed. The expression looked different. One would have said that there was a touch of cruelty in the mouth. It was certainly strange. He turned round and, walking to the window, drew up the blind. The bright dawn flooded the room and swept the fantastic shadows into dusky corners, where they lay shuddering. But the strange expression that he had noticed in the face of the portrait seemed to linger there, to be more intensified even. The quivering ardent sunlight showed him the lines of cruelty round the mouth as clearly as if he had been looking into a mirror after he had done some dreadful thing. He winced and, taking up from the table an oval glass framed in ivory Cupids, one of Lord Henry's many presents to him, glanced hurriedly into its polished depths. No line like that warped his red lips. What did it mean? He rubbed his eyes, and came close to the picture, and examined it again. There were no signs of any change when he looked into the actual painting, and yet there was no doubt that the whole expression had altered. It was not a mere fancy of his own. The thing was horribly apparent. He threw himself into a chair and began to think. Suddenly there flashed across his mind what he had said in Basil Hallward's studio the day the picture had been finished. Yes, he remembered it perfectly. He had uttered a mad wish that he himself might remain young, and the portrait grow old; that his own beauty might be untarnished, and the face on the canvas bear the burden of his passions and his sins; that the painted image might be seared with the lines of suffering and thought, and that he might keep all the delicate bloom and loveliness of his then just conscious boyhood. Surely his wish had not been fulfilled? Such things were impossible. It seemed monstrous even to think of them. And, yet, there was the picture before him, with the touch of cruelty in the mouth. Cruelty! Had he been cruel? It was the girl's fault, not his. He had dreamed of her as a great artist, had given his love to her because he had thought her great. Then she had disappointed him. She had been shallow and unworthy. And, yet, a feeling of infinite regret came over him, as he thought of her lying at his feet sobbing like a little child. He remembered with what callousness he had watched her. Why had he been made like that? Why had such a soul been given to him? But he had suffered also. During the three terrible hours that the play had lasted, he had lived centuries of pain, aeon upon aeon of torture. His life was well worth hers. She had marred him for a moment, if he had wounded her for an age. Besides, women were better suited to bear sorrow than men. They lived on their emotions. They only thought of their emotions. When they took lovers, it was merely to have some one with whom they could have scenes. Lord Henry had told him that, and Lord Henry knew what women were. Why should he trouble about Sibyl Vane? She was nothing to him now. But the picture? What was he to say of that? It held the secret of his life, and told his story. It had taught him to love his own beauty. Would it teach him to loathe his own soul? Would he ever look at it again? No; it was merely an illusion wrought on the troubled senses. The horrible night that he had passed had left phantoms behind it. Suddenly there had fallen upon his brain that tiny scarlet speck that makes men mad. The picture had not changed. It was folly to think so. Yet it was watching him, with its beautiful marred face and its cruel smile. Its bright hair gleamed in the early sunlight. Its blue eyes met his own. A sense of infinite pity, not for himself, but for the painted image of himself, came over him. It had altered already, and would alter more. Its gold would wither into grey. Its red and white roses would die. For every sin that he committed, a stain would fleck and wreck its fairness. But he would not sin. The picture, changed or unchanged, would be to him the visible emblem of conscience. He would resist temptation. He would not see Lord Henry any more--would not, at any rate, listen to those subtle poisonous theories that in Basil Hallward's garden had first stirred within him the passion for impossible things. He would go back to Sibyl Vane, make her amends, marry her, try to love her again. Yes, it was his duty to do so. She must have suffered more than he had. Poor child! He had been selfish and cruel to her. The fascination that she had exercised over him would return. They would be happy together. His life with her would be beautiful and pure. He got up from his chair and drew a large screen right in front of the portrait, shuddering as he glanced at it. "How horrible!" he murmured to himself, and he walked across to the window and opened it. When he stepped out on to the grass, he drew a deep breath. The fresh morning air seemed to drive away all his sombre passions. He thought only of Sibyl. A faint echo of his love came back to him. He repeated her name over and over again. The birds that were singing in the dew-drenched garden seemed to be telling the flowers about her.

Chapter 7

https://web.archive.org/web/20210228142327/https://www.sparknotes.com/lit/doriangray/section4/

The theater is crowded when the men arrive. Dorian continues to wax eloquent about Sibyl's beauty, and Basil assures Dorian that he will support the marriage wholeheartedly since Dorian is so obviously in love. When the play begins, however, Sibyl is terrible, and her acting only worsens as the evening wears on. Unable to understand the change that has come over his beloved, Dorian is heartbroken. Basil and Lord Henry leave him, and he makes his way backstage to find Sibyl, who is quite happy despite her dreadful performance. She explains that before she met Dorian and experienced true love, she was able to inhabit other characters and feel their emotions easily, which made possible her success as an actress. Now, however, these pretend emotions no longer interest her, since they pale in relation to her real feelings for Dorian. She realizes that "the words I had to speak were unreal, were not my words, were not what I wanted to say. As a result, she declares that her career on the stage is over. Dorian, horrified by this decision, realizes that he was in love not with her but with her acting. He spurns her cruelly and tells her that he wishes never to see her again. After a night spent wandering the streets of London, Dorian returns to his home. There, he looks at Basil's portrait of him and notices the painting has changed--a faint sneer has appeared at the corner of his likeness's mouth. He is astonished. Remembering his wish that the painting would bear the burden and marks of age and lifestyle for him, Dorian is suddenly overcome with shame about his behavior toward Sibyl. He pulls a screen in front of the portrait and goes to bed, resolving to make amends with Sibyl in the morning

Dorian's romance with Sibyl represents the possibility that he will not accept Lord Henry's philosophy and will instead learn to prize human beings and emotions over art. His love for her allows him to resist Lord Henry's seductive words, noting to Lord Henry, "When I am with her, I regret all that you have taught me. . . . he mere touch of Sibyl Vane's hand makes me forget you and all your wrong, fascinating, poisonous, delightful theories." But just as Lord Henry appreciates Dorian as a work of art rather than as a human being, what Dorian values most about Sibyl is her talent as an actress--her ability to portray an ideal, not her true self. The extent of Lord Henry's influence is painfully clear as Dorian heartlessly snubs Sibyl, who claims that her real love for him prohibits her from acting out such emotions onstage. Surely, to modern readers, Sibyl's devotion to Dorian--not to mention her grief over losing him--seems a bit melodramatic. She is a rather thinly drawn character, but she serves two important functions. First, she forces us to question what precisely art is and when its effects are good. Second, she shows the pernicious consequences of a philosophy that places beauty and self-pleasure above consideration for others. Sibyl's tragic fate enables us to be as critical of Wilde's philosophies as he himself was at the end of his life. Sibyl's claim that Dorian gives her "something higher, something of which all art is but a reflection" stands in undeniable contrast to Lord Henry's philosophy, in which art is the highest experience and life imitates art rather than vice versa. Indeed, time and again, Lord Henry delights in ignoring the significance of human emotions. Even though Sibyl's conception of art as a reflection of grand emotions counters Lord Henry's philosophy of art, it resonates throughout the remainder of the novel. Indeed, Sibyl's philosophy is echoed in the very portrait of Dorian, since it is a reflection of Dorian's true self. The answer to the narrator's question as to whether the changing portrait "ould ... teach to loathe his own soul" is yes, as Dorian grows increasingly uncomfortable over the course of the novel with what the disfigured portrait signifies about himself. As the novel progresses and the painting continues to register the effects of time and dissipation, we see the degree to which Dorian is undone by the sins that his portrait reflects and the degree to which he suffers for allowing the painting to act as a "visible emblem of conscience." The aging of Dorian's likeness in the portrait ultimately contradicts some of Lord Henry's--and Wilde's--beliefs about art: the painting does not exist in a moral vacuum. Instead, the painting both shows the deleterious effects of sin and gives Dorian a sense of freedom from morality; it thus influences and is influenced by morality.

sparknotes

all_chapterized_books/1232-chapters/08.txt

finished_summaries/sparknotes/The Prince/section_3_part_1.txt

The Prince.chapter viii

chapter viii

{"name": "Chapter VIII", "url": "https://web.archive.org/web/20210303115306/https://www.sparknotes.com/philosophy/prince/section4/", "summary": "Concerning Those Who Become Princes by Evil Means Machiavelli continues to describe the ways that a man can become a prince. In addition to fortune and prowess, criminal acts or the approval of his fellow citizens can facilitate a man's rise to power. Those who come to power by crime kill fellow citizens and betray friends. They are \"treacherous, pitiless, and irreligious. Princes who commit criminal acts can achieve power, but never glory. King Agathocles of Syracuse is an example of a man who rose to power through crime. Agathocles was a common citizen who joined the militia, rose to a leading rank in the army, and then assembled a meeting of the senate at which he ordered his men to kill all the senators and to install him in power. Agathocles' reign was characterized by constant difficulties and threats to his power. However, he withstood them and maintained his rule. Once in power, Agathocles proved as competent as any eminent commander, but the severity of the crimes he committed during his ascension preclude his being considered great. Cruelty, which is itself evil, can be used well if it is applied once at the outset, and thereafter only employed in self-defense and for the greater good of one's subjects. Regular and frequent perpetration of cruel actions earns a ruler infamy. If a prince comes to power by crime and wishes to be successful, he, like Agathocles, must only use cruelty in the first sense. Therefore, when a prince decides to seize a state, he must determine how much injury to inflict. He needs to strike all at once and then refrain from further atrocities. In this way, his subjects will eventually forget the violence and cruelty. Gradually, resentment will fade, and the people will come to appreciate the resulting benefits of the prince's rule. Most important, a prince should be consistent in the way he treats his subjects", "analysis": ""}

Although a prince may rise from a private station in two ways, neither of which can be entirely attributed to fortune or genius, yet it is manifest to me that I must not be silent on them, although one could be more copiously treated when I discuss republics. These methods are when, either by some wicked or nefarious ways, one ascends to the principality, or when by the favour of his fellow-citizens a private person becomes the prince of his country. And speaking of the first method, it will be illustrated by two examples--one ancient, the other modern--and without entering further into the subject, I consider these two examples will suffice those who may be compelled to follow them. Agathocles, the Sicilian,(*) became King of Syracuse not only from a private but from a low and abject position. This man, the son of a potter, through all the changes in his fortunes always led an infamous life. Nevertheless, he accompanied his infamies with so much ability of mind and body that, having devoted himself to the military profession, he rose through its ranks to be Praetor of Syracuse. Being established in that position, and having deliberately resolved to make himself prince and to seize by violence, without obligation to others, that which had been conceded to him by assent, he came to an understanding for this purpose with Amilcar, the Carthaginian, who, with his army, was fighting in Sicily. One morning he assembled the people and the senate of Syracuse, as if he had to discuss with them things relating to the Republic, and at a given signal the soldiers killed all the senators and the richest of the people; these dead, he seized and held the princedom of that city without any civil commotion. And although he was twice routed by the Carthaginians, and ultimately besieged, yet not only was he able to defend his city, but leaving part of his men for its defence, with the others he attacked Africa, and in a short time raised the siege of Syracuse. The Carthaginians, reduced to extreme necessity, were compelled to come to terms with Agathocles, and, leaving Sicily to him, had to be content with the possession of Africa. (*) Agathocles the Sicilian, born 361 B.C., died 289 B.C. Therefore, he who considers the actions and the genius of this man will see nothing, or little, which can be attributed to fortune, inasmuch as he attained pre-eminence, as is shown above, not by the favour of any one, but step by step in the military profession, which steps were gained with a thousand troubles and perils, and were afterwards boldly held by him with many hazardous dangers. Yet it cannot be called talent to slay fellow-citizens, to deceive friends, to be without faith, without mercy, without religion; such methods may gain empire, but not glory. Still, if the courage of Agathocles in entering into and extricating himself from dangers be considered, together with his greatness of mind in enduring and overcoming hardships, it cannot be seen why he should be esteemed less than the most notable captain. Nevertheless, his barbarous cruelty and inhumanity with infinite wickedness do not permit him to be celebrated among the most excellent men. What he achieved cannot be attributed either to fortune or genius. In our times, during the rule of Alexander the Sixth, Oliverotto da Fermo, having been left an orphan many years before, was brought up by his maternal uncle, Giovanni Fogliani, and in the early days of his youth sent to fight under Pagolo Vitelli, that, being trained under his discipline, he might attain some high position in the military profession. After Pagolo died, he fought under his brother Vitellozzo, and in a very short time, being endowed with wit and a vigorous body and mind, he became the first man in his profession. But it appearing a paltry thing to serve under others, he resolved, with the aid of some citizens of Fermo, to whom the slavery of their country was dearer than its liberty, and with the help of the Vitelleschi, to seize Fermo. So he wrote to Giovanni Fogliani that, having been away from home for many years, he wished to visit him and his city, and in some measure to look upon his patrimony; and although he had not laboured to acquire anything except honour, yet, in order that the citizens should see he had not spent his time in vain, he desired to come honourably, so would be accompanied by one hundred horsemen, his friends and retainers; and he entreated Giovanni to arrange that he should be received honourably by the Fermians, all of which would be not only to his honour, but also to that of Giovanni himself, who had brought him up. Giovanni, therefore, did not fail in any attentions due to his nephew, and he caused him to be honourably received by the Fermians, and he lodged him in his own house, where, having passed some days, and having arranged what was necessary for his wicked designs, Oliverotto gave a solemn banquet to which he invited Giovanni Fogliani and the chiefs of Fermo. When the viands and all the other entertainments that are usual in such banquets were finished, Oliverotto artfully began certain grave discourses, speaking of the greatness of Pope Alexander and his son Cesare, and of their enterprises, to which discourse Giovanni and others answered; but he rose at once, saying that such matters ought to be discussed in a more private place, and he betook himself to a chamber, whither Giovanni and the rest of the citizens went in after him. No sooner were they seated than soldiers issued from secret places and slaughtered Giovanni and the rest. After these murders Oliverotto, mounted on horseback, rode up and down the town and besieged the chief magistrate in the palace, so that in fear the people were forced to obey him, and to form a government, of which he made himself the prince. He killed all the malcontents who were able to injure him, and strengthened himself with new civil and military ordinances, in such a way that, in the year during which he held the principality, not only was he secure in the city of Fermo, but he had become formidable to all his neighbours. And his destruction would have been as difficult as that of Agathocles if he had not allowed himself to be overreached by Cesare Borgia, who took him with the Orsini and Vitelli at Sinigalia, as was stated above. Thus one year after he had committed this parricide, he was strangled, together with Vitellozzo, whom he had made his leader in valour and wickedness. Some may wonder how it can happen that Agathocles, and his like, after infinite treacheries and cruelties, should live for long secure in his country, and defend himself from external enemies, and never be conspired against by his own citizens; seeing that many others, by means of cruelty, have never been able even in peaceful times to hold the state, still less in the doubtful times of war. I believe that this follows from severities(*) being badly or properly used. Those may be called properly used, if of evil it is possible to speak well, that are applied at one blow and are necessary to one's security, and that are not persisted in afterwards unless they can be turned to the advantage of the subjects. The badly employed are those which, notwithstanding they may be few in the commencement, multiply with time rather than decrease. Those who practise the first system are able, by aid of God or man, to mitigate in some degree their rule, as Agathocles did. It is impossible for those who follow the other to maintain themselves. (*) Mr Burd suggests that this word probably comes near the modern equivalent of Machiavelli's thought when he speaks of "crudelta" than the more obvious "cruelties." Hence it is to be remarked that, in seizing a state, the usurper ought to examine closely into all those injuries which it is necessary for him to inflict, and to do them all at one stroke so as not to have to repeat them daily; and thus by not unsettling men he will be able to reassure them, and win them to himself by benefits. He who does otherwise, either from timidity or evil advice, is always compelled to keep the knife in his hand; neither can he rely on his subjects, nor can they attach themselves to him, owing to their continued and repeated wrongs. For injuries ought to be done all at one time, so that, being tasted less, they offend less; benefits ought to be given little by little, so that the flavour of them may last longer. And above all things, a prince ought to live amongst his people in such a way that no unexpected circumstances, whether of good or evil, shall make him change; because if the necessity for this comes in troubled times, you are too late for harsh measures; and mild ones will not help you, for they will be considered as forced from you, and no one will be under any obligation to you for them.

Chapter VIII

https://web.archive.org/web/20210303115306/https://www.sparknotes.com/philosophy/prince/section4/

Concerning Those Who Become Princes by Evil Means Machiavelli continues to describe the ways that a man can become a prince. In addition to fortune and prowess, criminal acts or the approval of his fellow citizens can facilitate a man's rise to power. Those who come to power by crime kill fellow citizens and betray friends. They are "treacherous, pitiless, and irreligious. Princes who commit criminal acts can achieve power, but never glory. King Agathocles of Syracuse is an example of a man who rose to power through crime. Agathocles was a common citizen who joined the militia, rose to a leading rank in the army, and then assembled a meeting of the senate at which he ordered his men to kill all the senators and to install him in power. Agathocles' reign was characterized by constant difficulties and threats to his power. However, he withstood them and maintained his rule. Once in power, Agathocles proved as competent as any eminent commander, but the severity of the crimes he committed during his ascension preclude his being considered great. Cruelty, which is itself evil, can be used well if it is applied once at the outset, and thereafter only employed in self-defense and for the greater good of one's subjects. Regular and frequent perpetration of cruel actions earns a ruler infamy. If a prince comes to power by crime and wishes to be successful, he, like Agathocles, must only use cruelty in the first sense. Therefore, when a prince decides to seize a state, he must determine how much injury to inflict. He needs to strike all at once and then refrain from further atrocities. In this way, his subjects will eventually forget the violence and cruelty. Gradually, resentment will fade, and the people will come to appreciate the resulting benefits of the prince's rule. Most important, a prince should be consistent in the way he treats his subjects

shmoop

all_chapterized_books/110-chapters/26.txt

finished_summaries/shmoop/Tess of the D'Urbervilles/section_25_part_0.txt

Tess of the D'Urbervilles.chapter 26

chapter 26

{"name": "Phase IV: \"The Consequence,\" Chapter Twenty-Six", "url": "https://web.archive.org/web/20210424232301/http://www.shmoop.com/study-guides/literature/tess-of-the-durbervilles/summary/chapter-26", "summary": "Later that evening, Angel and his father are left alone together, and Angel seizes the opportunity to talk to his dad about his plans. His father tells him that, since he didn't pay for his college education like he did for Angel's brothers, he instead put aside that money for Angel to buy land with. Angel is appropriately grateful, and mentions that he might, you know, be thinking about getting married. His father agrees that marriage is great--provided it's to a saintly and devout Christian woman. Angel's father tries to push the Mercy Chant card, but Angel interrupts. Yes, yes, Angel says, but isn't it also important that she be good at farming? Angel's mother comes in, and says she hopes that the young lady in question is, in fact, a \"lady\"--someone he wouldn't be embarrassed to invite among polite, fancy company. He tells them all about Tess, emphasizing that she is a regular church-goer. They finally agree to meet her, and advise him to take things slowly. Even though Angel can legally do what he likes as far as marriage, he doesn't push the point. He goes back to the dairy to see Tess, and his father rides part of the way with him. His father tells him about his efforts to convert wealthy, party-animal types, and how he has often failed. One of the rich people Mr. Clare had been trying to work with was a Mr. D'Urberville. Angel perks up--he's heard of that old family, since their estates were close to the dairy, and knows something about their family history, including a ghost story about a coach and four . Mr. Clare says it's some new family that has adopted the old name. The original family died out more than sixty years before. Anyway, this Alec D'Urberville guy is a total jerk, and when Mr. Clare tried gently to point out the errors of his ways, Alec made fun of him in public. Angel gets upset on his father's behalf, of course, but his father takes it all in stride, and says he'll just keep trying.", "analysis": ""}

It was not till the evening, after family prayers, that Angel found opportunity of broaching to his father one or two subjects near his heart. He had strung himself up to the purpose while kneeling behind his brothers on the carpet, studying the little nails in the heels of their walking boots. When the service was over they went out of the room with their mother, and Mr Clare and himself were left alone. The young man first discussed with the elder his plans for the attainment of his position as a farmer on an extensive scale--either in England or in the Colonies. His father then told him that, as he had not been put to the expense of sending Angel up to Cambridge, he had felt it his duty to set by a sum of money every year towards the purchase or lease of land for him some day, that he might not feel himself unduly slighted. "As far as worldly wealth goes," continued his father, "you will no doubt stand far superior to your brothers in a few years." This considerateness on old Mr Clare's part led Angel onward to the other and dearer subject. He observed to his father that he was then six-and-twenty, and that when he should start in the farming business he would require eyes in the back of his head to see to all matters--some one would be necessary to superintend the domestic labours of his establishment whilst he was afield. Would it not be well, therefore, for him to marry? His father seemed to think this idea not unreasonable; and then Angel put the question-- "What kind of wife do you think would be best for me as a thrifty hard-working farmer?" "A truly Christian woman, who will be a help and a comfort to you in your goings-out and your comings-in. Beyond that, it really matters little. Such an one can be found; indeed, my earnest-minded friend and neighbour, Dr Chant--" "But ought she not primarily to be able to milk cows, churn good butter, make immense cheeses; know how to sit hens and turkeys and rear chickens, to direct a field of labourers in an emergency, and estimate the value of sheep and calves?" "Yes; a farmer's wife; yes, certainly. It would be desirable." Mr Clare, the elder, had plainly never thought of these points before. "I was going to add," he said, "that for a pure and saintly woman you will not find one more to your true advantage, and certainly not more to your mother's mind and my own, than your friend Mercy, whom you used to show a certain interest in. It is true that my neighbour Chant's daughter had lately caught up the fashion of the younger clergy round about us for decorating the Communion-table--altar, as I was shocked to hear her call it one day--with flowers and other stuff on festival occasions. But her father, who is quite as opposed to such flummery as I, says that can be cured. It is a mere girlish outbreak which, I am sure, will not be permanent." "Yes, yes; Mercy is good and devout, I know. But, father, don't you think that a young woman equally pure and virtuous as Miss Chant, but one who, in place of that lady's ecclesiastical accomplishments, understands the duties of farm life as well as a farmer himself, would suit me infinitely better?" His father persisted in his conviction that a knowledge of a farmer's wife's duties came second to a Pauline view of humanity; and the impulsive Angel, wishing to honour his father's feelings and to advance the cause of his heart at the same time, grew specious. He said that fate or Providence had thrown in his way a woman who possessed every qualification to be the helpmate of an agriculturist, and was decidedly of a serious turn of mind. He would not say whether or not she had attached herself to the sound Low Church School of his father; but she would probably be open to conviction on that point; she was a regular church-goer of simple faith; honest-hearted, receptive, intelligent, graceful to a degree, chaste as a vestal, and, in personal appearance, exceptionally beautiful. "Is she of a family such as you would care to marry into--a lady, in short?" asked his startled mother, who had come softly into the study during the conversation. "She is not what in common parlance is called a lady," said Angel, unflinchingly, "for she is a cottager's daughter, as I am proud to say. But she IS a lady, nevertheless--in feeling and nature." "Mercy Chant is of a very good family." "Pooh!--what's the advantage of that, mother?" said Angel quickly. "How is family to avail the wife of a man who has to rough it as I have, and shall have to do?" "Mercy is accomplished. And accomplishments have their charm," returned his mother, looking at him through her silver spectacles. "As to external accomplishments, what will be the use of them in the life I am going to lead?--while as to her reading, I can take that in hand. She'll be apt pupil enough, as you would say if you knew her. She's brim full of poetry--actualized poetry, if I may use the expression. She LIVES what paper-poets only write... And she is an unimpeachable Christian, I am sure; perhaps of the very tribe, genus, and species you desire to propagate." "O Angel, you are mocking!" "Mother, I beg pardon. But as she really does attend Church almost every Sunday morning, and is a good Christian girl, I am sure you will tolerate any social shortcomings for the sake of that quality, and feel that I may do worse than choose her." Angel waxed quite earnest on that rather automatic orthodoxy in his beloved Tess which (never dreaming that it might stand him in such good stead) he had been prone to slight when observing it practised by her and the other milkmaids, because of its obvious unreality amid beliefs essentially naturalistic. In their sad doubts as to whether their son had himself any right whatever to the title he claimed for the unknown young woman, Mr and Mrs Clare began to feel it as an advantage not to be overlooked that she at least was sound in her views; especially as the conjunction of the pair must have arisen by an act of Providence; for Angel never would have made orthodoxy a condition of his choice. They said finally that it was better not to act in a hurry, but that they would not object to see her. Angel therefore refrained from declaring more particulars now. He felt that, single-minded and self-sacrificing as his parents were, there yet existed certain latent prejudices of theirs, as middle-class people, which it would require some tact to overcome. For though legally at liberty to do as he chose, and though their daughter-in-law's qualifications could make no practical difference to their lives, in the probability of her living far away from them, he wished for affection's sake not to wound their sentiment in the most important decision of his life. He observed his own inconsistencies in dwelling upon accidents in Tess's life as if they were vital features. It was for herself that he loved Tess; her soul, her heart, her substance--not for her skill in the dairy, her aptness as his scholar, and certainly not for her simple formal faith-professions. Her unsophisticated open-air existence required no varnish of conventionality to make it palatable to him. He held that education had as yet but little affected the beats of emotion and impulse on which domestic happiness depends. It was probable that, in the lapse of ages, improved systems of moral and intellectual training would appreciably, perhaps considerably, elevate the involuntary and even the unconscious instincts of human nature; but up to the present day, culture, as far as he could see, might be said to have affected only the mental epiderm of those lives which had been brought under its influence. This belief was confirmed by his experience of women, which, having latterly been extended from the cultivated middle-class into the rural community, had taught him how much less was the intrinsic difference between the good and wise woman of one social stratum and the good and wise woman of another social stratum, than between the good and bad, the wise and the foolish, of the same stratum or class. It was the morning of his departure. His brothers had already left the Vicarage to proceed on a walking tour in the north, whence one was to return to his college, and the other to his curacy. Angel might have accompanied them, but preferred to rejoin his sweetheart at Talbothays. He would have been an awkward member of the party; for, though the most appreciative humanist, the most ideal religionist, even the best-versed Christologist of the three, there was alienation in the standing consciousness that his squareness would not fit the round hole that had been prepared for him. To neither Felix nor Cuthbert had he ventured to mention Tess. His mother made him sandwiches, and his father accompanied him, on his own mare, a little way along the road. Having fairly well advanced his own affairs, Angel listened in a willing silence, as they jogged on together through the shady lanes, to his father's account of his parish difficulties, and the coldness of brother clergymen whom he loved, because of his strict interpretations of the New Testament by the light of what they deemed a pernicious Calvinistic doctrine. "Pernicious!" said Mr Clare, with genial scorn; and he proceeded to recount experiences which would show the absurdity of that idea. He told of wondrous conversions of evil livers of which he had been the instrument, not only amongst the poor, but amongst the rich and well-to-do; and he also candidly admitted many failures. As an instance of the latter, he mentioned the case of a young upstart squire named d'Urberville, living some forty miles off, in the neighbourhood of Trantridge. "Not one of the ancient d'Urbervilles of Kingsbere and other places?" asked his son. "That curiously historic worn-out family with its ghostly legend of the coach-and-four?" "O no. The original d'Urbervilles decayed and disappeared sixty or eighty years ago--at least, I believe so. This seems to be a new family which had taken the name; for the credit of the former knightly line I hope they are spurious, I'm sure. But it is odd to hear you express interest in old families. I thought you set less store by them even than I." "You misapprehend me, father; you often do," said Angel with a little impatience. "Politically I am sceptical as to the virtue of their being old. Some of the wise even among themselves 'exclaim against their own succession,' as Hamlet puts it; but lyrically, dramatically, and even historically, I am tenderly attached to them." This distinction, though by no means a subtle one, was yet too subtle for Mr Clare the elder, and he went on with the story he had been about to relate; which was that after the death of the senior so-called d'Urberville, the young man developed the most culpable passions, though he had a blind mother, whose condition should have made him know better. A knowledge of his career having come to the ears of Mr Clare, when he was in that part of the country preaching missionary sermons, he boldly took occasion to speak to the delinquent on his spiritual state. Though he was a stranger, occupying another's pulpit, he had felt this to be his duty, and took for his text the words from St Luke: "Thou fool, this night thy soul shall be required of thee!" The young man much resented this directness of attack, and in the war of words which followed when they met he did not scruple publicly to insult Mr Clare, without respect for his gray hairs. Angel flushed with distress. "Dear father," he said sadly, "I wish you would not expose yourself to such gratuitous pain from scoundrels!" "Pain?" said his father, his rugged face shining in the ardour of self-abnegation. "The only pain to me was pain on his account, poor, foolish young man. Do you suppose his incensed words could give me any pain, or even his blows? 'Being reviled we bless; being persecuted we suffer it; being defamed we entreat; we are made as the filth of the world, and as the offscouring of all things unto this day.' Those ancient and noble words to the Corinthians are strictly true at this present hour." "Not blows, father? He did not proceed to blows?" "No, he did not. Though I have borne blows from men in a mad state of intoxication." "No!" "A dozen times, my boy. What then? I have saved them from the guilt of murdering their own flesh and blood thereby; and they have lived to thank me, and praise God." "May this young man do the same!" said Angel fervently. "But I fear otherwise, from what you say." "We'll hope, nevertheless," said Mr Clare. "And I continue to pray for him, though on this side of the grave we shall probably never meet again. But, after all, one of those poor words of mine may spring up in his heart as a good seed some day." Now, as always, Clare's father was sanguine as a child; and though the younger could not accept his parent's narrow dogma, he revered his practice and recognized the hero under the pietist. Perhaps he revered his father's practice even more now than ever, seeing that, in the question of making Tessy his wife, his father had not once thought of inquiring whether she were well provided or penniless. The same unworldliness was what had necessitated Angel's getting a living as a farmer, and would probably keep his brothers in the position of poor parsons for the term of their activities; yet Angel admired it none the less. Indeed, despite his own heterodoxy, Angel often felt that he was nearer to his father on the human side than was either of his brethren.

Phase IV: "The Consequence," Chapter Twenty-Six

https://web.archive.org/web/20210424232301/http://www.shmoop.com/study-guides/literature/tess-of-the-durbervilles/summary/chapter-26

Later that evening, Angel and his father are left alone together, and Angel seizes the opportunity to talk to his dad about his plans. His father tells him that, since he didn't pay for his college education like he did for Angel's brothers, he instead put aside that money for Angel to buy land with. Angel is appropriately grateful, and mentions that he might, you know, be thinking about getting married. His father agrees that marriage is great--provided it's to a saintly and devout Christian woman. Angel's father tries to push the Mercy Chant card, but Angel interrupts. Yes, yes, Angel says, but isn't it also important that she be good at farming? Angel's mother comes in, and says she hopes that the young lady in question is, in fact, a "lady"--someone he wouldn't be embarrassed to invite among polite, fancy company. He tells them all about Tess, emphasizing that she is a regular church-goer. They finally agree to meet her, and advise him to take things slowly. Even though Angel can legally do what he likes as far as marriage, he doesn't push the point. He goes back to the dairy to see Tess, and his father rides part of the way with him. His father tells him about his efforts to convert wealthy, party-animal types, and how he has often failed. One of the rich people Mr. Clare had been trying to work with was a Mr. D'Urberville. Angel perks up--he's heard of that old family, since their estates were close to the dairy, and knows something about their family history, including a ghost story about a coach and four . Mr. Clare says it's some new family that has adopted the old name. The original family died out more than sixty years before. Anyway, this Alec D'Urberville guy is a total jerk, and when Mr. Clare tried gently to point out the errors of his ways, Alec made fun of him in public. Angel gets upset on his father's behalf, of course, but his father takes it all in stride, and says he'll just keep trying.

shmoop

all_chapterized_books/28054-chapters/3.txt

finished_summaries/shmoop/The Brothers Karamazov/section_2_part_0.txt

The Brothers Karamazov.book 1.chapter 3

book 1, chapter 3

{"name": "Book 1, Chapter 3", "url": "https://web.archive.org/web/20201023112808/https://www.shmoop.com/study-guides/literature/brothers-karamazov/summary/book-1-chapter-3", "summary": "Now we get to wife #2. The next lovely lady Fyodor decided to take for a wife was Sofia Ivanovna, an orphan and the ward of General Vorokhov's widow. This widow was apparently was so hard on Sofia that she was once caught trying to hang herself. Fyodor swooped in and eloped with Sofia, but he was enraged to discover that she wouldn't be getting any dowry. This second marriage was just as terrible as the first, or perhaps more so, with Fyodor having orgies in the house in front of his wife. Sofia became a \"shrieker,\" which is the local term for a hysteric. Sofia bore Fyodor two sons, Ivan and Alexei, and died soon afterward. Upon her death, the general's widow visited Fyodor, slapped his face, and took the children into her care. When she died, the kids went to stay with her heir, Yefim Petrovich Polenov, who actually took good care of them and made sure they got an education. Ivan seemed to be particularly gifted intellectually and went off to Moscow to study. He paid his own way by writing journalism and reviews. One editorial on the issue of ecclesiastical courts caused quite a controversy. Everyone was surprised when Ivan showed up back in town at Fyodor's, on the invitation of Dmitri as it turned out. The precise reasons why, however, the narrator isn't going to tell us until later . But it turns out that Alexei has been in town staying at the local monastery for at least a year before Ivan shows up, which is the narrator's way of shifting gears into the next chapter.", "analysis": ""}

Chapter III. The Second Marriage And The Second Family Very shortly after getting his four-year-old Mitya off his hands Fyodor Pavlovitch married a second time. His second marriage lasted eight years. He took this second wife, Sofya Ivanovna, also a very young girl, from another province, where he had gone upon some small piece of business in company with a Jew. Though Fyodor Pavlovitch was a drunkard and a vicious debauchee he never neglected investing his capital, and managed his business affairs very successfully, though, no doubt, not over- scrupulously. Sofya Ivanovna was the daughter of an obscure deacon, and was left from childhood an orphan without relations. She grew up in the house of a general's widow, a wealthy old lady of good position, who was at once her benefactress and tormentor. I do not know the details, but I have only heard that the orphan girl, a meek and gentle creature, was once cut down from a halter in which she was hanging from a nail in the loft, so terrible were her sufferings from the caprice and everlasting nagging of this old woman, who was apparently not bad-hearted but had become an insufferable tyrant through idleness. Fyodor Pavlovitch made her an offer; inquiries were made about him and he was refused. But again, as in his first marriage, he proposed an elopement to the orphan girl. There is very little doubt that she would not on any account have married him if she had known a little more about him in time. But she lived in another province; besides, what could a little girl of sixteen know about it, except that she would be better at the bottom of the river than remaining with her benefactress. So the poor child exchanged a benefactress for a benefactor. Fyodor Pavlovitch did not get a penny this time, for the general's widow was furious. She gave them nothing and cursed them both. But he had not reckoned on a dowry; what allured him was the remarkable beauty of the innocent girl, above all her innocent appearance, which had a peculiar attraction for a vicious profligate, who had hitherto admired only the coarser types of feminine beauty. "Those innocent eyes slit my soul up like a razor," he used to say afterwards, with his loathsome snigger. In a man so depraved this might, of course, mean no more than sensual attraction. As he had received no dowry with his wife, and had, so to speak, taken her "from the halter," he did not stand on ceremony with her. Making her feel that she had "wronged" him, he took advantage of her phenomenal meekness and submissiveness to trample on the elementary decencies of marriage. He gathered loose women into his house, and carried on orgies of debauchery in his wife's presence. To show what a pass things had come to, I may mention that Grigory, the gloomy, stupid, obstinate, argumentative servant, who had always hated his first mistress, Adelaida Ivanovna, took the side of his new mistress. He championed her cause, abusing Fyodor Pavlovitch in a manner little befitting a servant, and on one occasion broke up the revels and drove all the disorderly women out of the house. In the end this unhappy young woman, kept in terror from her childhood, fell into that kind of nervous disease which is most frequently found in peasant women who are said to be "possessed by devils." At times after terrible fits of hysterics she even lost her reason. Yet she bore Fyodor Pavlovitch two sons, Ivan and Alexey, the eldest in the first year of marriage and the second three years later. When she died, little Alexey was in his fourth year, and, strange as it seems, I know that he remembered his mother all his life, like a dream, of course. At her death almost exactly the same thing happened to the two little boys as to their elder brother, Mitya. They were completely forgotten and abandoned by their father. They were looked after by the same Grigory and lived in his cottage, where they were found by the tyrannical old lady who had brought up their mother. She was still alive, and had not, all those eight years, forgotten the insult done her. All that time she was obtaining exact information as to her Sofya's manner of life, and hearing of her illness and hideous surroundings she declared aloud two or three times to her retainers: "It serves her right. God has punished her for her ingratitude." Exactly three months after Sofya Ivanovna's death the general's widow suddenly appeared in our town, and went straight to Fyodor Pavlovitch's house. She spent only half an hour in the town but she did a great deal. It was evening. Fyodor Pavlovitch, whom she had not seen for those eight years, came in to her drunk. The story is that instantly upon seeing him, without any sort of explanation, she gave him two good, resounding slaps on the face, seized him by a tuft of hair, and shook him three times up and down. Then, without a word, she went straight to the cottage to the two boys. Seeing, at the first glance, that they were unwashed and in dirty linen, she promptly gave Grigory, too, a box on the ear, and announcing that she would carry off both the children she wrapped them just as they were in a rug, put them in the carriage, and drove off to her own town. Grigory accepted the blow like a devoted slave, without a word, and when he escorted the old lady to her carriage he made her a low bow and pronounced impressively that, "God would repay her for the orphans." "You are a blockhead all the same," the old lady shouted to him as she drove away. Fyodor Pavlovitch, thinking it over, decided that it was a good thing, and did not refuse the general's widow his formal consent to any proposition in regard to his children's education. As for the slaps she had given him, he drove all over the town telling the story. It happened that the old lady died soon after this, but she left the boys in her will a thousand roubles each "for their instruction, and so that all be spent on them exclusively, with the condition that it be so portioned out as to last till they are twenty-one, for it is more than adequate provision for such children. If other people think fit to throw away their money, let them." I have not read the will myself, but I heard there was something queer of the sort, very whimsically expressed. The principal heir, Yefim Petrovitch Polenov, the Marshal of Nobility of the province, turned out, however, to be an honest man. Writing to Fyodor Pavlovitch, and discerning at once that he could extract nothing from him for his children's education (though the latter never directly refused but only procrastinated as he always did in such cases, and was, indeed, at times effusively sentimental), Yefim Petrovitch took a personal interest in the orphans. He became especially fond of the younger, Alexey, who lived for a long while as one of his family. I beg the reader to note this from the beginning. And to Yefim Petrovitch, a man of a generosity and humanity rarely to be met with, the young people were more indebted for their education and bringing up than to any one. He kept the two thousand roubles left to them by the general's widow intact, so that by the time they came of age their portions had been doubled by the accumulation of interest. He educated them both at his own expense, and certainly spent far more than a thousand roubles upon each of them. I won't enter into a detailed account of their boyhood and youth, but will only mention a few of the most important events. Of the elder, Ivan, I will only say that he grew into a somewhat morose and reserved, though far from timid boy. At ten years old he had realized that they were living not in their own home but on other people's charity, and that their father was a man of whom it was disgraceful to speak. This boy began very early, almost in his infancy (so they say at least), to show a brilliant and unusual aptitude for learning. I don't know precisely why, but he left the family of Yefim Petrovitch when he was hardly thirteen, entering a Moscow gymnasium, and boarding with an experienced and celebrated teacher, an old friend of Yefim Petrovitch. Ivan used to declare afterwards that this was all due to the "ardor for good works" of Yefim Petrovitch, who was captivated by the idea that the boy's genius should be trained by a teacher of genius. But neither Yefim Petrovitch nor this teacher was living when the young man finished at the gymnasium and entered the university. As Yefim Petrovitch had made no provision for the payment of the tyrannical old lady's legacy, which had grown from one thousand to two, it was delayed, owing to formalities inevitable in Russia, and the young man was in great straits for the first two years at the university, as he was forced to keep himself all the time he was studying. It must be noted that he did not even attempt to communicate with his father, perhaps from pride, from contempt for him, or perhaps from his cool common sense, which told him that from such a father he would get no real assistance. However that may have been, the young man was by no means despondent and succeeded in getting work, at first giving sixpenny lessons and afterwards getting paragraphs on street incidents into the newspapers under the signature of "Eye-Witness." These paragraphs, it was said, were so interesting and piquant that they were soon taken. This alone showed the young man's practical and intellectual superiority over the masses of needy and unfortunate students of both sexes who hang about the offices of the newspapers and journals, unable to think of anything better than everlasting entreaties for copying and translations from the French. Having once got into touch with the editors Ivan Fyodorovitch always kept up his connection with them, and in his latter years at the university he published brilliant reviews of books upon various special subjects, so that he became well known in literary circles. But only in his last year he suddenly succeeded in attracting the attention of a far wider circle of readers, so that a great many people noticed and remembered him. It was rather a curious incident. When he had just left the university and was preparing to go abroad upon his two thousand roubles, Ivan Fyodorovitch published in one of the more important journals a strange article, which attracted general notice, on a subject of which he might have been supposed to know nothing, as he was a student of natural science. The article dealt with a subject which was being debated everywhere at the time--the position of the ecclesiastical courts. After discussing several opinions on the subject he went on to explain his own view. What was most striking about the article was its tone, and its unexpected conclusion. Many of the Church party regarded him unquestioningly as on their side. And yet not only the secularists but even atheists joined them in their applause. Finally some sagacious persons opined that the article was nothing but an impudent satirical burlesque. I mention this incident particularly because this article penetrated into the famous monastery in our neighborhood, where the inmates, being particularly interested in the question of the ecclesiastical courts, were completely bewildered by it. Learning the author's name, they were interested in his being a native of the town and the son of "that Fyodor Pavlovitch." And just then it was that the author himself made his appearance among us. Why Ivan Fyodorovitch had come amongst us I remember asking myself at the time with a certain uneasiness. This fateful visit, which was the first step leading to so many consequences, I never fully explained to myself. It seemed strange on the face of it that a young man so learned, so proud, and apparently so cautious, should suddenly visit such an infamous house and a father who had ignored him all his life, hardly knew him, never thought of him, and would not under any circumstances have given him money, though he was always afraid that his sons Ivan and Alexey would also come to ask him for it. And here the young man was staying in the house of such a father, had been living with him for two months, and they were on the best possible terms. This last fact was a special cause of wonder to many others as well as to me. Pyotr Alexandrovitch Miuesov, of whom we have spoken already, the cousin of Fyodor Pavlovitch's first wife, happened to be in the neighborhood again on a visit to his estate. He had come from Paris, which was his permanent home. I remember that he was more surprised than any one when he made the acquaintance of the young man, who interested him extremely, and with whom he sometimes argued and not without an inner pang compared himself in acquirements. "He is proud," he used to say, "he will never be in want of pence; he has got money enough to go abroad now. What does he want here? Every one can see that he hasn't come for money, for his father would never give him any. He has no taste for drink and dissipation, and yet his father can't do without him. They get on so well together!" That was the truth; the young man had an unmistakable influence over his father, who positively appeared to be behaving more decently and even seemed at times ready to obey his son, though often extremely and even spitefully perverse. It was only later that we learned that Ivan had come partly at the request of, and in the interests of, his elder brother, Dmitri, whom he saw for the first time on this very visit, though he had before leaving Moscow been in correspondence with him about an important matter of more concern to Dmitri than himself. What that business was the reader will learn fully in due time. Yet even when I did know of this special circumstance I still felt Ivan Fyodorovitch to be an enigmatic figure, and thought his visit rather mysterious. I may add that Ivan appeared at the time in the light of a mediator between his father and his elder brother Dmitri, who was in open quarrel with his father and even planning to bring an action against him. The family, I repeat, was now united for the first time, and some of its members met for the first time in their lives. The younger brother, Alexey, had been a year already among us, having been the first of the three to arrive. It is of that brother Alexey I find it most difficult to speak in this introduction. Yet I must give some preliminary account of him, if only to explain one queer fact, which is that I have to introduce my hero to the reader wearing the cassock of a novice. Yes, he had been for the last year in our monastery, and seemed willing to be cloistered there for the rest of his life.

Book 1, Chapter 3

https://web.archive.org/web/20201023112808/https://www.shmoop.com/study-guides/literature/brothers-karamazov/summary/book-1-chapter-3

Now we get to wife #2. The next lovely lady Fyodor decided to take for a wife was Sofia Ivanovna, an orphan and the ward of General Vorokhov's widow. This widow was apparently was so hard on Sofia that she was once caught trying to hang herself. Fyodor swooped in and eloped with Sofia, but he was enraged to discover that she wouldn't be getting any dowry. This second marriage was just as terrible as the first, or perhaps more so, with Fyodor having orgies in the house in front of his wife. Sofia became a "shrieker," which is the local term for a hysteric. Sofia bore Fyodor two sons, Ivan and Alexei, and died soon afterward. Upon her death, the general's widow visited Fyodor, slapped his face, and took the children into her care. When she died, the kids went to stay with her heir, Yefim Petrovich Polenov, who actually took good care of them and made sure they got an education. Ivan seemed to be particularly gifted intellectually and went off to Moscow to study. He paid his own way by writing journalism and reviews. One editorial on the issue of ecclesiastical courts caused quite a controversy. Everyone was surprised when Ivan showed up back in town at Fyodor's, on the invitation of Dmitri as it turned out. The precise reasons why, however, the narrator isn't going to tell us until later . But it turns out that Alexei has been in town staying at the local monastery for at least a year before Ivan shows up, which is the narrator's way of shifting gears into the next chapter.

shmoop

all_chapterized_books/107-chapters/12.txt

finished_summaries/shmoop/Far From the Madding Crowd/section_11_part_0.txt

Far From the Madding Crowd.chapter 12

chapter 12

{"name": "Chapter 12", "url": "https://web.archive.org/web/20201219162644/https://www.shmoop.com/study-guides/literature/far-from-the-madding-crowd/summary/chapter-12", "summary": "Now that she's her own boss, Bathsheba starts going to the market to sell the farm's crops. She quickly learns to speak boldly to the men there and to haggle with them over prices. Wherever she walks, she can hear men behind her asking who she is. They also talk about how soon enough, some man will marry her. She also notices, though, that there's one man in the market who pays no attention to her at all--Farmer Boldwood. When she leaves the market, Bathsheba complains to Liddy about how all the men were staring at her the whole time. She mentions, though, the man who never looked at her. Just then, a carriage passes with Farmer Boldwood inside. Bathsheba points him out as the man who didn't look at her, and Liddy says tells her who it is. They speculate that Farmer Boldwood must have gotten his heart broken when he was younger, and that's why he's so reserved.", "analysis": ""}

FARMERS--A RULE--AN EXCEPTION The first public evidence of Bathsheba's decision to be a farmer in her own person and by proxy no more was her appearance the following market-day in the cornmarket at Casterbridge. The low though extensive hall, supported by beams and pillars, and latterly dignified by the name of Corn Exchange, was thronged with hot men who talked among each other in twos and threes, the speaker of the minute looking sideways into his auditor's face and concentrating his argument by a contraction of one eyelid during delivery. The greater number carried in their hands ground-ash saplings, using them partly as walking-sticks and partly for poking up pigs, sheep, neighbours with their backs turned, and restful things in general, which seemed to require such treatment in the course of their peregrinations. During conversations each subjected his sapling to great varieties of usage--bending it round his back, forming an arch of it between his two hands, overweighting it on the ground till it reached nearly a semicircle; or perhaps it was hastily tucked under the arm whilst the sample-bag was pulled forth and a handful of corn poured into the palm, which, after criticism, was flung upon the floor, an issue of events perfectly well known to half-a-dozen acute town-bred fowls which had as usual crept into the building unobserved, and waited the fulfilment of their anticipations with a high-stretched neck and oblique eye. Among these heavy yeomen a feminine figure glided, the single one of her sex that the room contained. She was prettily and even daintily dressed. She moved between them as a chaise between carts, was heard after them as a romance after sermons, was felt among them like a breeze among furnaces. It had required a little determination--far more than she had at first imagined--to take up a position here, for at her first entry the lumbering dialogues had ceased, nearly every face had been turned towards her, and those that were already turned rigidly fixed there. Two or three only of the farmers were personally known to Bathsheba, and to these she had made her way. But if she was to be the practical woman she had intended to show herself, business must be carried on, introductions or none, and she ultimately acquired confidence enough to speak and reply boldly to men merely known to her by hearsay. Bathsheba too had her sample-bags, and by degrees adopted the professional pour into the hand--holding up the grains in her narrow palm for inspection, in perfect Casterbridge manner. Something in the exact arch of her upper unbroken row of teeth, and in the keenly pointed corners of her red mouth when, with parted lips, she somewhat defiantly turned up her face to argue a point with a tall man, suggested that there was potentiality enough in that lithe slip of humanity for alarming exploits of sex, and daring enough to carry them out. But her eyes had a softness--invariably a softness--which, had they not been dark, would have seemed mistiness; as they were, it lowered an expression that might have been piercing to simple clearness. Strange to say of a woman in full bloom and vigor, she always allowed her interlocutors to finish their statements before rejoining with hers. In arguing on prices, she held to her own firmly, as was natural in a dealer, and reduced theirs persistently, as was inevitable in a woman. But there was an elasticity in her firmness which removed it from obstinacy, as there was a _naivete_ in her cheapening which saved it from meanness. Those of the farmers with whom she had no dealings (by far the greater part) were continually asking each other, "Who is she?" The reply would be-- "Farmer Everdene's niece; took on Weatherbury Upper Farm; turned away the baily, and swears she'll do everything herself." The other man would then shake his head. "Yes, 'tis a pity she's so headstrong," the first would say. "But we ought to be proud of her here--she lightens up the old place. 'Tis such a shapely maid, however, that she'll soon get picked up." It would be ungallant to suggest that the novelty of her engagement in such an occupation had almost as much to do with the magnetism as had the beauty of her face and movements. However, the interest was general, and this Saturday's _debut_ in the forum, whatever it may have been to Bathsheba as the buying and selling farmer, was unquestionably a triumph to her as the maiden. Indeed, the sensation was so pronounced that her instinct on two or three occasions was merely to walk as a queen among these gods of the fallow, like a little sister of a little Jove, and to neglect closing prices altogether. The numerous evidences of her power to attract were only thrown into greater relief by a marked exception. Women seem to have eyes in their ribbons for such matters as these. Bathsheba, without looking within a right angle of him, was conscious of a black sheep among the flock. It perplexed her first. If there had been a respectable minority on either side, the case would have been most natural. If nobody had regarded her, she would have taken the matter indifferently--such cases had occurred. If everybody, this man included, she would have taken it as a matter of course--people had done so before. But the smallness of the exception made the mystery. She soon knew thus much of the recusant's appearance. He was a gentlemanly man, with full and distinctly outlined Roman features, the prominences of which glowed in the sun with a bronze-like richness of tone. He was erect in attitude, and quiet in demeanour. One characteristic pre-eminently marked him--dignity. Apparently he had some time ago reached that entrance to middle age at which a man's aspect naturally ceases to alter for the term of a dozen years or so; and, artificially, a woman's does likewise. Thirty-five and fifty were his limits of variation--he might have been either, or anywhere between the two. It may be said that married men of forty are usually ready and generous enough to fling passing glances at any specimen of moderate beauty they may discern by the way. Probably, as with persons playing whist for love, the consciousness of a certain immunity under any circumstances from that worst possible ultimate, the having to pay, makes them unduly speculative. Bathsheba was convinced that this unmoved person was not a married man. When marketing was over, she rushed off to Liddy, who was waiting for her beside the yellow gig in which they had driven to town. The horse was put in, and on they trotted--Bathsheba's sugar, tea, and drapery parcels being packed behind, and expressing in some indescribable manner, by their colour, shape, and general lineaments, that they were that young lady-farmer's property, and the grocer's and draper's no more. "I've been through it, Liddy, and it is over. I shan't mind it again, for they will all have grown accustomed to seeing me there; but this morning it was as bad as being married--eyes everywhere!" "I knowed it would be," Liddy said. "Men be such a terrible class of society to look at a body." "But there was one man who had more sense than to waste his time upon me." The information was put in this form that Liddy might not for a moment suppose her mistress was at all piqued. "A very good-looking man," she continued, "upright; about forty, I should think. Do you know at all who he could be?" Liddy couldn't think. "Can't you guess at all?" said Bathsheba with some disappointment. "I haven't a notion; besides, 'tis no difference, since he took less notice of you than any of the rest. Now, if he'd taken more, it would have mattered a great deal." Bathsheba was suffering from the reverse feeling just then, and they bowled along in silence. A low carriage, bowling along still more rapidly behind a horse of unimpeachable breed, overtook and passed them. "Why, there he is!" she said. Liddy looked. "That! That's Farmer Boldwood--of course 'tis--the man you couldn't see the other day when he called." "Oh, Farmer Boldwood," murmured Bathsheba, and looked at him as he outstripped them. The farmer had never turned his head once, but with eyes fixed on the most advanced point along the road, passed as unconsciously and abstractedly as if Bathsheba and her charms were thin air. "He's an interesting man--don't you think so?" she remarked. "O yes, very. Everybody owns it," replied Liddy. "I wonder why he is so wrapt up and indifferent, and seemingly so far away from all he sees around him." "It is said--but not known for certain--that he met with some bitter disappointment when he was a young man and merry. A woman jilted him, they say." "People always say that--and we know very well women scarcely ever jilt men; 'tis the men who jilt us. I expect it is simply his nature to be so reserved." "Simply his nature--I expect so, miss--nothing else in the world." "Still, 'tis more romantic to think he has been served cruelly, poor thing'! Perhaps, after all, he has!" "Depend upon it he has. Oh yes, miss, he has! I feel he must have." "However, we are very apt to think extremes of people. I shouldn't wonder after all if it wasn't a little of both--just between the two--rather cruelly used and rather reserved." "Oh dear no, miss--I can't think it between the two!" "That's most likely." "Well, yes, so it is. I am convinced it is most likely. You may take my word, miss, that that's what's the matter with him."

Chapter 12

https://web.archive.org/web/20201219162644/https://www.shmoop.com/study-guides/literature/far-from-the-madding-crowd/summary/chapter-12

Now that she's her own boss, Bathsheba starts going to the market to sell the farm's crops. She quickly learns to speak boldly to the men there and to haggle with them over prices. Wherever she walks, she can hear men behind her asking who she is. They also talk about how soon enough, some man will marry her. She also notices, though, that there's one man in the market who pays no attention to her at all--Farmer Boldwood. When she leaves the market, Bathsheba complains to Liddy about how all the men were staring at her the whole time. She mentions, though, the man who never looked at her. Just then, a carriage passes with Farmer Boldwood inside. Bathsheba points him out as the man who didn't look at her, and Liddy says tells her who it is. They speculate that Farmer Boldwood must have gotten his heart broken when he was younger, and that's why he's so reserved.

shmoop

all_chapterized_books/23042-chapters/2.txt

finished_summaries/shmoop/The Tempest/section_1_part_0.txt

The Tempest.act 1.scene 2

act 1, scene 2

{"name": "Act 1, Scene 2", "url": "https://web.archive.org/web/20210411014001/https://www.shmoop.com/study-guides/literature/tempest/summary/act-1-scene-2", "summary": "The action moves to an island, where we meet Prospero and his daughter, Miranda. If you read the \"Names of the Actors,\" you know that Prospero is the \"rightful Duke of Milan, usurped by his brother Antonio.\" If you didn't know this key piece of information, Prospero just seems to be an average old guy stranded with his daughter on a deserted island. Miranda saw the ship sink and asks her father if he created the storm, cluing us in to the fact that Prospero has powerful magic, which they both call \"art.\" Prospero doesn't deny he made the tempest, but instead says there was no harm done. He assures his daughter that everyone from the ship is safe, and that he only did it for her . Prospero says the storm is a good occasion for him to reveal their family secret to her, which he's often started telling her but never finished. He promises to finish this time. He asks if she remembers a time before they were on the island, and she says yes. This surprises Prospero, because she was only three years old then, but she clearly remembers that she used to have four or five women that took care of her. Miranda doesn't remember how she and her father came to the island, so Prospero tells her the long story, which we now sum up for you: Twelve years ago, Miranda was a princess and her father was the Duke of Milan. Miranda is shocked to hear the news, and asks if Prospero isn't really her father. Prospero replies that, to the best of his knowledge, he was the only one sleeping with Miranda's mother. So yes, Prospero was a Duke and Miranda a princess. Miranda asks whether a blessing or curse brought them to the island. Prospero says it was both. The story that follows is long, and Prospero keeps poking Miranda to stay awake . Basically, the story goes like this: Prospero has a brother, Antonio, whom he used to love and trust. Prospero was devoted to the study of magic. He trusted his brother so much that he let him run the affairs of state while Prospero closeted himself away in his library. Antonio, meanwhile, was busy learning how to run Milan, but also making all the right friends in all the right places. Eventually, he took advantage of Prospero's trust and, by sucking up constantly with tributes and compliments to the King of Naples. Antonio managed to get the King to give him his brother's title as Duke of Milan. Hmm. Now, where have we seen an evil, usurping brother before? Oh, yeah, in Hamlet, where Claudius kills his brother and then takes his crown and his wife. Antonio then sent an army at midnight, under the cover of darkness, to force Prospero and baby Miranda out of Milan. They weren't killed because Prospero was so well-loved by his people. Prospero and the baby were banished to sea on a used '83 Chevy Impala of a ship, which \"even the rats left instinctively.\" While on their rickety boat, the duo faced a terrible storm. Miranda, far from being trouble, gave Prospero the strength to continue on. Finally they washed ashore onto their present island. They survived because Gonzalo was so kind; before leaving, he gave them food and water, fine clothes, and also Prospero's books. Prospero was able to use his small library to educate Miranda for the last twelve years, affording her a better education than most princesses, who generally spend their time combing golden locks and looking out of windows. Finally, Prospero explains the reason he created the recent storm: his enemies, the ones from all those years ago, were on the ship. According to the stars, now is the moment of Prospero's good fortune, but his power depends on good timing. Prospero then lulls Miranda to sleep with art and calls his servant, the spirit Ariel, so they can go to work right away. We find out Ariel was in charge of the details of the tempest. He performed his duties down to the last detail: he appeared on the ship as fire, jumping between cabins and the deck. This, understandably, weirded out everyone on the ship, and while the mariners stayed on deck, everyone else jumped overboard. Ariel then saw to it that they all made it ashore unharmed, but in separate groups. Most importantly, the King's son was separated from the rest of the group. Ariel left the mariners on their newly restored ship in an enchanted sleep, and sent the other vessels in the fleet back to Naples. Prospero is glad of Ariel's good work, but demands that there is much more to do in the next four hours. Ariel reminds him then that he's already done lots of good work, and that Prospero promised that when his work was done, he would set the spirit-servant free. Essentially, Ariel is saying \"Show me the money.\" Prospero flies into something of a rage. He reminds Ariel that he once rescued him from a witch named Sycorax, and therefore Ariel should be as indebted as a house-elf without socks for the rest of eternity. Prospero tells us a story: Sycorax was a terrible witch, born in Algiers and banished from there because she got it on with the Devil himself. We don't get the details of that interesting night, but instead we learn that the pregnant Sycorax was banished to this very island, where she made Ariel her lackey. Still, because Ariel was too \"delicate\" to do the horrible things she commanded, Sycorax had a fit and imprisoned Ariel in the cleft of a pine tree, where he stayed rather stuck. Twelve years later, Sycorax was dead, and Prospero came to the island to find the loud, sad, unearthly moans of Ariel coming from a tree. After he freed the spirit, Prospero committed Ariel to his service, with the promise of eventual liberty. After Prospero tells this long story, he chides Ariel that any more whining will get him locked back into the tree. However, if Ariel behaves, Prospero will free him in two days, once all the work is done. Brain Snack: The rest of the play actually takes place over the course of about four hours . In fact, The Tempest is one of two Shakespeare plays that takes place over the course of a single day in a single location. Literary critics have a fancy name for this--the \"unities\" of time and place. Contrast the action and location of The Tempest to, say, The Winter's Tale, which spans a huge length of time and space. Prospero sends Ariel off in the shape of an invisible water nymph , and wakes Miranda so they can go together to see Caliban. Miranda says she can't stand to look at Caliban, but her dad points out that Caliban does all those pesky island chores that nobody else likes to do . Prospero and Miranda stroll up to Caliban's pad and immediately begin to verbally abuse him, during which time we learn the following: Caliban was the island's only other inhabitant when Miranda and Prospero arrived; he is the child of Sycorax and the Devil. We also learn that, initially, Prospero had taken Caliban under his wing, taught him to speak, and fed him. In exchange, Caliban had shown him all the tricks and treasures of the island. Sadly, the friendship ended when Caliban tried to rape Miranda, with the intention of populating the island with little Calibandas . Prospero then confined Caliban to servitude and a dwelling near a rock outside of Prospero's cell. Caliban hates being a slave, but Prospero is powerful and likes to inflict Caliban with terrible body cramps for misbehaving and talking back. Ferdinand enters with Ariel who is invisible and sings a tune so beautiful that the amazed Ferdinand quits mourning his father to follow the music. Ariel leads Ferdinand to Miranda. When the prince and princess look into each other's eyes, it's love at first sight. Miranda turns to her dad and announces that Ferdinand is the hottest guy she's ever seen . Miranda thinks Ferdinand must be a god or a spirit. Ferdinand declares that Miranda must be a goddess and then asks our girl if she's a \"maid.\" Ferdinand announces that he's the King of Naples . However, this situation conveniently puts him in a good position to make Miranda Queen of Naples. Miranda meets all the practical requirements of love, so they're all ready for marriage in 26 lines. Prospero, though he has been making asides all along that his plan is going well, declares to himself that if things are too easy for the young couple, then they won't take their vows of love seriously. In order to add a bit of conflict to the romance, Prospero accuses Ferdinand of being a spy intending to steal the island. Prospero threatens to chain up Ferdinand and enchant him, but the Prince rebels against the accusation. Miranda, newly in love, comes to the defense of Ferdinand. Prospero tells Ferdinand to give it up, and Ferdinand does, but not just because Prospero's magic has reduced his muscles to Jello. No, it's because of Miranda. Losing his father and his friends, being put in prison by Prospero--he can endure it all if he can just look out his prison window and see Miranda once a day. Prospero is pleased. He's glad to see the two falling in love, all according to his master plan. Prospero calls Ariel to do more work, and again promises the spirit will soon be free as the mountain winds in Pocahontas.", "analysis": ""}

SCENE II. _The island. Before PROSPERO'S cell._ _Enter PROSPERO and MIRANDA._ _Mir._ If by your art, my dearest father, you have Put the wild waters in this roar, allay them. The sky, it seems, would pour down stinking pitch, But that the sea, mounting to the welkin's cheek, Dashes the fire out. O, I have suffer'd 5 With those that I saw suffer! a brave vessel, Who had, no doubt, some noble creature in her, Dash'd all to pieces. O, the cry did knock Against my very heart! Poor souls, they perish'd! Had I been any god of power, I would 10 Have sunk the sea within the earth, or ere It should the good ship so have swallow'd and The fraughting souls within her. _Pros._ Be collected: No more amazement: tell your piteous heart There's no harm done. _Mir._ O, woe the day! _Pros._ No harm. 15 I have done nothing but in care of thee, Of thee, my dear one, thee, my daughter, who Art ignorant of what thou art, nought knowing Of whence I am, nor that I am more better Than Prospero, master of a full poor cell, 20 And thy no greater father. _Mir._ More to know Did never meddle with my thoughts. _Pros._ 'Tis time I should inform thee farther. Lend thy hand, And pluck my magic garment from me. --So: [_Lays down his mantle._ Lie there, my art. Wipe thou thine eyes; have comfort. 25 The direful spectacle of the wreck, which touch'd The very virtue of compassion in thee, I have with such provision in mine art So safely order'd, that there is no soul, No, not so much perdition as an hair 30 Betid to any creature in the vessel Which thou heard'st cry, which thou saw'st sink. Sit down; For thou must now know farther. _Mir._ You have often Begun to tell me what I am; but stopp'd, And left me to a bootless inquisition, 35 Concluding "Stay: not yet." _Pros._ The hour's now come; The very minute bids thee ope thine ear; Obey, and be attentive. Canst thou remember A time before we came unto this cell? I do not think thou canst, for then thou wast not 40 Out three years old. _Mir._ Certainly, sir, I can. _Pros._ By what? by any other house or person? Of any thing the image tell me that Hath kept with thy remembrance. _Mir._ 'Tis far off, And rather like a dream than an assurance 45 That my remembrance warrants. Had I not Four or five women once that tended me? _Pros._ Thou hadst, and more, Miranda. But how is it That this lives in thy mind? What seest thou else In the dark backward and abysm of time? 50 If thou remember'st ought ere thou camest here, How thou camest here thou mayst. _Mir._ But that I do not. _Pros._ Twelve year since, Miranda, twelve year since, Thy father was the Duke of Milan, and A prince of power. _Mir._ Sir, are not you my father? 55 _Pros._ Thy mother was a piece of virtue, and She said thou wast my daughter; and thy father Was Duke of Milan; and his only heir And princess, no worse issued. _Mir._ O the heavens! What foul play had we, that we came from thence? 60 Or blessed was't we did? _Pros._ Both, both, my girl: By foul play, as thou say'st, were we heaved thence; But blessedly holp hither. _Mir._ O, my heart bleeds To think o' the teen that I have turn'd you to. Which is from my remembrance! Please you, farther. 65 _Pros._ My brother, and thy uncle, call'd Antonio,-- I pray thee, mark me,--that a brother should Be so perfidious!--he whom, next thyself, Of all the world I loved, and to him put The manage of my state; as, at that time, 70 Through all the signories it was the first, And Prospero the prime duke, being so reputed In dignity, and for the liberal arts Without a parallel; those being all my study, The government I cast upon my brother, 75 And to my state grew stranger, being transported And rapt in secret studies. Thy false uncle-- Dost thou attend me? _Mir._ Sir, most heedfully. _Pros._ Being once perfected how to grant suits, How to deny them, whom to advance, and whom 80 To trash for over-topping, new created The creatures that were mine, I say, or changed 'em, Or else new form'd 'em; having both the key Of officer and office, set all hearts i' the state To what tune pleased his ear; that now he was 85 The ivy which had hid my princely trunk, And suck'd my verdure out on't. Thou attend'st not. _Mir._ O, good sir, I do. _Pros._ I pray thee, mark me. I, thus neglecting worldly ends, all dedicated To closeness and the bettering of my mind 90 With that which, but by being so retired, O'er-prized all popular rate, in my false brother Awaked an evil nature; and my trust, Like a good parent, did beget of him A falsehood in its contrary, as great 95 As my trust was; which had indeed no limit, A confidence sans bound. He being thus lorded, Not only with what my revenue yielded, But what my power might else exact, like one Who having into truth, by telling of it, 100 Made such a sinner of his memory, To credit his own lie, he did believe He was indeed the duke; out o' the substitution, And executing the outward face of royalty, With all prerogative:--hence his ambition growing,-- 105 Dost thou hear? _Mir._ Your tale, sir, would cure deafness. _Pros._ To have no screen between this part he play'd And him he play'd it for, he needs will be Absolute Milan. Me, poor man, my library Was dukedom large enough: of temporal royalties 110 He thinks me now incapable; confederates, So dry he was for sway, wi' the King of Naples To give him annual tribute, do him homage, Subject his coronet to his crown, and bend The dukedom, yet unbow'd,--alas, poor Milan!-- 115 To most ignoble stooping. _Mir._ O the heavens! _Pros._ Mark his condition, and th' event; then tell me If this might be a brother. _Mir._ I should sin To think but nobly of my grandmother: Good wombs have borne bad sons. _Pros._ Now the condition. 120 This King of Naples, being an enemy To me inveterate, hearkens my brother's suit; Which was, that he, in lieu o' the premises, Of homage and I know not how much tribute, Should presently extirpate me and mine 125 Out of the dukedom, and confer fair Milan, With all the honours, on my brother: whereon, A treacherous army levied, one midnight Fated to the purpose, did Antonio open The gates of Milan; and, i' the dead of darkness, 130 The ministers for the purpose hurried thence Me and thy crying self. _Mir._ Alack, for pity! I, not remembering how I cried out then, Will cry it o'er again: it is a hint That wrings mine eyes to't. _Pros._ Hear a little further, 135 And then I'll bring thee to the present business Which now's upon 's; without the which, this story Were most impertinent. _Mir._ Wherefore did they not That hour destroy us? _Pros._ Well demanded, wench: My tale provokes that question. Dear, they durst not, 140 So dear the love my people bore me; nor set A mark so bloody on the business; but With colours fairer painted their foul ends. In few, they hurried us aboard a bark, Bore us some leagues to sea; where they prepared 145 A rotten carcass of a boat, not rigg'd, Nor tackle, sail, nor mast; the very rats Instinctively have quit it: there they hoist us, To cry to the sea that roar'd to us; to sigh To the winds, whose pity, sighing back again, 150 Did us but loving wrong. _Mir._ Alack, what trouble Was I then to you! _Pros._ O, a cherubin Thou wast that did preserve me. Thou didst smile, Infused with a fortitude from heaven, When I have deck'd the sea with drops full salt, 155 Under my burthen groan'd; which raised in me An undergoing stomach, to bear up Against what should ensue. _Mir._ How came we ashore? _Pros._ By Providence divine. Some food we had, and some fresh water, that 160 A noble Neapolitan, Gonzalo, Out of his charity, who being then appointed Master of this design, did give us, with Rich garments, linens, stuffs and necessaries, Which since have steaded much; so, of his gentleness, 165 Knowing I loved my books, he furnish'd me From mine own library with volumes that I prize above my dukedom. _Mir._ Would I might But ever see that man! _Pros._ Now I arise: [_Resumes his mantle._ Sit still, and hear the last of our sea-sorrow. 170 Here in this island we arrived; and here Have I, thy schoolmaster, made thee more profit Than other princesses can, that have more time For vainer hours, and tutors not so careful. _Mir._ Heavens thank you for't! And now, I pray you, sir, 175 For still 'tis beating in my mind, your reason For raising this sea-storm? _Pros._ Know thus far forth. By accident most strange, bountiful Fortune, Now my dear lady, hath mine enemies Brought to this shore; and by my prescience 180 I find my zenith doth depend upon A most auspicious star, whose influence If now I court not, but omit, my fortunes Will ever after droop. Here cease more questions: Thou art inclined to sleep; 'tis a good dulness, 185 And give it way: I know thou canst not choose. [_Miranda sleeps._ Come away, servant, come. I am ready now. Approach, my Ariel, come. _Enter _ARIEL_._ _Ari._ All hail, great master! grave sir, hail! I come To answer thy best pleasure; be't to fly, 190 To swim, to dive into the fire, to ride On the curl'd clouds, to thy strong bidding task Ariel and all his quality. _Pros._ Hast thou, spirit, Perform'd to point the tempest that I bade thee? _Ari._ To every article. 195 I boarded the king's ship; now on the beak, Now in the waist, the deck, in every cabin, I flamed amazement: sometime I'ld divide, And burn in many places; on the topmast, The yards and bowsprit, would I flame distinctly, 200 Then meet and join. Jove's lightnings, the precursors O' the dreadful thunder-claps, more momentary And sight-outrunning were not: the fire and cracks Of sulphurous roaring the most mighty Neptune Seem to besiege, and make his bold waves tremble, 205 Yea, his dread trident shake. _Pros._ My brave spirit! Who was so firm, so constant, that this coil Would not infect his reason? _Ari._ Not a soul But felt a fever of the mad, and play'd Some tricks of desperation. All but mariners 210 Plunged in the foaming brine, and quit the vessel, Then all afire with me: the king's son, Ferdinand, With hair up-staring,--then like reeds, not hair,-- Was the first man that leap'd; cried, "Hell is empty, And all the devils are here." _Pros._ Why, that's my spirit! 215 But was not this nigh shore? _Ari._ Close by, my master. _Pros._ But are they, Ariel, safe? _Ari._ Not a hair perish'd; On their sustaining garments not a blemish, But fresher than before: and, as thou badest me, In troops I have dispersed them 'bout the isle. 220 The king's son have I landed by himself; Whom I left cooling of the air with sighs In an odd angle of the isle, and sitting, His arms in this sad knot. _Pros._ Of the king's ship The mariners, say how thou hast disposed, 225 And all the rest o' the fleet. _Ari._ Safely in harbour Is the king's ship; in the deep nook, where once Thou call'dst me up at midnight to fetch dew From the still-vex'd Bermoothes, there she's hid: The mariners all under hatches stow'd; 230 Who, with a charm join'd to their suffer'd labour, I have left asleep: and for the rest o' the fleet, Which I dispersed, they all have met again, And are upon the Mediterranean flote, Bound sadly home for Naples; 235 Supposing that they saw the king's ship wreck'd, And his great person perish. _Pros._ Ariel, thy charge Exactly is perform'd: but there's more work. What is the time o' the day? _Ari._ Past the mid season. _Pros._ At least two glasses. The time 'twixt six and now 240 Must by us both be spent most preciously. _Ari._ Is there more toil? Since thou dost give me pains, Let me remember thee what thou hast promised, Which is not yet perform'd me. _Pros._ How now? moody? What is't thou canst demand? _Ari._ My liberty. 245 _Pros._ Before the time be out? no more! _Ari._ I prithee, Remember I have done thee worthy service; Told thee no lies, made thee no mistakings, served Without or grudge or grumblings: thou didst promise To bate me a full year. _Pros._ Dost thou forget 250 From what a torment I did free thee? _Ari._ No. _Pros._ Thou dost; and think'st it much to tread the ooze Of the salt deep, To run upon the sharp wind of the north, To do me business in the veins o' the earth 255 When it is baked with frost. _Ari._ I do not, sir. _Pros._ Thou liest, malignant thing! Hast thou forgot The foul witch Sycorax, who with age and envy Was grown into a hoop? hast thou forgot her? _Ari._ No, sir. _Pros._ Thou hast. Where was she born? speak; tell me. 260 _Ari._ Sir, in Argier. _Pros._ O, was she so? I must Once in a month recount what thou hast been, Which thou forget'st. This damn'd witch Sycorax, For mischiefs manifold, and sorceries terrible To enter human hearing, from Argier, 265 Thou know'st, was banish'd: for one thing she did They would not take her life. Is not this true? _Ari._ Ay, sir. _Pros._ This blue-eyed hag was hither brought with child, And here was left by the sailors. Thou, my slave, 270 As thou report'st thyself, wast then her servant; And, for thou wast a spirit too delicate To act her earthy and abhorr'd commands, Refusing her grand hests, she did confine thee, By help of her more potent ministers, 275 And in her most unmitigable rage, Into a cloven pine; within which rift Imprison'd thou didst painfully remain A dozen years; within which space she died, And left thee there; where thou didst vent thy groans 280 As fast as mill-wheels strike. Then was this island-- Save for the son that she did litter here, A freckled whelp hag-born--not honour'd with A human shape. _Ari._ Yes, Caliban her son. _Pros._ Dull thing, I say so; he, that Caliban, 285 Whom now I keep in service. Thou best know'st What torment I did find thee in; thy groans Did make wolves howl, and penetrate the breasts Of ever-angry bears: it was a torment To lay upon the damn'd, which Sycorax 290 Could not again undo: it was mine art, When I arrived and heard thee, that made gape The pine, and let thee out. _Ari._ I thank thee, master. _Pros._ If thou more murmur'st, I will rend an oak, And peg thee in his knotty entrails, till 295 Thou hast howl'd away twelve winters. _Ari._ Pardon, master: I will be correspondent to command, And do my spiriting gently. _Pros._ Do so; and after two days I will discharge thee. _Ari._ That's my noble master! What shall I do? say what; what shall I do? 300 _Pros._ Go make thyself like a nymph o' the sea: Be subject to no sight but thine and mine; invisible To every eyeball else. Go take this shape, And hither come in't: go, hence with diligence! [_Exit Ariel._ Awake, dear heart, awake! thou hast slept well; 305 Awake! _Mir._ The strangeness of your story put Heaviness in me. _Pros._ Shake it off. Come on; We'll visit Caliban my slave, who never Yields us kind answer. _Mir._ 'Tis a villain, sir, I do not love to look on. _Pros._ But, as 'tis, 310 We cannot miss him: he does make our fire, Fetch in our wood, and serves in offices That profit us. What, ho! slave! Caliban! Thou earth, thou! speak. _Cal._ [_within_] There's wood enough within. _Pros._ Come forth, I say! there's other business for thee: 315 Come, thou tortoise! when? _Re-enter ARIEL like a water-nymph._ Fine apparition! My quaint Ariel, Hark in thine ear. _Ari._ My lord, it shall be done. [_Exit._ _Pros._ Thou poisonous slave, got by the devil himself Upon thy wicked dam, come forth! 320 _Enter CALIBAN._ _Cal._ As wicked dew as e'er my mother brush'd With raven's feather from unwholesome fen Drop on you both! a south-west blow on ye And blister you all o'er! _Pros._ For this, be sure, to-night thou shalt have cramps, 325 Side-stitches that shall pen thy breath up; urchins Shall, for that vast of night that they may work, All exercise on thee; thou shalt be pinch'd As thick as honeycomb, each pinch more stinging Than bees that made 'em. _Cal._ I must eat my dinner. 330 This island's mine, by Sycorax my mother, Which thou takest from me. When thou camest first, Thou strokedst me, and madest much of me; wouldst give me Water with berries in't; and teach me how To name the bigger light, and how the less, 335 That burn by day and night: and then I loved thee, And show'd thee all the qualities o' th' isle, The fresh springs, brine-pits, barren place and fertile: Curs'd be I that did so! All the charms Of Sycorax, toads, beetles, bats, light on you! 340 For I am all the subjects that you have, Which first was mine own king: and here you sty me In this hard rock, whiles you do keep from me The rest o' th' island. _Pros._ Thou most lying slave, Whom stripes may move, not kindness! I have used thee, 345 Filth as thou art, with human care; and lodged thee In mine own cell, till thou didst seek to violate The honour of my child. _Cal._ O ho, O ho! would 't had been done! Thou didst prevent me; I had peopled else 350 This isle with Calibans. _Pros._ Abhorred slave, Which any print of goodness wilt not take, Being capable of all ill! I pitied thee, Took pains to make thee speak, taught thee each hour One thing or other: when thou didst not, savage, 355 Know thine own meaning, but wouldst gabble like A thing most brutish, I endow'd thy purposes With words that made them known. But thy vile race, Though thou didst learn, had that in't which good natures Could not abide to be with; therefore wast thou 360 Deservedly confined into this rock, Who hadst deserved more than a prison. _Cal._ You taught me language; and my profit on't Is, I know how to curse. The red plague rid you For learning me your language! _Pros._ Hag-seed, hence! 365 Fetch us in fuel; and be quick, thou'rt best, To answer other business. Shrug'st thou, malice? If thou neglect'st, or dost unwillingly What I command, I'll rack thee with old cramps, Fill all thy bones with aches, make thee roar, 370 That beasts shall tremble at thy din. _Cal._ No, pray thee. [_Aside_] I must obey: his art is of such power, It would control my dam's god, Setebos, And make a vassal of him. _Pros._ So, slave; hence! [_Exit Caliban._ _Re-enter ARIEL, invisible, playing and singing; FERDINAND following._ _ARIEL'S song._ Come unto these yellow sands, 375 And then take hands: Courtsied when you have and kiss'd The wild waves whist: Foot it featly here and there; And, sweet sprites, the burthen bear. 380 _Burthen_ [_dispersedly_]. Hark, hark! Bow-wow. The watch-dogs bark: Bow-wow. _Ari._ Hark, hark! I hear The strain of strutting chanticleer 385 Cry, Cock-a-diddle-dow. _Fer._ Where should this music be? i' th' air or th' earth? It sounds no more: and, sure, it waits upon Some god o' th' island. Sitting on a bank, Weeping again the king my father's wreck, 390 This music crept by me upon the waters, Allaying both their fury and my passion With its sweet air: thence I have follow'd it. Or it hath drawn me rather. But 'tis gone. No, it begins again. 395 _ARIEL sings._ Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes: Nothing of him that doth fade, But doth suffer a sea-change 400 Into something rich and strange. Sea-nymphs hourly ring his knell: _Burthen:_ Ding-dong. _Ari._ Hark! now I hear them,--Ding-dong, bell. _Fer._ The ditty does remember my drown'd father. 405 This is no mortal business, nor no sound That the earth owes:--I hear it now above me. _Pros._ The fringed curtains of thine eye advance, And say what thou seest yond. _Mir._ What is't? a spirit? Lord, how it looks about! Believe me, sir, 410 It carries a brave form. But 'tis a spirit. _Pros._ No, wench; it eats and sleeps and hath such senses As we have, such. This gallant which thou seest Was in the wreck; and, but he's something stain'd With grief, that's beauty's canker, thou mightst call him 415 A goodly person: he hath lost his fellows, And strays about to find 'em. _Mir._ I might call him A thing divine; for nothing natural I ever saw so noble. _Pros._ [_Aside_] It goes on, I see, As my soul prompts it. Spirit, fine spirit! I'll free thee 420 Within two days for this. _Fer._ Most sure, the goddess On whom these airs attend! Vouchsafe my prayer May know if you remain upon this island; And that you will some good instruction give How I may bear me here: my prime request, 425 Which I do last pronounce, is, O you wonder! If you be maid or no? _Mir._ No wonder, sir; But certainly a maid. _Fer._ My language! heavens! I am the best of them that speak this speech, Were I but where 'tis spoken. _Pros._ How? the best? 430 What wert thou, if the King of Naples heard thee? _Fer._ A single thing, as I am now, that wonders To hear thee speak of Naples. He does hear me; And that he does I weep: myself am Naples, Who with mine eyes, never since at ebb, beheld 435 The king my father wreck'd. _Mir._ Alack, for mercy! _Fer._ Yes, faith, and all his lords; the Duke of Milan And his brave son being twain. _Pros._ [_Aside_] The Duke of Milan And his more braver daughter could control thee, If now 'twere fit to do't. At the first sight 440 They have changed eyes. Delicate Ariel, I'll set thee free for this. [_To Fer._] A word, good sir; I fear you have done yourself some wrong: a word. _Mir._ Why speaks my father so ungently? This Is the third man that e'er I saw; the first 445 That e'er I sigh'd for: pity move my father To be inclined my way! _Fer._ O, if a virgin, And your affection not gone forth, I'll make you The queen of Naples. _Pros._ Soft, sir! one word more. [_Aside_] They are both in either's powers: but this swift business 450 I must uneasy make, lest too light winning Make the prize light. [_To Fer._] One word more; I charge thee That thou attend me: thou dost here usurp The name thou owest not; and hast put thyself Upon this island as a spy, to win it 455 From me, the lord on't. _Fer._ No, as I am a man. _Mir._ There's nothing ill can dwell in such a temple: If the ill spirit have so fair a house, Good things will strive to dwell with't. _Pros._ Follow me. Speak not you for him; he's a traitor. Come; 460 I'll manacle thy neck and feet together: Sea-water shalt thou drink; thy food shall be The fresh-brook muscles, wither'd roots, and husks Wherein the acorn cradled. Follow. _Fer._ No; I will resist such entertainment till 465 Mine enemy has more power. [_Draws, and is charmed from moving._ _Mir._ O dear father, Make not too rash a trial of him, for He's gentle, and not fearful. _Pros._ What! I say, My foot my tutor? Put thy sword up, traitor; Who makest a show, but darest not strike, thy conscience 470 Is so possess'd with guilt: come from thy ward; For I can here disarm thee with this stick And make thy weapon drop. _Mir._ Beseech you, father. _Pros._ Hence! hang not on my garments. _Mir._ Sir, have pity; I'll be his surety. _Pros._ Silence! one word more 475 Shall make me chide thee, if not hate thee. What! An advocate for an impostor! hush! Thou think'st there is no more such shapes as he, Having seen but him and Caliban: foolish wench! To the most of men this is a Caliban, 480 And they to him are angels. _Mir._ My affections Are, then, most humble; I have no ambition To see a goodlier man. _Pros._ Come on; obey: Thy nerves are in their infancy again, And have no vigour in them. _Fer._ So they are: 485 My spirits, as in a dream, are all bound up. My father's loss, the weakness which I feel, The wreck of all my friends, nor this man's threats, To whom I am subdued, are but light to me, Might I but through my prison once a day 490 Behold this maid: all corners else o' th' earth Let liberty make use of; space enough Have I in such a prison. _Pros._ [_Aside_] It works. [_To Fer._] Come on. Thou hast done well, fine Ariel! [_To Fer._] Follow me. [_To Ari._] Hark what thou else shalt do me. _Mir._ Be of comfort; 495 My father's of a better nature, sir, Than he appears by speech: this is unwonted Which now came from him. _Pros._ Thou shalt be as free As mountain winds: but then exactly do All points of my command. _Ari._ To the syllable. 500 _Pros._ Come, follow. Speak not for him. [_Exeunt._ Notes: I, 2. 3: _stinking_] _flaming_ Singer conj. _kindling_ S. Verges conj. 4: _cheek_] _heat_ Collier MS. _crack_ Staunton conj. 7: _creature_] _creatures_ Theobald. 13: _fraughting_] Ff. _fraighted_ Pope. _fraighting_ Theobald. _freighting_ Steevens. 15: Mir. _O, woe the day!_ Pros. _No harm._] Mir. _O woe the day! no harm?_ Johnson conj. 19: _I am more better_] _I'm more or better_ Pope. 24: [Lays ... mantle] Pope. 28: _provision_] F1. _compassion_ F2 F3 F4. _prevision_ Hunter conj. 29: _soul_] _soul lost_ Rowe. _foyle_ Theobald. _soil_ Johnson conj. _loss_ Capell. _foul_ Wright conj. 31: _betid_] F1. _betide_ F2 F3 F4. 35: _a_] F1. _the_ F2 F3 F4. 38: _thou_] om. Pope. 41: _Out_] _Full_ Pope (after Dryden). _Quite_ Collier MS. 44: _with_] _in_ Pope (after Dryden). 53: _Twelve year ... year_] _Tis twelve years ... years_ Pope. 58, 59: _and his only heir And princess_] _and his only heir A princess_ Pope. _thou his only heir And princess_ Steevens. _and though his only heir A princess_] Johnson conj. 63: _holp_] _help'd_ Pope. _O, my heart_] _My heart_ Pope. 78: _me_] om. F3 F4. 80: _whom ... whom_] F2 F3 F4. _who ... who_ F1. 81: _trash_] _plash_ Hanmer. 82, 83: _'em ... 'em_] _them ... them_ Capell. 84: _i' the state_] _i'th state_ F1. _e'th state_ F2. _o'th state_ F3 F4. om. Pope. 88: _O, good sir ... mark me._] _Good sir ... mark me then._ Pope. _O yes, good sir ... mark me._ Capell. Mir. _O, ... do._ Pros. _I ... me_] _I ... me._ Mir. _O ... do._ Steevens. 89: _dedicated_] _dedicate_ Steevens (Ritson conj.). 91: _so_] F1. om. F2 F3 F4. 97: _lorded_] _loaded_ Collier MS. 99: _exact, like_] _exact. Like_ Ff. 100: _having into truth ... of it_] _loving an untruth, and telling 't oft_ Hanmer. _having unto truth ... oft_ Warburton. _having to untruth ... of it_ Collier MS. _having sinn'd to truth ... oft_ Musgrave conj. _telling_] _quelling_ S. Verges conj. 101: _Made ... memory_] _Makes ... memory_ Hanmer. _Makes ... memory too_ Musgrave conj. 103: _indeed the duke_] _the duke_ Steevens. _indeed duke_ S. Walker conj. _out o' the_] _from_ Pope. 105: _his_] _is_ F2. 105, 106: _ambition growing_] _ambition Growing_ Steevens. 106: _hear?_] _hear, child?_ Hanmer. 109: _Milan_] _Millanie_ F1 (Capell's copy). 112: _wi' the_] Capell. _with_ Ff. _wi' th'_ Rowe. _with the_ Steevens. 116: _most_] F1. _much_ F2 F3 F4. 119: _but_] _not_ Pope. 120: _Good ... sons_] Theobald suggested that these words should be given to Prospero. Hanmer prints them so. 122: _hearkens_] _hears_ Pope. _hearks_ Theobald. 129: _Fated_] _Mated_ Dryden's version. _purpose_] _practise_ Collier MS. 131: _ministers_] _minister_ Rowe. 133: _out_] _on't_ Steevens conj. 135: _to 't_] om. Steevens (Farmer conj.). 138: _Wherefore_] _Why_ Pope. 141: _me_] om. Pope. 146: _boat_] Rowe (after Dryden). _butt_ F1 F2 F3. _but_ F4. _busse_ Black conj. 147: _sail_] F1. _nor sail_ F2 F3 F4. 148: _have_] _had_ Rowe (after Dryden). 150: _the winds_] _winds_ Pope. 155: _deck'd_] _brack'd_ Hanmer. _mock'd_ Warburton. _fleck'd_ Johnson conj. _degg'd_ anon. ap. Reed conj. 162: _who_] om. Pope. _he_ Steevens conj. 169: _Now I arise_] Continued to Miranda. Blackstone conj. [Resumes his mantle] om. Ff. [Put on robe again. Collier MS. 173: _princesses_] _princesse_ F1 F2 F3. _princess_ F4. _princes_ Rowe. _princess'_ Dyce (S. Walker conj.). See note (III). 186: [M. sleeps] Theobald. 189: SCENE III. Pope. 190: _be't_] F1. _be it_ F2 F3 F4. 193: _quality_] _qualities_ Pope (after Dryden). 198: _sometime_] F1. _sometimes_ F2 F3 F4. 200: _bowsprit_] _bore-sprit_ Ff. _bolt-sprit_ Rowe. 201: _lightnings_] Theobald. _lightning_ Ff. 202: _o' the_] _of_ Pope. _thunder-claps_] _thunder-clap_ Johnson. 205: _Seem_] _Seem'd_ Theobald. 206: _dread_] F1. _dead_ F2 F3 F4. _My brave_] _My brave, brave_ Theobald. _That's my brave_ Hanmer. 209: _mad_] _mind_ Pope (after Dryden). 211, 212: _vessel, ... son_] _vessell; Then all a fire with me the King's sonne_ Ff. 218: _sustaining_] _sea-stained_ Edwards conj. _unstaining_ or _sea-staining_ Spedding conj. 229: _Bermoothes_] _Bermudas_ Theobald. 231: _Who_] _Whom_ Hanmer. 234: _are_] _all_ Collier MS. _upon_] _on_ Pope. 239-240: Ari. _Past the mid season._ Pros. _At least two glasses_] Ari. _Past the mid season at least two glasses._ Warburton. Pros. _... Past the mid season?_ Ari. _At least two glasses_ Johnson conj. 244: _How now? moody?_] _How now, moody!_ Dyce (so Dryden, ed. 1808). 245: _What_] F1. _Which_ F2 F3 F4. 248: _made thee_] Ff. _made_ Pope. 249: _didst_] F3 F4. _did_ F1 F2. 264: _and sorceries_] _sorceries too_ Hanmer. 267: _Is not this true?_] _Is this not true?_ Pope. 271: _wast then_] Rowe (after Dryden). _was then_ Ff. 273: _earthy_] _earthly_ Pope. 282: _son_] F1. _sunne_ F2. _sun_ F3 F4. _she_] Rowe (after Dryden). _he_ Ff. 298: See note (IV). 301: _like_] F1. _like to_ F2 F3 F4. 302: _Be subject to_] _be subject To_ Malone. _but thine and mine_] _but mine_ Pope. 304: _in't_] _in it_ Pope. _go, hence_] _goe: hence_ Ff. _go hence_ Pope. _hence_ Hanmer. 307: _Heaviness_] _Strange heaviness_ Edd. conj. 312: _serves in offices_] F1. _serves offices_ F2 F3 F4. _serveth offices_ Collier MS. 316: _Come, thou tortoise! when?_] om. Pope. _Come_] _Come forth_ Steevens.] 320: _come forth!_] _come forth, thou tortoise!_ Pope. 321: SCENE IV. Pope. 332: _camest_] Rowe. _cam'st_ Ff. _cam'st here_ Ritson conj. 333: _madest_] Rowe (after Dryden). _made_ Ff. 339: _Curs'd be I that_] F1. _Curs'd be I that I_ F2 F3 F4. _cursed be I that_ Steevens. 342: _Which_] _Who_ Pope, and at line 351. 346: _thee_] om. F4. 349: _would 't_] Ff. _I wou'd it_ Pope. 351: Pros.] Theobald (after Dryden). Mira. Ff. 352: _wilt_] F1. _will_ F2 F3 F4. 355, 356: _didst not ... Know_] _couldst not ... Shew_ Hanmer. 356: _wouldst_] _didst_ Hanmer. 361, 362: _Deservedly ... deserved_] _Justly ... who hadst Deserv'd_ S. Walker conj. _Confin'd ... deserv'd_ id. conj. 362: _Who ... prison_] om. Pope (after Dryden). 366: _thou'rt_] F1 F2 F3. _thou art_ F4. _thou wer't_ Rowe. 375: SCENE V. Pope. following.] Malone. 378: _The wild waves whist_] Printed as a parenthesis by Steevens. See note (V). 380: _the burthen bear_] Pope. _bear the burthen_ Ff. 381-383: Steevens gives _Hark, hark! The watch-dogs bark_ to Ariel. 387: _i' th' air or th' earth?_] _in air or earth?_ Pope. 390: _again_] _against_ Rowe (after Dryden). 407: _owes_] _owns_ Pope (after Dryden), but leaves _ow'st_ 454. 408: SCENE VI. Pope. 419: _It goes on, I see,_] _It goes, I see_ Capell. _It goes on_ Steevens. 420: _fine spirit!_] om. Hanmer. 427: _maid_] F3. _mayd_ F1 F2. _made_ F4. 443: See note (VI). 444: _ungently_] F1. _urgently_ F2 F3 F4. 451: _lest_] F4. _least_ F1 F2 F3. 452: _One_] _Sir, one_ Pope. _I charge thee_] _I charge thee_ [to Ariel. Pope. 460: Pros. prefixed again to this line in Ff. 468: _and_] _tho'_ Hanmer. 469: _foot_] _fool_ S. Walker conj. _child_ Dryden's version. 470: _makest_] _mak'st_ F1. _makes_ F2 F3 F4. 471: _so_] F1. om. F2 F3 F4. _all_ Pope. 478: _is_] _are_ Rowe. 488: _nor_] _and_ Rowe (after Dryden). _or_ Capell. 489: _are_] _were_ Malone conj.

Act 1, Scene 2

https://web.archive.org/web/20210411014001/https://www.shmoop.com/study-guides/literature/tempest/summary/act-1-scene-2

The action moves to an island, where we meet Prospero and his daughter, Miranda. If you read the "Names of the Actors," you know that Prospero is the "rightful Duke of Milan, usurped by his brother Antonio." If you didn't know this key piece of information, Prospero just seems to be an average old guy stranded with his daughter on a deserted island. Miranda saw the ship sink and asks her father if he created the storm, cluing us in to the fact that Prospero has powerful magic, which they both call "art." Prospero doesn't deny he made the tempest, but instead says there was no harm done. He assures his daughter that everyone from the ship is safe, and that he only did it for her . Prospero says the storm is a good occasion for him to reveal their family secret to her, which he's often started telling her but never finished. He promises to finish this time. He asks if she remembers a time before they were on the island, and she says yes. This surprises Prospero, because she was only three years old then, but she clearly remembers that she used to have four or five women that took care of her. Miranda doesn't remember how she and her father came to the island, so Prospero tells her the long story, which we now sum up for you: Twelve years ago, Miranda was a princess and her father was the Duke of Milan. Miranda is shocked to hear the news, and asks if Prospero isn't really her father. Prospero replies that, to the best of his knowledge, he was the only one sleeping with Miranda's mother. So yes, Prospero was a Duke and Miranda a princess. Miranda asks whether a blessing or curse brought them to the island. Prospero says it was both. The story that follows is long, and Prospero keeps poking Miranda to stay awake . Basically, the story goes like this: Prospero has a brother, Antonio, whom he used to love and trust. Prospero was devoted to the study of magic. He trusted his brother so much that he let him run the affairs of state while Prospero closeted himself away in his library. Antonio, meanwhile, was busy learning how to run Milan, but also making all the right friends in all the right places. Eventually, he took advantage of Prospero's trust and, by sucking up constantly with tributes and compliments to the King of Naples. Antonio managed to get the King to give him his brother's title as Duke of Milan. Hmm. Now, where have we seen an evil, usurping brother before? Oh, yeah, in Hamlet, where Claudius kills his brother and then takes his crown and his wife. Antonio then sent an army at midnight, under the cover of darkness, to force Prospero and baby Miranda out of Milan. They weren't killed because Prospero was so well-loved by his people. Prospero and the baby were banished to sea on a used '83 Chevy Impala of a ship, which "even the rats left instinctively." While on their rickety boat, the duo faced a terrible storm. Miranda, far from being trouble, gave Prospero the strength to continue on. Finally they washed ashore onto their present island. They survived because Gonzalo was so kind; before leaving, he gave them food and water, fine clothes, and also Prospero's books. Prospero was able to use his small library to educate Miranda for the last twelve years, affording her a better education than most princesses, who generally spend their time combing golden locks and looking out of windows. Finally, Prospero explains the reason he created the recent storm: his enemies, the ones from all those years ago, were on the ship. According to the stars, now is the moment of Prospero's good fortune, but his power depends on good timing. Prospero then lulls Miranda to sleep with art and calls his servant, the spirit Ariel, so they can go to work right away. We find out Ariel was in charge of the details of the tempest. He performed his duties down to the last detail: he appeared on the ship as fire, jumping between cabins and the deck. This, understandably, weirded out everyone on the ship, and while the mariners stayed on deck, everyone else jumped overboard. Ariel then saw to it that they all made it ashore unharmed, but in separate groups. Most importantly, the King's son was separated from the rest of the group. Ariel left the mariners on their newly restored ship in an enchanted sleep, and sent the other vessels in the fleet back to Naples. Prospero is glad of Ariel's good work, but demands that there is much more to do in the next four hours. Ariel reminds him then that he's already done lots of good work, and that Prospero promised that when his work was done, he would set the spirit-servant free. Essentially, Ariel is saying "Show me the money." Prospero flies into something of a rage. He reminds Ariel that he once rescued him from a witch named Sycorax, and therefore Ariel should be as indebted as a house-elf without socks for the rest of eternity. Prospero tells us a story: Sycorax was a terrible witch, born in Algiers and banished from there because she got it on with the Devil himself. We don't get the details of that interesting night, but instead we learn that the pregnant Sycorax was banished to this very island, where she made Ariel her lackey. Still, because Ariel was too "delicate" to do the horrible things she commanded, Sycorax had a fit and imprisoned Ariel in the cleft of a pine tree, where he stayed rather stuck. Twelve years later, Sycorax was dead, and Prospero came to the island to find the loud, sad, unearthly moans of Ariel coming from a tree. After he freed the spirit, Prospero committed Ariel to his service, with the promise of eventual liberty. After Prospero tells this long story, he chides Ariel that any more whining will get him locked back into the tree. However, if Ariel behaves, Prospero will free him in two days, once all the work is done. Brain Snack: The rest of the play actually takes place over the course of about four hours . In fact, The Tempest is one of two Shakespeare plays that takes place over the course of a single day in a single location. Literary critics have a fancy name for this--the "unities" of time and place. Contrast the action and location of The Tempest to, say, The Winter's Tale, which spans a huge length of time and space. Prospero sends Ariel off in the shape of an invisible water nymph , and wakes Miranda so they can go together to see Caliban. Miranda says she can't stand to look at Caliban, but her dad points out that Caliban does all those pesky island chores that nobody else likes to do . Prospero and Miranda stroll up to Caliban's pad and immediately begin to verbally abuse him, during which time we learn the following: Caliban was the island's only other inhabitant when Miranda and Prospero arrived; he is the child of Sycorax and the Devil. We also learn that, initially, Prospero had taken Caliban under his wing, taught him to speak, and fed him. In exchange, Caliban had shown him all the tricks and treasures of the island. Sadly, the friendship ended when Caliban tried to rape Miranda, with the intention of populating the island with little Calibandas . Prospero then confined Caliban to servitude and a dwelling near a rock outside of Prospero's cell. Caliban hates being a slave, but Prospero is powerful and likes to inflict Caliban with terrible body cramps for misbehaving and talking back. Ferdinand enters with Ariel who is invisible and sings a tune so beautiful that the amazed Ferdinand quits mourning his father to follow the music. Ariel leads Ferdinand to Miranda. When the prince and princess look into each other's eyes, it's love at first sight. Miranda turns to her dad and announces that Ferdinand is the hottest guy she's ever seen . Miranda thinks Ferdinand must be a god or a spirit. Ferdinand declares that Miranda must be a goddess and then asks our girl if she's a "maid." Ferdinand announces that he's the King of Naples . However, this situation conveniently puts him in a good position to make Miranda Queen of Naples. Miranda meets all the practical requirements of love, so they're all ready for marriage in 26 lines. Prospero, though he has been making asides all along that his plan is going well, declares to himself that if things are too easy for the young couple, then they won't take their vows of love seriously. In order to add a bit of conflict to the romance, Prospero accuses Ferdinand of being a spy intending to steal the island. Prospero threatens to chain up Ferdinand and enchant him, but the Prince rebels against the accusation. Miranda, newly in love, comes to the defense of Ferdinand. Prospero tells Ferdinand to give it up, and Ferdinand does, but not just because Prospero's magic has reduced his muscles to Jello. No, it's because of Miranda. Losing his father and his friends, being put in prison by Prospero--he can endure it all if he can just look out his prison window and see Miranda once a day. Prospero is pleased. He's glad to see the two falling in love, all according to his master plan. Prospero calls Ariel to do more work, and again promises the spirit will soon be free as the mountain winds in Pocahontas.

shmoop

all_chapterized_books/161-chapters/13.txt

finished_summaries/shmoop/Sense and Sensibility/section_12_part_0.txt

Sense and Sensibility.chapter 13

chapter 13

{"name": "Chapter 13", "url": "https://web.archive.org/web/20210421140324/https://www.shmoop.com/study-guides/literature/sense-and-sensibility/summary/chapter-13", "summary": "The planned excursion ends up not happening at all - we start the chapter with everyone gathered, ready to go. Colonel Brandon receives an urgent letter and rushes off dramatically. He returns, and promises that there's nothing wrong. Nobody believes him, and they all pressure him into revealing the contents of the letter. He refuses. Unfortunately, Colonel Brandon's mystery letter claims that some \"business\" requires him to go to town . This means that nobody can go to Whitwell, his brother-in-law's estate. Everyone is totally bummed, and Willoughby snarkily comments to Marianne that Colonel Brandon probably called off their trip because he hates having fun. Mrs. Jennings keeps prying the whole time, trying to figure out what's wrong with Colonel Brandon . Colonel Brandon goes off on horseback after saying his goodbyes to everyone. It seems like he might be gone to London for a long time. After he leaves, Mrs. Jennings smugly informs everyone that she's sure she knows what the business is about - it must be something regarding a certain Miss Williams, the Colonel's \"natural daughter\" . We're not sure how reliable her information is. Sir John decides that everyone should have a great day anyway - they decide to go on a drive, and explore the countryside. Marianne and Willoughby go together, of course. The Middletons throw an impromptu dinner party, and Mrs. Jennings hassles Marianne and Willoughby about their private drive in the morning. She implies that they actually went to Willoughby's aunt's house, Allenham, instead of driving around the countryside as they said they did. Apparently, they walked through the grounds and all through the house. Elinor can't believe that this happened - after all, Marianne doesn't know Mrs. Smith, Willoughby's aunt, at all. The two sisters have a little spat over this; Marianne doesn't think that she's done anything wrong. Furthermore, she argues, if it had been wrong, she would have felt it, and wouldn't have had a good time. Marianne ponders the situation and admits good-naturedly that perhaps it wasn't the most proper thing to do. However, she cheers up just thinking about the idea that it might be her house with Willoughby one day, and goes on to describe its charms to her sister.", "analysis": ""}

Their intended excursion to Whitwell turned out very different from what Elinor had expected. She was prepared to be wet through, fatigued, and frightened; but the event was still more unfortunate, for they did not go at all. By ten o'clock the whole party was assembled at the park, where they were to breakfast. The morning was rather favourable, though it had rained all night, as the clouds were then dispersing across the sky, and the sun frequently appeared. They were all in high spirits and good humour, eager to be happy, and determined to submit to the greatest inconveniences and hardships rather than be otherwise. While they were at breakfast the letters were brought in. Among the rest there was one for Colonel Brandon;--he took it, looked at the direction, changed colour, and immediately left the room. "What is the matter with Brandon?" said Sir John. Nobody could tell. "I hope he has had no bad news," said Lady Middleton. "It must be something extraordinary that could make Colonel Brandon leave my breakfast table so suddenly." In about five minutes he returned. "No bad news, Colonel, I hope;" said Mrs. Jennings, as soon as he entered the room. "None at all, ma'am, I thank you." "Was it from Avignon? I hope it is not to say that your sister is worse." "No, ma'am. It came from town, and is merely a letter of business." "But how came the hand to discompose you so much, if it was only a letter of business? Come, come, this won't do, Colonel; so let us hear the truth of it." "My dear madam," said Lady Middleton, "recollect what you are saying." "Perhaps it is to tell you that your cousin Fanny is married?" said Mrs. Jennings, without attending to her daughter's reproof. "No, indeed, it is not." "Well, then, I know who it is from, Colonel. And I hope she is well." "Whom do you mean, ma'am?" said he, colouring a little. "Oh! you know who I mean." "I am particularly sorry, ma'am," said he, addressing Lady Middleton, "that I should receive this letter today, for it is on business which requires my immediate attendance in town." "In town!" cried Mrs. Jennings. "What can you have to do in town at this time of year?" "My own loss is great," he continued, "in being obliged to leave so agreeable a party; but I am the more concerned, as I fear my presence is necessary to gain your admittance at Whitwell." What a blow upon them all was this! "But if you write a note to the housekeeper, Mr. Brandon," said Marianne, eagerly, "will it not be sufficient?" He shook his head. "We must go," said Sir John.--"It shall not be put off when we are so near it. You cannot go to town till tomorrow, Brandon, that is all." "I wish it could be so easily settled. But it is not in my power to delay my journey for one day!" "If you would but let us know what your business is," said Mrs. Jennings, "we might see whether it could be put off or not." "You would not be six hours later," said Willoughby, "if you were to defer your journey till our return." "I cannot afford to lose ONE hour."-- Elinor then heard Willoughby say, in a low voice to Marianne, "There are some people who cannot bear a party of pleasure. Brandon is one of them. He was afraid of catching cold I dare say, and invented this trick for getting out of it. I would lay fifty guineas the letter was of his own writing." "I have no doubt of it," replied Marianne. "There is no persuading you to change your mind, Brandon, I know of old," said Sir John, "when once you are determined on anything. But, however, I hope you will think better of it. Consider, here are the two Miss Careys come over from Newton, the three Miss Dashwoods walked up from the cottage, and Mr. Willoughby got up two hours before his usual time, on purpose to go to Whitwell." Colonel Brandon again repeated his sorrow at being the cause of disappointing the party; but at the same time declared it to be unavoidable. "Well, then, when will you come back again?" "I hope we shall see you at Barton," added her ladyship, "as soon as you can conveniently leave town; and we must put off the party to Whitwell till you return." "You are very obliging. But it is so uncertain, when I may have it in my power to return, that I dare not engage for it at all." "Oh! he must and shall come back," cried Sir John. "If he is not here by the end of the week, I shall go after him." "Ay, so do, Sir John," cried Mrs. Jennings, "and then perhaps you may find out what his business is." "I do not want to pry into other men's concerns. I suppose it is something he is ashamed of." Colonel Brandon's horses were announced. "You do not go to town on horseback, do you?" added Sir John. "No. Only to Honiton. I shall then go post." "Well, as you are resolved to go, I wish you a good journey. But you had better change your mind." "I assure you it is not in my power." He then took leave of the whole party. "Is there no chance of my seeing you and your sisters in town this winter, Miss Dashwood?" "I am afraid, none at all." "Then I must bid you farewell for a longer time than I should wish to do." To Marianne, he merely bowed and said nothing. "Come Colonel," said Mrs. Jennings, "before you go, do let us know what you are going about." He wished her a good morning, and, attended by Sir John, left the room. The complaints and lamentations which politeness had hitherto restrained, now burst forth universally; and they all agreed again and again how provoking it was to be so disappointed. "I can guess what his business is, however," said Mrs. Jennings exultingly. "Can you, ma'am?" said almost every body. "Yes; it is about Miss Williams, I am sure." "And who is Miss Williams?" asked Marianne. "What! do not you know who Miss Williams is? I am sure you must have heard of her before. She is a relation of the Colonel's, my dear; a very near relation. We will not say how near, for fear of shocking the young ladies." Then, lowering her voice a little, she said to Elinor, "She is his natural daughter." "Indeed!" "Oh, yes; and as like him as she can stare. I dare say the Colonel will leave her all his fortune." When Sir John returned, he joined most heartily in the general regret on so unfortunate an event; concluding however by observing, that as they were all got together, they must do something by way of being happy; and after some consultation it was agreed, that although happiness could only be enjoyed at Whitwell, they might procure a tolerable composure of mind by driving about the country. The carriages were then ordered; Willoughby's was first, and Marianne never looked happier than when she got into it. He drove through the park very fast, and they were soon out of sight; and nothing more of them was seen till their return, which did not happen till after the return of all the rest. They both seemed delighted with their drive; but said only in general terms that they had kept in the lanes, while the others went on the downs. It was settled that there should be a dance in the evening, and that every body should be extremely merry all day long. Some more of the Careys came to dinner, and they had the pleasure of sitting down nearly twenty to table, which Sir John observed with great contentment. Willoughby took his usual place between the two elder Miss Dashwoods. Mrs. Jennings sat on Elinor's right hand; and they had not been long seated, before she leant behind her and Willoughby, and said to Marianne, loud enough for them both to hear, "I have found you out in spite of all your tricks. I know where you spent the morning." Marianne coloured, and replied very hastily, "Where, pray?"-- "Did not you know," said Willoughby, "that we had been out in my curricle?" "Yes, yes, Mr. Impudence, I know that very well, and I was determined to find out WHERE you had been to.-- I hope you like your house, Miss Marianne. It is a very large one, I know; and when I come to see you, I hope you will have new-furnished it, for it wanted it very much when I was there six years ago." Marianne turned away in great confusion. Mrs. Jennings laughed heartily; and Elinor found that in her resolution to know where they had been, she had actually made her own woman enquire of Mr. Willoughby's groom; and that she had by that method been informed that they had gone to Allenham, and spent a considerable time there in walking about the garden and going all over the house. Elinor could hardly believe this to be true, as it seemed very unlikely that Willoughby should propose, or Marianne consent, to enter the house while Mrs. Smith was in it, with whom Marianne had not the smallest acquaintance. As soon as they left the dining-room, Elinor enquired of her about it; and great was her surprise when she found that every circumstance related by Mrs. Jennings was perfectly true. Marianne was quite angry with her for doubting it. "Why should you imagine, Elinor, that we did not go there, or that we did not see the house? Is not it what you have often wished to do yourself?" "Yes, Marianne, but I would not go while Mrs. Smith was there, and with no other companion than Mr. Willoughby." "Mr. Willoughby however is the only person who can have a right to shew that house; and as he went in an open carriage, it was impossible to have any other companion. I never spent a pleasanter morning in my life." "I am afraid," replied Elinor, "that the pleasantness of an employment does not always evince its propriety." "On the contrary, nothing can be a stronger proof of it, Elinor; for if there had been any real impropriety in what I did, I should have been sensible of it at the time, for we always know when we are acting wrong, and with such a conviction I could have had no pleasure." "But, my dear Marianne, as it has already exposed you to some very impertinent remarks, do you not now begin to doubt the discretion of your own conduct?" "If the impertinent remarks of Mrs. Jennings are to be the proof of impropriety in conduct, we are all offending every moment of our lives. I value not her censure any more than I should do her commendation. I am not sensible of having done anything wrong in walking over Mrs. Smith's grounds, or in seeing her house. They will one day be Mr. Willoughby's, and--" "If they were one day to be your own, Marianne, you would not be justified in what you have done." She blushed at this hint; but it was even visibly gratifying to her; and after a ten minutes' interval of earnest thought, she came to her sister again, and said with great good humour, "Perhaps, Elinor, it WAS rather ill-judged in me to go to Allenham; but Mr. Willoughby wanted particularly to shew me the place; and it is a charming house, I assure you.--There is one remarkably pretty sitting room up stairs; of a nice comfortable size for constant use, and with modern furniture it would be delightful. It is a corner room, and has windows on two sides. On one side you look across the bowling-green, behind the house, to a beautiful hanging wood, and on the other you have a view of the church and village, and, beyond them, of those fine bold hills that we have so often admired. I did not see it to advantage, for nothing could be more forlorn than the furniture,--but if it were newly fitted up--a couple of hundred pounds, Willoughby says, would make it one of the pleasantest summer-rooms in England." Could Elinor have listened to her without interruption from the others, she would have described every room in the house with equal delight.

Chapter 13

https://web.archive.org/web/20210421140324/https://www.shmoop.com/study-guides/literature/sense-and-sensibility/summary/chapter-13

The planned excursion ends up not happening at all - we start the chapter with everyone gathered, ready to go. Colonel Brandon receives an urgent letter and rushes off dramatically. He returns, and promises that there's nothing wrong. Nobody believes him, and they all pressure him into revealing the contents of the letter. He refuses. Unfortunately, Colonel Brandon's mystery letter claims that some "business" requires him to go to town . This means that nobody can go to Whitwell, his brother-in-law's estate. Everyone is totally bummed, and Willoughby snarkily comments to Marianne that Colonel Brandon probably called off their trip because he hates having fun. Mrs. Jennings keeps prying the whole time, trying to figure out what's wrong with Colonel Brandon . Colonel Brandon goes off on horseback after saying his goodbyes to everyone. It seems like he might be gone to London for a long time. After he leaves, Mrs. Jennings smugly informs everyone that she's sure she knows what the business is about - it must be something regarding a certain Miss Williams, the Colonel's "natural daughter" . We're not sure how reliable her information is. Sir John decides that everyone should have a great day anyway - they decide to go on a drive, and explore the countryside. Marianne and Willoughby go together, of course. The Middletons throw an impromptu dinner party, and Mrs. Jennings hassles Marianne and Willoughby about their private drive in the morning. She implies that they actually went to Willoughby's aunt's house, Allenham, instead of driving around the countryside as they said they did. Apparently, they walked through the grounds and all through the house. Elinor can't believe that this happened - after all, Marianne doesn't know Mrs. Smith, Willoughby's aunt, at all. The two sisters have a little spat over this; Marianne doesn't think that she's done anything wrong. Furthermore, she argues, if it had been wrong, she would have felt it, and wouldn't have had a good time. Marianne ponders the situation and admits good-naturedly that perhaps it wasn't the most proper thing to do. However, she cheers up just thinking about the idea that it might be her house with Willoughby one day, and goes on to describe its charms to her sister.

pinkmonkey

all_chapterized_books/110-chapters/31.txt

finished_summaries/pinkmonkey/Tess of the D'Urbervilles/section_12_part_2.txt

Tess of the D'Urbervilles.chapter 31

chapter 31

{"name": "CHAPTER 31", "url": "https://web.archive.org/web/20180820050202/http://www.pinkmonkey.com/booknotes/monkeynotes/pmTessD40.asp", "summary": "Tess writes to her mother telling her about her dilemma with Angel and seeking her advice. Joan is very quick in replying. She advises her to bury her sorrowful past, stating that Tess was not at fault. She also discourages her daughter from telling Angel about her past and defends it by saying that many women have concealed such experiences. Tess is relieved at her mother's advice. For the first time, she feels she can celebrate her happiness. When Angel announces their engagement to Mr. Crick and the farmhands, everyone celebrates with the couple. The milkmaids are particularly delighted for Tess. Angel asks Tess to set the date for the wedding, but Tess hesitates once again, wishing things could just continue in the present peaceful state of existence. Angel decides that they should wed before he starts his new business. Tess thinks again that she must tell Angel about her past before the day of the wedding.", "analysis": "Notes Joan responds to her daughter immediately with practical advice. She warns Tess not to confess her past to Angel, fearing Tess may lose the golden opportunity of getting a good husband. Although Joan's guidance is against moral standards, it is based upon love and concern of a mother for her daughter. Joan knows that Tess's past, if revealed, will stand in the way of her daughter's happiness. Joan also realizes that there is unequal treatment meted out to women for sins of passion, and she truly feels Tess has been the innocent victim of Alec D'Urberville, who has not suffered at all. Joan's advice convinces Tess to remain silent, and she feels greatly relieved at the decision. She even celebrates her upcoming marriage with the other farmhands, particularly the milkmaids. At the back of her mind, however, she still feels that it is treacherous to betray the man she loves and thinks that her silence is wrong and immoral. When Angel insists that the wedding take place before he begins his new business, Tess promises herself once again to tell Angel the truth before they marry"}

Tess wrote a most touching and urgent letter to her mother the very next day, and by the end of the week a response to her communication arrived in Joan Durbeyfield's wandering last-century hand. DEAR TESS,-- J write these few lines Hoping they will find you well, as they leave me at Present, thank God for it. Dear Tess, we are all glad to Hear that you are going really to be married soon. But with respect to your question, Tess, J say between ourselves, quite private but very strong, that on no account do you say a word of your Bygone Trouble to him. J did not tell everything to your Father, he being so Proud on account of his Respectability, which, perhaps, your Intended is the same. Many a woman--some of the Highest in the Land--have had a Trouble in their time; and why should you Trumpet yours when others don't Trumpet theirs? No girl would be such a Fool, specially as it is so long ago, and not your Fault at all. J shall answer the same if you ask me fifty times. Besides, you must bear in mind that, knowing it to be your Childish Nature to tell all that's in your heart--so simple!--J made you promise me never to let it out by Word or Deed, having your Welfare in my Mind; and you most solemnly did promise it going from this Door. J have not named either that Question or your coming marriage to your Father, as he would blab it everywhere, poor Simple Man. Dear Tess, keep up your Spirits, and we mean to send you a Hogshead of Cyder for you Wedding, knowing there is not much in your parts, and thin Sour Stuff what there is. So no more at present, and with kind love to your Young Man.--From your affectte. Mother, J. DURBEYFIELD "O mother, mother!" murmured Tess. She was recognizing how light was the touch of events the most oppressive upon Mrs Durbeyfield's elastic spirit. Her mother did not see life as Tess saw it. That haunting episode of bygone days was to her mother but a passing accident. But perhaps her mother was right as to the course to be followed, whatever she might be in her reasons. Silence seemed, on the face of it, best for her adored one's happiness: silence it should be. Thus steadied by a command from the only person in the world who had any shadow of right to control her action, Tess grew calmer. The responsibility was shifted, and her heart was lighter than it had been for weeks. The days of declining autumn which followed her assent, beginning with the month of October, formed a season through which she lived in spiritual altitudes more nearly approaching ecstasy than any other period of her life. There was hardly a touch of earth in her love for Clare. To her sublime trustfulness he was all that goodness could be--knew all that a guide, philosopher, and friend should know. She thought every line in the contour of his person the perfection of masculine beauty, his soul the soul of a saint, his intellect that of a seer. The wisdom of her love for him, as love, sustained her dignity; she seemed to be wearing a crown. The compassion of his love for her, as she saw it, made her lift up her heart to him in devotion. He would sometimes catch her large, worshipful eyes, that had no bottom to them looking at him from their depths, as if she saw something immortal before her. She dismissed the past--trod upon it and put it out, as one treads on a coal that is smouldering and dangerous. She had not known that men could be so disinterested, chivalrous, protective, in their love for women as he. Angel Clare was far from all that she thought him in this respect; absurdly far, indeed; but he was, in truth, more spiritual than animal; he had himself well in hand, and was singularly free from grossness. Though not cold-natured, he was rather bright than hot--less Byronic than Shelleyan; could love desperately, but with a love more especially inclined to the imaginative and ethereal; it was a fastidious emotion which could jealously guard the loved one against his very self. This amazed and enraptured Tess, whose slight experiences had been so infelicitous till now; and in her reaction from indignation against the male sex she swerved to excess of honour for Clare. They unaffectedly sought each other's company; in her honest faith she did not disguise her desire to be with him. The sum of her instincts on this matter, if clearly stated, would have been that the elusive quality of her sex which attracts men in general might be distasteful to so perfect a man after an avowal of love, since it must in its very nature carry with it a suspicion of art. The country custom of unreserved comradeship out of doors during betrothal was the only custom she knew, and to her it had no strangeness; though it seemed oddly anticipative to Clare till he saw how normal a thing she, in common with all the other dairy-folk, regarded it. Thus, during this October month of wonderful afternoons they roved along the meads by creeping paths which followed the brinks of trickling tributary brooks, hopping across by little wooden bridges to the other side, and back again. They were never out of the sound of some purling weir, whose buzz accompanied their own murmuring, while the beams of the sun, almost as horizontal as the mead itself, formed a pollen of radiance over the landscape. They saw tiny blue fogs in the shadows of trees and hedges, all the time that there was bright sunshine elsewhere. The sun was so near the ground, and the sward so flat, that the shadows of Clare and Tess would stretch a quarter of a mile ahead of them, like two long fingers pointing afar to where the green alluvial reaches abutted against the sloping sides of the vale. Men were at work here and there--for it was the season for "taking up" the meadows, or digging the little waterways clear for the winter irrigation, and mending their banks where trodden down by the cows. The shovelfuls of loam, black as jet, brought there by the river when it was as wide as the whole valley, were an essence of soils, pounded champaigns of the past, steeped, refined, and subtilized to extraordinary richness, out of which came all the fertility of the mead, and of the cattle grazing there. Clare hardily kept his arm round her waist in sight of these watermen, with the air of a man who was accustomed to public dalliance, though actually as shy as she who, with lips parted and eyes askance on the labourers, wore the look of a wary animal the while. "You are not ashamed of owning me as yours before them!" she said gladly. "O no!" "But if it should reach the ears of your friends at Emminster that you are walking about like this with me, a milkmaid--" "The most bewitching milkmaid ever seen." "They might feel it a hurt to their dignity." "My dear girl--a d'Urberville hurt the dignity of a Clare! It is a grand card to play--that of your belonging to such a family, and I am reserving it for a grand effect when we are married, and have the proofs of your descent from Parson Tringham. Apart from that, my future is to be totally foreign to my family--it will not affect even the surface of their lives. We shall leave this part of England--perhaps England itself--and what does it matter how people regard us here? You will like going, will you not?" She could answer no more than a bare affirmative, so great was the emotion aroused in her at the thought of going through the world with him as his own familiar friend. Her feelings almost filled her ears like a babble of waves, and surged up to her eyes. She put her hand in his, and thus they went on, to a place where the reflected sun glared up from the river, under a bridge, with a molten-metallic glow that dazzled their eyes, though the sun itself was hidden by the bridge. They stood still, whereupon little furred and feathered heads popped up from the smooth surface of the water; but, finding that the disturbing presences had paused, and not passed by, they disappeared again. Upon this river-brink they lingered till the fog began to close round them--which was very early in the evening at this time of the year--settling on the lashes of her eyes, where it rested like crystals, and on his brows and hair. They walked later on Sundays, when it was quite dark. Some of the dairy-people, who were also out of doors on the first Sunday evening after their engagement, heard her impulsive speeches, ecstasized to fragments, though they were too far off to hear the words discoursed; noted the spasmodic catch in her remarks, broken into syllables by the leapings of her heart, as she walked leaning on his arm; her contented pauses, the occasional little laugh upon which her soul seemed to ride--the laugh of a woman in company with the man she loves and has won from all other women--unlike anything else in nature. They marked the buoyancy of her tread, like the skim of a bird which has not quite alighted. Her affection for him was now the breath and life of Tess's being; it enveloped her as a photosphere, irradiated her into forgetfulness of her past sorrows, keeping back the gloomy spectres that would persist in their attempts to touch her--doubt, fear, moodiness, care, shame. She knew that they were waiting like wolves just outside the circumscribing light, but she had long spells of power to keep them in hungry subjection there. A spiritual forgetfulness co-existed with an intellectual remembrance. She walked in brightness, but she knew that in the background those shapes of darkness were always spread. They might be receding, or they might be approaching, one or the other, a little every day. One evening Tess and Clare were obliged to sit indoors keeping house, all the other occupants of the domicile being away. As they talked she looked thoughtfully up at him, and met his two appreciative eyes. "I am not worthy of you--no, I am not!" she burst out, jumping up from her low stool as though appalled at his homage, and the fulness of her own joy thereat. Clare, deeming the whole basis of her excitement to be that which was only the smaller part of it, said-- "I won't have you speak like it, dear Tess! Distinction does not consist in the facile use of a contemptible set of conventions, but in being numbered among those who are true, and honest, and just, and pure, and lovely, and of good report--as you are, my Tess." She struggled with the sob in her throat. How often had that string of excellences made her young heart ache in church of late years, and how strange that he should have cited them now. "Why didn't you stay and love me when I--was sixteen; living with my little sisters and brothers, and you danced on the green? O, why didn't you, why didn't you!" she said, impetuously clasping her hands. Angel began to comfort and reassure her, thinking to himself, truly enough, what a creature of moods she was, and how careful he would have to be of her when she depended for her happiness entirely on him. "Ah--why didn't I stay!" he said. "That is just what I feel. If I had only known! But you must not be so bitter in your regret--why should you be?" With the woman's instinct to hide she diverged hastily-- "I should have had four years more of your heart than I can ever have now. Then I should not have wasted my time as I have done--I should have had so much longer happiness!" It was no mature woman with a long dark vista of intrigue behind her who was tormented thus, but a girl of simple life, not yet one-and twenty, who had been caught during her days of immaturity like a bird in a springe. To calm herself the more completely, she rose from her little stool and left the room, overturning the stool with her skirts as she went. He sat on by the cheerful firelight thrown from a bundle of green ash-sticks laid across the dogs; the sticks snapped pleasantly, and hissed out bubbles of sap from their ends. When she came back she was herself again. "Do you not think you are just a wee bit capricious, fitful, Tess?" he said, good-humouredly, as he spread a cushion for her on the stool, and seated himself in the settle beside her. "I wanted to ask you something, and just then you ran away." "Yes, perhaps I am capricious," she murmured. She suddenly approached him, and put a hand upon each of his arms. "No, Angel, I am not really so--by nature, I mean!" The more particularly to assure him that she was not, she placed herself close to him in the settle, and allowed her head to find a resting-place against Clare's shoulder. "What did you want to ask me--I am sure I will answer it," she continued humbly. "Well, you love me, and have agreed to marry me, and hence there follows a thirdly, 'When shall the day be?'" "I like living like this." "But I must think of starting in business on my own hook with the new year, or a little later. And before I get involved in the multifarious details of my new position, I should like to have secured my partner." "But," she timidly answered, "to talk quite practically, wouldn't it be best not to marry till after all that?--Though I can't bear the thought o' your going away and leaving me here!" "Of course you cannot--and it is not best in this case. I want you to help me in many ways in making my start. When shall it be? Why not a fortnight from now?" "No," she said, becoming grave: "I have so many things to think of first." "But--" He drew her gently nearer to him. The reality of marriage was startling when it loomed so near. Before discussion of the question had proceeded further there walked round the corner of the settle into the full firelight of the apartment Mr Dairyman Crick, Mrs Crick, and two of the milkmaids. Tess sprang like an elastic ball from his side to her feet, while her face flushed and her eyes shone in the firelight. "I knew how it would be if I sat so close to him!" she cried, with vexation. "I said to myself, they are sure to come and catch us! But I wasn't really sitting on his knee, though it might ha' seemed as if I was almost!" "Well--if so be you hadn't told us, I am sure we shouldn't ha' noticed that ye had been sitting anywhere at all in this light," replied the dairyman. He continued to his wife, with the stolid mien of a man who understood nothing of the emotions relating to matrimony--"Now, Christianer, that shows that folks should never fancy other folks be supposing things when they bain't. O no, I should never ha' thought a word of where she was a sitting to, if she hadn't told me--not I." "We are going to be married soon," said Clare, with improvised phlegm. "Ah--and be ye! Well, I am truly glad to hear it, sir. I've thought you mid do such a thing for some time. She's too good for a dairymaid--I said so the very first day I zid her--and a prize for any man; and what's more, a wonderful woman for a gentleman-farmer's wife; he won't be at the mercy of his baily wi' her at his side." Somehow Tess disappeared. She had been even more struck with the look of the girls who followed Crick than abashed by Crick's blunt praise. After supper, when she reached her bedroom, they were all present. A light was burning, and each damsel was sitting up whitely in her bed, awaiting Tess, the whole like a row of avenging ghosts. But she saw in a few moments that there was no malice in their mood. They could scarcely feel as a loss what they had never expected to have. Their condition was objective, contemplative. "He's going to marry her!" murmured Retty, never taking eyes off Tess. "How her face do show it!" "You BE going to marry him?" asked Marian. "Yes," said Tess. "When?" "Some day." They thought that this was evasiveness only. "YES--going to MARRY him--a gentleman!" repeated Izz Huett. And by a sort of fascination the three girls, one after another, crept out of their beds, and came and stood barefooted round Tess. Retty put her hands upon Tess's shoulders, as if to realize her friend's corporeality after such a miracle, and the other two laid their arms round her waist, all looking into her face. "How it do seem! Almost more than I can think of!" said Izz Huett. Marian kissed Tess. "Yes," she murmured as she withdrew her lips. "Was that because of love for her, or because other lips have touched there by now?" continued Izz drily to Marian. "I wasn't thinking o' that," said Marian simply. "I was on'y feeling all the strangeness o't--that she is to be his wife, and nobody else. I don't say nay to it, nor either of us, because we did not think of it--only loved him. Still, nobody else is to marry'n in the world--no fine lady, nobody in silks and satins; but she who do live like we." "Are you sure you don't dislike me for it?" said Tess in a low voice. They hung about her in their white nightgowns before replying, as if they considered their answer might lie in her look. "I don't know--I don't know," murmured Retty Priddle. "I want to hate 'ee; but I cannot!" "That's how I feel," echoed Izz and Marian. "I can't hate her. Somehow she hinders me!" "He ought to marry one of you," murmured Tess. "Why?" "You are all better than I." "We better than you?" said the girls in a low, slow whisper. "No, no, dear Tess!" "You are!" she contradicted impetuously. And suddenly tearing away from their clinging arms she burst into a hysterical fit of tears, bowing herself on the chest of drawers and repeating incessantly, "O yes, yes, yes!" Having once given way she could not stop her weeping. "He ought to have had one of you!" she cried. "I think I ought to make him even now! You would be better for him than--I don't know what I'm saying! O! O!" They went up to her and clasped her round, but still her sobs tore her. "Get some water," said Marian, "She's upset by us, poor thing, poor thing!" They gently led her back to the side of her bed, where they kissed her warmly. "You are best for'n," said Marian. "More ladylike, and a better scholar than we, especially since he had taught 'ee so much. But even you ought to be proud. You BE proud, I'm sure!" "Yes, I am," she said; "and I am ashamed at so breaking down." When they were all in bed, and the light was out, Marian whispered across to her-- "You will think of us when you be his wife, Tess, and of how we told 'ee that we loved him, and how we tried not to hate you, and did not hate you, and could not hate you, because you were his choice, and we never hoped to be chose by him." They were not aware that, at these words, salt, stinging tears trickled down upon Tess's pillow anew, and how she resolved, with a bursting heart, to tell all her history to Angel Clare, despite her mother's command--to let him for whom she lived and breathed despise her if he would, and her mother regard her as a fool, rather then preserve a silence which might be deemed a treachery to him, and which somehow seemed a wrong to these.

CHAPTER 31

https://web.archive.org/web/20180820050202/http://www.pinkmonkey.com/booknotes/monkeynotes/pmTessD40.asp

Tess writes to her mother telling her about her dilemma with Angel and seeking her advice. Joan is very quick in replying. She advises her to bury her sorrowful past, stating that Tess was not at fault. She also discourages her daughter from telling Angel about her past and defends it by saying that many women have concealed such experiences. Tess is relieved at her mother's advice. For the first time, she feels she can celebrate her happiness. When Angel announces their engagement to Mr. Crick and the farmhands, everyone celebrates with the couple. The milkmaids are particularly delighted for Tess. Angel asks Tess to set the date for the wedding, but Tess hesitates once again, wishing things could just continue in the present peaceful state of existence. Angel decides that they should wed before he starts his new business. Tess thinks again that she must tell Angel about her past before the day of the wedding.

Notes Joan responds to her daughter immediately with practical advice. She warns Tess not to confess her past to Angel, fearing Tess may lose the golden opportunity of getting a good husband. Although Joan's guidance is against moral standards, it is based upon love and concern of a mother for her daughter. Joan knows that Tess's past, if revealed, will stand in the way of her daughter's happiness. Joan also realizes that there is unequal treatment meted out to women for sins of passion, and she truly feels Tess has been the innocent victim of Alec D'Urberville, who has not suffered at all. Joan's advice convinces Tess to remain silent, and she feels greatly relieved at the decision. She even celebrates her upcoming marriage with the other farmhands, particularly the milkmaids. At the back of her mind, however, she still feels that it is treacherous to betray the man she loves and thinks that her silence is wrong and immoral. When Angel insists that the wedding take place before he begins his new business, Tess promises herself once again to tell Angel the truth before they marry

novelguide

all_chapterized_books/5658-chapters/chapters_12_to_13.txt

finished_summaries/novelguide/Lord Jim/section_5_part_0.txt

Lord Jim.chapters 12-13

chapters 12-13

{"name": "Chapters 12-13", "url": "https://web.archive.org/web/20210215030710/https://www.novelguide.com/lord-jim/summaries/chapter12-13", "summary": "Chapters Twelve andThirteen . In Chapter Twelve, Jim recounts how the Avondale picked them up the next day just before sunset. The other men told 'their' story and Jim said nothing. He felt he had to live down the fact he jumped; the story did not matter. Marlow reveals for the first time that no one died on the Patna when Jim implies that 'having a story' was like cheating the dead. Jim had been relieved when he discovered the ship did not sink after all and must have imagined the shouts for help whilst in the boat. He insists the lights did go out and says he would have swum back if they had stayed on. Brierly believed this perception of the lights going out and suggested the ship's movement made it appear so. . . The Patna survived the open sea to end her days in a breaker's yard. At 9 am the next day, a French gunboat found her and the report of the commander in charge is public property. This affair has been remembered for an extremely long time. It 'had an extraordinary power of defying the shortness of memories and the length of time: it seemed to live, with a sort of uncanny vitality, in the minds of men, on the tips of their tongue.' A long time after the event, Marlow encounters a French lieutenant who had been on the gunboat. He tells Marlow that they towed the ship away and took care not to damage the bulkhead. All the time it was being towed, two men were ready with axes to cut them clear in case it sank. This man stayed on the Patna whilst it was being towed and this took 30 hours. Marlow expresses surprise at his decision to stay on the ship, but the officer explains that measures were taken . When they reached land, it took 25 minutes for all the passengers to disembark. . . Chapter Thirteen begins with the French officer asking Marlow what was at the bottom of this affair. Marlow explains and the officer is sympathetic towards Jim and says that all men suffer from fear. He adds that, 'man is born a coward'. Marlow has seen Jim only recently in Samarang where he worked at this point as a water-clerk . He does not know how Jim is coping with this new life, but is, 'pretty certain his adventurous fancy was suffering all the pangs of starvation'. He thinks of Jim's new life as a punishment 'for the heroics of his fancy'. . . The narrative shifts back again as Marlow remembers the night they talked before returning to the inquiry and how it was like 'a last vigil with a condemned man'. He offers to help him with Brierly's plan of evasion and to find work for him elsewhere, but Jim refuses to 'clear out'. Marlow tells him this business is bitter enough 'for a man of your kind' and Jim whispers his agreement. However, he adds that he may have jumped, but he does not run away. When they part company that night, he thinks of Jim as having nowhere to go, 'and he was not yet four-and-twenty'. . .", "analysis": "Chapters Twelve and Thirteen . Chapter Twelve reveals explicitly for the first time that nobody died on board the Patna. Jim's guilt for jumping remains, though, as he punishes himself for desertion. When the French officer hears from Marlow about Jim's decision, he reasons that all men feel fear and counters the notion that this was an act of cowardice. Ironically, he stayed on the ship as it was being towed away, but his understanding of Jim's decision demonstrates an awareness of the need for self-survival. He took measures to ensure his own safety."}

'All around everything was still as far as the ear could reach. The mist of his feelings shifted between us, as if disturbed by his struggles, and in the rifts of the immaterial veil he would appear to my staring eyes distinct of form and pregnant with vague appeal like a symbolic figure in a picture. The chill air of the night seemed to lie on my limbs as heavy as a slab of marble. '"I see," I murmured, more to prove to myself that I could break my state of numbness than for any other reason. '"The Avondale picked us up just before sunset," he remarked moodily. "Steamed right straight for us. We had only to sit and wait." 'After a long interval, he said, "They told their story." And again there was that oppressive silence. "Then only I knew what it was I had made up my mind to," he added. '"You said nothing," I whispered. '"What could I say?" he asked, in the same low tone. . . . "Shock slight. Stopped the ship. Ascertained the damage. Took measures to get the boats out without creating a panic. As the first boat was lowered ship went down in a squall. Sank like lead. . . . What could be more clear" . . . he hung his head . . . "and more awful?" His lips quivered while he looked straight into my eyes. "I had jumped--hadn't I?" he asked, dismayed. "That's what I had to live down. The story didn't matter." . . . He clasped his hands for an instant, glanced right and left into the gloom: "It was like cheating the dead," he stammered. '"And there were no dead," I said. 'He went away from me at this. That is the only way I can describe it. In a moment I saw his back close to the balustrade. He stood there for some time, as if admiring the purity and the peace of the night. Some flowering-shrub in the garden below spread its powerful scent through the damp air. He returned to me with hasty steps. '"And that did not matter," he said, as stubbornly as you please. '"Perhaps not," I admitted. I began to have a notion he was too much for me. After all, what did _I_ know? '"Dead or not dead, I could not get clear," he said. "I had to live; hadn't I?" '"Well, yes--if you take it in that way," I mumbled. '"I was glad, of course," he threw out carelessly, with his mind fixed on something else. "The exposure," he pronounced slowly, and lifted his head. "Do you know what was my first thought when I heard? I was relieved. I was relieved to learn that those shouts--did I tell you I had heard shouts? No? Well, I did. Shouts for help . . . blown along with the drizzle. Imagination, I suppose. And yet I can hardly . . . How stupid. . . . The others did not. I asked them afterwards. They all said No. No? And I was hearing them even then! I might have known--but I didn't think--I only listened. Very faint screams--day after day. Then that little half-caste chap here came up and spoke to me. 'The Patna . . . French gunboat . . . towed successfully to Aden . . . Investigation . . . Marine Office . . . Sailors' Home . . . arrangements made for your board and lodging!' I walked along with him, and I enjoyed the silence. So there had been no shouting. Imagination. I had to believe him. I could hear nothing any more. I wonder how long I could have stood it. It was getting worse, too . . . I mean--louder." 'He fell into thought. '"And I had heard nothing! Well--so be it. But the lights! The lights did go! We did not see them. They were not there. If they had been, I would have swam back--I would have gone back and shouted alongside--I would have begged them to take me on board. . . . I would have had my chance. . . . You doubt me? . . . How do you know how I felt? . . . What right have you to doubt? . . . I very nearly did it as it was--do you understand?" His voice fell. "There was not a glimmer--not a glimmer," he protested mournfully. "Don't you understand that if there had been, you would not have seen me here? You see me--and you doubt." 'I shook my head negatively. This question of the lights being lost sight of when the boat could not have been more than a quarter of a mile from the ship was a matter for much discussion. Jim stuck to it that there was nothing to be seen after the first shower had cleared away; and the others had affirmed the same thing to the officers of the Avondale. Of course people shook their heads and smiled. One old skipper who sat near me in court tickled my ear with his white beard to murmur, "Of course they would lie." As a matter of fact nobody lied; not even the chief engineer with his story of the mast-head light dropping like a match you throw down. Not consciously, at least. A man with his liver in such a state might very well have seen a floating spark in the corner of his eye when stealing a hurried glance over his shoulder. They had seen no light of any sort though they were well within range, and they could only explain this in one way: the ship had gone down. It was obvious and comforting. The foreseen fact coming so swiftly had justified their haste. No wonder they did not cast about for any other explanation. Yet the true one was very simple, and as soon as Brierly suggested it the court ceased to bother about the question. If you remember, the ship had been stopped, and was lying with her head on the course steered through the night, with her stern canted high and her bows brought low down in the water through the filling of the fore-compartment. Being thus out of trim, when the squall struck her a little on the quarter, she swung head to wind as sharply as though she had been at anchor. By this change in her position all her lights were in a very few moments shut off from the boat to leeward. It may very well be that, had they been seen, they would have had the effect of a mute appeal--that their glimmer lost in the darkness of the cloud would have had the mysterious power of the human glance that can awaken the feelings of remorse and pity. It would have said, "I am here--still here" . . . and what more can the eye of the most forsaken of human beings say? But she turned her back on them as if in disdain of their fate: she had swung round, burdened, to glare stubbornly at the new danger of the open sea which she so strangely survived to end her days in a breaking-up yard, as if it had been her recorded fate to die obscurely under the blows of many hammers. What were the various ends their destiny provided for the pilgrims I am unable to say; but the immediate future brought, at about nine o'clock next morning, a French gunboat homeward bound from Reunion. The report of her commander was public property. He had swept a little out of his course to ascertain what was the matter with that steamer floating dangerously by the head upon a still and hazy sea. There was an ensign, union down, flying at her main gaff (the serang had the sense to make a signal of distress at daylight); but the cooks were preparing the food in the cooking-boxes forward as usual. The decks were packed as close as a sheep-pen: there were people perched all along the rails, jammed on the bridge in a solid mass; hundreds of eyes stared, and not a sound was heard when the gunboat ranged abreast, as if all that multitude of lips had been sealed by a spell. 'The Frenchman hailed, could get no intelligible reply, and after ascertaining through his binoculars that the crowd on deck did not look plague-stricken, decided to send a boat. Two officers came on board, listened to the serang, tried to talk with the Arab, couldn't make head or tail of it: but of course the nature of the emergency was obvious enough. They were also very much struck by discovering a white man, dead and curled up peacefully on the bridge. "Fort intrigues par ce cadavre," as I was informed a long time after by an elderly French lieutenant whom I came across one afternoon in Sydney, by the merest chance, in a sort of cafe, and who remembered the affair perfectly. Indeed this affair, I may notice in passing, had an extraordinary power of defying the shortness of memories and the length of time: it seemed to live, with a sort of uncanny vitality, in the minds of men, on the tips of their tongues. I've had the questionable pleasure of meeting it often, years afterwards, thousands of miles away, emerging from the remotest possible talk, coming to the surface of the most distant allusions. Has it not turned up to-night between us? And I am the only seaman here. I am the only one to whom it is a memory. And yet it has made its way out! But if two men who, unknown to each other, knew of this affair met accidentally on any spot of this earth, the thing would pop up between them as sure as fate, before they parted. I had never seen that Frenchman before, and at the end of an hour we had done with each other for life: he did not seem particularly talkative either; he was a quiet, massive chap in a creased uniform, sitting drowsily over a tumbler half full of some dark liquid. His shoulder-straps were a bit tarnished, his clean-shaved cheeks were large and sallow; he looked like a man who would be given to taking snuff--don't you know? I won't say he did; but the habit would have fitted that kind of man. It all began by his handing me a number of Home News, which I didn't want, across the marble table. I said "Merci." We exchanged a few apparently innocent remarks, and suddenly, before I knew how it had come about, we were in the midst of it, and he was telling me how much they had been "intrigued by that corpse." It turned out he had been one of the boarding officers. 'In the establishment where we sat one could get a variety of foreign drinks which were kept for the visiting naval officers, and he took a sip of the dark medical-looking stuff, which probably was nothing more nasty than cassis a l'eau, and glancing with one eye into the tumbler, shook his head slightly. "Impossible de comprendre--vous concevez," he said, with a curious mixture of unconcern and thoughtfulness. I could very easily conceive how impossible it had been for them to understand. Nobody in the gunboat knew enough English to get hold of the story as told by the serang. There was a good deal of noise, too, round the two officers. "They crowded upon us. There was a circle round that dead man (autour de ce mort)," he described. "One had to attend to the most pressing. These people were beginning to agitate themselves--Parbleu! A mob like that--don't you see?" he interjected with philosophic indulgence. As to the bulkhead, he had advised his commander that the safest thing was to leave it alone, it was so villainous to look at. They got two hawsers on board promptly (en toute hale) and took the Patna in tow--stern foremost at that--which, under the circumstances, was not so foolish, since the rudder was too much out of the water to be of any great use for steering, and this manoeuvre eased the strain on the bulkhead, whose state, he expounded with stolid glibness, demanded the greatest care (exigeait les plus grands menagements). I could not help thinking that my new acquaintance must have had a voice in most of these arrangements: he looked a reliable officer, no longer very active, and he was seamanlike too, in a way, though as he sat there, with his thick fingers clasped lightly on his stomach, he reminded you of one of those snuffy, quiet village priests, into whose ears are poured the sins, the sufferings, the remorse of peasant generations, on whose faces the placid and simple expression is like a veil thrown over the mystery of pain and distress. He ought to have had a threadbare black soutane buttoned smoothly up to his ample chin, instead of a frock-coat with shoulder-straps and brass buttons. His broad bosom heaved regularly while he went on telling me that it had been the very devil of a job, as doubtless (sans doute) I could figure to myself in my quality of a seaman (en votre qualite de marin). At the end of the period he inclined his body slightly towards me, and, pursing his shaved lips, allowed the air to escape with a gentle hiss. "Luckily," he continued, "the sea was level like this table, and there was no more wind than there is here." . . . The place struck me as indeed intolerably stuffy, and very hot; my face burned as though I had been young enough to be embarrassed and blushing. They had directed their course, he pursued, to the nearest English port "naturellement," where their responsibility ceased, "Dieu merci." . . . He blew out his flat cheeks a little. . . . "Because, mind you (notez bien), all the time of towing we had two quartermasters stationed with axes by the hawsers, to cut us clear of our tow in case she . . ." He fluttered downwards his heavy eyelids, making his meaning as plain as possible. . . . "What would you! One does what one can (on fait ce qu'on peut)," and for a moment he managed to invest his ponderous immobility with an air of resignation. "Two quartermasters--thirty hours--always there. Two!" he repeated, lifting up his right hand a little, and exhibiting two fingers. This was absolutely the first gesture I saw him make. It gave me the opportunity to "note" a starred scar on the back of his hand--effect of a gunshot clearly; and, as if my sight had been made more acute by this discovery, I perceived also the seam of an old wound, beginning a little below the temple and going out of sight under the short grey hair at the side of his head--the graze of a spear or the cut of a sabre. He clasped his hands on his stomach again. "I remained on board that--that--my memory is going (s'en va). Ah! Patt-na. C'est bien ca. Patt-na. Merci. It is droll how one forgets. I stayed on that ship thirty hours. . . ." '"You did!" I exclaimed. Still gazing at his hands, he pursed his lips a little, but this time made no hissing sound. "It was judged proper," he said, lifting his eyebrows dispassionately, "that one of the officers should remain to keep an eye open (pour ouvrir l'oeil)" . . . he sighed idly . . . "and for communicating by signals with the towing ship--do you see?--and so on. For the rest, it was my opinion too. We made our boats ready to drop over--and I also on that ship took measures. . . . Enfin! One has done one's possible. It was a delicate position. Thirty hours! They prepared me some food. As for the wine--go and whistle for it--not a drop." In some extraordinary way, without any marked change in his inert attitude and in the placid expression of his face, he managed to convey the idea of profound disgust. "I--you know--when it comes to eating without my glass of wine--I am nowhere." 'I was afraid he would enlarge upon the grievance, for though he didn't stir a limb or twitch a feature, he made one aware how much he was irritated by the recollection. But he seemed to forget all about it. They delivered their charge to the "port authorities," as he expressed it. He was struck by the calmness with which it had been received. "One might have thought they had such a droll find (drole de trouvaille) brought them every day. You are extraordinary--you others," he commented, with his back propped against the wall, and looking himself as incapable of an emotional display as a sack of meal. There happened to be a man-of-war and an Indian Marine steamer in the harbour at the time, and he did not conceal his admiration of the efficient manner in which the boats of these two ships cleared the Patna of her passengers. Indeed his torpid demeanour concealed nothing: it had that mysterious, almost miraculous, power of producing striking effects by means impossible of detection which is the last word of the highest art. "Twenty-five minutes--watch in hand--twenty-five, no more." . . . He unclasped and clasped again his fingers without removing his hands from his stomach, and made it infinitely more effective than if he had thrown up his arms to heaven in amazement. . . . "All that lot (tout ce monde) on shore--with their little affairs--nobody left but a guard of seamen (marins de l'Etat) and that interesting corpse (cet interessant cadavre). Twenty-five minutes." . . . With downcast eyes and his head tilted slightly on one side he seemed to roll knowingly on his tongue the savour of a smart bit of work. He persuaded one without any further demonstration that his approval was eminently worth having, and resuming his hardly interrupted immobility, he went on to inform me that, being under orders to make the best of their way to Toulon, they left in two hours' time, "so that (de sorte que) there are many things in this incident of my life (dans cet episode de ma vie) which have remained obscure."''After these words, and without a change of attitude, he, so to speak, submitted himself passively to a state of silence. I kept him company; and suddenly, but not abruptly, as if the appointed time had arrived for his moderate and husky voice to come out of his immobility, he pronounced, "Mon Dieu! how the time passes!" Nothing could have been more commonplace than this remark; but its utterance coincided for me with a moment of vision. It's extraordinary how we go through life with eyes half shut, with dull ears, with dormant thoughts. Perhaps it's just as well; and it may be that it is this very dullness that makes life to the incalculable majority so supportable and so welcome. Nevertheless, there can be but few of us who had never known one of these rare moments of awakening when we see, hear, understand ever so much--everything--in a flash--before we fall back again into our agreeable somnolence. I raised my eyes when he spoke, and I saw him as though I had never seen him before. I saw his chin sunk on his breast, the clumsy folds of his coat, his clasped hands, his motionless pose, so curiously suggestive of his having been simply left there. Time had passed indeed: it had overtaken him and gone ahead. It had left him hopelessly behind with a few poor gifts: the iron-grey hair, the heavy fatigue of the tanned face, two scars, a pair of tarnished shoulder-straps; one of those steady, reliable men who are the raw material of great reputations, one of those uncounted lives that are buried without drums and trumpets under the foundations of monumental successes. "I am now third lieutenant of the Victorieuse" (she was the flagship of the French Pacific squadron at the time), he said, detaching his shoulders from the wall a couple of inches to introduce himself. I bowed slightly on my side of the table, and told him I commanded a merchant vessel at present anchored in Rushcutters' Bay. He had "remarked" her,--a pretty little craft. He was very civil about it in his impassive way. I even fancy he went the length of tilting his head in compliment as he repeated, breathing visibly the while, "Ah, yes. A little craft painted black--very pretty--very pretty (tres coquet)." After a time he twisted his body slowly to face the glass door on our right. "A dull town (triste ville)," he observed, staring into the street. It was a brilliant day; a southerly buster was raging, and we could see the passers-by, men and women, buffeted by the wind on the sidewalks, the sunlit fronts of the houses across the road blurred by the tall whirls of dust. "I descended on shore," he said, "to stretch my legs a little, but . . ." He didn't finish, and sank into the depths of his repose. "Pray--tell me," he began, coming up ponderously, "what was there at the bottom of this affair--precisely (au juste)? It is curious. That dead man, for instance--and so on." '"There were living men too," I said; "much more curious." '"No doubt, no doubt," he agreed half audibly, then, as if after mature consideration, murmured, "Evidently." I made no difficulty in communicating to him what had interested me most in this affair. It seemed as though he had a right to know: hadn't he spent thirty hours on board the Patna--had he not taken the succession, so to speak, had he not done "his possible"? He listened to me, looking more priest-like than ever, and with what--probably on account of his downcast eyes--had the appearance of devout concentration. Once or twice he elevated his eyebrows (but without raising his eyelids), as one would say "The devil!" Once he calmly exclaimed, "Ah, bah!" under his breath, and when I had finished he pursed his lips in a deliberate way and emitted a sort of sorrowful whistle. 'In any one else it might have been an evidence of boredom, a sign of indifference; but he, in his occult way, managed to make his immobility appear profoundly responsive, and as full of valuable thoughts as an egg is of meat. What he said at last was nothing more than a "Very interesting," pronounced politely, and not much above a whisper. Before I got over my disappointment he added, but as if speaking to himself, "That's it. That _is_ it." His chin seemed to sink lower on his breast, his body to weigh heavier on his seat. I was about to ask him what he meant, when a sort of preparatory tremor passed over his whole person, as a faint ripple may be seen upon stagnant water even before the wind is felt. "And so that poor young man ran away along with the others," he said, with grave tranquillity. 'I don't know what made me smile: it is the only genuine smile of mine I can remember in connection with Jim's affair. But somehow this simple statement of the matter sounded funny in French. . . . "S'est enfui avec les autres," had said the lieutenant. And suddenly I began to admire the discrimination of the man. He had made out the point at once: he did get hold of the only thing I cared about. I felt as though I were taking professional opinion on the case. His imperturbable and mature calmness was that of an expert in possession of the facts, and to whom one's perplexities are mere child's-play. "Ah! The young, the young," he said indulgently. "And after all, one does not die of it." "Die of what?" I asked swiftly. "Of being afraid." He elucidated his meaning and sipped his drink. 'I perceived that the three last fingers of his wounded hand were stiff and could not move independently of each other, so that he took up his tumbler with an ungainly clutch. "One is always afraid. One may talk, but . . ." He put down the glass awkwardly. . . . "The fear, the fear--look you--it is always there." . . . He touched his breast near a brass button, on the very spot where Jim had given a thump to his own when protesting that there was nothing the matter with his heart. I suppose I made some sign of dissent, because he insisted, "Yes! yes! One talks, one talks; this is all very fine; but at the end of the reckoning one is no cleverer than the next man--and no more brave. Brave! This is always to be seen. I have rolled my hump (roule ma bosse)," he said, using the slang expression with imperturbable seriousness, "in all parts of the world; I have known brave men--famous ones! Allez!" . . . He drank carelessly. . . . "Brave--you conceive--in the Service--one has got to be--the trade demands it (le metier veut ca). Is it not so?" he appealed to me reasonably. "Eh bien! Each of them--I say each of them, if he were an honest man--bien entendu--would confess that there is a point--there is a point--for the best of us--there is somewhere a point when you let go everything (vous lachez tout). And you have got to live with that truth--do you see? Given a certain combination of circumstances, fear is sure to come. Abominable funk (un trac epouvantable). And even for those who do not believe this truth there is fear all the same--the fear of themselves. Absolutely so. Trust me. Yes. Yes. . . . At my age one knows what one is talking about--que diable!" . . . He had delivered himself of all this as immovably as though he had been the mouthpiece of abstract wisdom, but at this point he heightened the effect of detachment by beginning to twirl his thumbs slowly. "It's evident--parbleu!" he continued; "for, make up your mind as much as you like, even a simple headache or a fit of indigestion (un derangement d'estomac) is enough to . . . Take me, for instance--I have made my proofs. Eh bien! I, who am speaking to you, once . . ." 'He drained his glass and returned to his twirling. "No, no; one does not die of it," he pronounced finally, and when I found he did not mean to proceed with the personal anecdote, I was extremely disappointed; the more so as it was not the sort of story, you know, one could very well press him for. I sat silent, and he too, as if nothing could please him better. Even his thumbs were still now. Suddenly his lips began to move. "That is so," he resumed placidly. "Man is born a coward (L'homme est ne poltron). It is a difficulty--parbleu! It would be too easy other vise. But habit--habit--necessity--do you see?--the eye of others--voila. One puts up with it. And then the example of others who are no better than yourself, and yet make good countenance. . . ." 'His voice ceased. '"That young man--you will observe--had none of these inducements--at least at the moment," I remarked. 'He raised his eyebrows forgivingly: "I don't say; I don't say. The young man in question might have had the best dispositions--the best dispositions," he repeated, wheezing a little. '"I am glad to see you taking a lenient view," I said. "His own feeling in the matter was--ah!--hopeful, and . . ." 'The shuffle of his feet under the table interrupted me. He drew up his heavy eyelids. Drew up, I say--no other expression can describe the steady deliberation of the act--and at last was disclosed completely to me. I was confronted by two narrow grey circlets, like two tiny steel rings around the profound blackness of the pupils. The sharp glance, coming from that massive body, gave a notion of extreme efficiency, like a razor-edge on a battle-axe. "Pardon," he said punctiliously. His right hand went up, and he swayed forward. "Allow me . . . I contended that one may get on knowing very well that one's courage does not come of itself (ne vient pas tout seul). There's nothing much in that to get upset about. One truth the more ought not to make life impossible. . . . But the honour--the honour, monsieur! . . . The honour . . . that is real--that is! And what life may be worth when" . . . he got on his feet with a ponderous impetuosity, as a startled ox might scramble up from the grass . . . "when the honour is gone--ah ca! par exemple--I can offer no opinion. I can offer no opinion--because--monsieur--I know nothing of it." 'I had risen too, and, trying to throw infinite politeness into our attitudes, we faced each other mutely, like two china dogs on a mantelpiece. Hang the fellow! he had pricked the bubble. The blight of futility that lies in wait for men's speeches had fallen upon our conversation, and made it a thing of empty sounds. "Very well," I said, with a disconcerted smile; "but couldn't it reduce itself to not being found out?" He made as if to retort readily, but when he spoke he had changed his mind. "This, monsieur, is too fine for me--much above me--I don't think about it." He bowed heavily over his cap, which he held before him by the peak, between the thumb and the forefinger of his wounded hand. I bowed too. We bowed together: we scraped our feet at each other with much ceremony, while a dirty specimen of a waiter looked on critically, as though he had paid for the performance. "Serviteur," said the Frenchman. Another scrape. "Monsieur" . . . "Monsieur." . . . The glass door swung behind his burly back. I saw the southerly buster get hold of him and drive him down wind with his hand to his head, his shoulders braced, and the tails of his coat blown hard against his legs. 'I sat down again alone and discouraged--discouraged about Jim's case. If you wonder that after more than three years it had preserved its actuality, you must know that I had seen him only very lately. I had come straight from Samarang, where I had loaded a cargo for Sydney: an utterly uninteresting bit of business,--what Charley here would call one of my rational transactions,--and in Samarang I had seen something of Jim. He was then working for De Jongh, on my recommendation. Water-clerk. "My representative afloat," as De Jongh called him. You can't imagine a mode of life more barren of consolation, less capable of being invested with a spark of glamour--unless it be the business of an insurance canvasser. Little Bob Stanton--Charley here knew him well--had gone through that experience. The same who got drowned afterwards trying to save a lady's-maid in the Sephora disaster. A case of collision on a hazy morning off the Spanish coast--you may remember. All the passengers had been packed tidily into the boats and shoved clear of the ship, when Bob sheered alongside again and scrambled back on deck to fetch that girl. How she had been left behind I can't make out; anyhow, she had gone completely crazy--wouldn't leave the ship--held to the rail like grim death. The wrestling-match could be seen plainly from the boats; but poor Bob was the shortest chief mate in the merchant service, and the woman stood five feet ten in her shoes and was as strong as a horse, I've been told. So it went on, pull devil, pull baker, the wretched girl screaming all the time, and Bob letting out a yell now and then to warn his boat to keep well clear of the ship. One of the hands told me, hiding a smile at the recollection, "It was for all the world, sir, like a naughty youngster fighting with his mother." The same old chap said that "At the last we could see that Mr. Stanton had given up hauling at the gal, and just stood by looking at her, watchful like. We thought afterwards he must've been reckoning that, maybe, the rush of water would tear her away from the rail by-and-by and give him a show to save her. We daren't come alongside for our life; and after a bit the old ship went down all on a sudden with a lurch to starboard--plop. The suck in was something awful. We never saw anything alive or dead come up." Poor Bob's spell of shore-life had been one of the complications of a love affair, I believe. He fondly hoped he had done with the sea for ever, and made sure he had got hold of all the bliss on earth, but it came to canvassing in the end. Some cousin of his in Liverpool put up to it. He used to tell us his experiences in that line. He made us laugh till we cried, and, not altogether displeased at the effect, undersized and bearded to the waist like a gnome, he would tiptoe amongst us and say, "It's all very well for you beggars to laugh, but my immortal soul was shrivelled down to the size of a parched pea after a week of that work." I don't know how Jim's soul accommodated itself to the new conditions of his life--I was kept too busy in getting him something to do that would keep body and soul together--but I am pretty certain his adventurous fancy was suffering all the pangs of starvation. It had certainly nothing to feed upon in this new calling. It was distressing to see him at it, though he tackled it with a stubborn serenity for which I must give him full credit. I kept my eye on his shabby plodding with a sort of notion that it was a punishment for the heroics of his fancy--an expiation for his craving after more glamour than he could carry. He had loved too well to imagine himself a glorious racehorse, and now he was condemned to toil without honour like a costermonger's donkey. He did it very well. He shut himself in, put his head down, said never a word. Very well; very well indeed--except for certain fantastic and violent outbreaks, on the deplorable occasions when the irrepressible Patna case cropped up. Unfortunately that scandal of the Eastern seas would not die out. And this is the reason why I could never feel I had done with Jim for good. 'I sat thinking of him after the French lieutenant had left, not, however, in connection with De Jongh's cool and gloomy backshop, where we had hurriedly shaken hands not very long ago, but as I had seen him years before in the last flickers of the candle, alone with me in the long gallery of the Malabar House, with the chill and the darkness of the night at his back. The respectable sword of his country's law was suspended over his head. To-morrow--or was it to-day? (midnight had slipped by long before we parted)--the marble-faced police magistrate, after distributing fines and terms of imprisonment in the assault-and-battery case, would take up the awful weapon and smite his bowed neck. Our communion in the night was uncommonly like a last vigil with a condemned man. He was guilty too. He was guilty--as I had told myself repeatedly, guilty and done for; nevertheless, I wished to spare him the mere detail of a formal execution. I don't pretend to explain the reasons of my desire--I don't think I could; but if you haven't got a sort of notion by this time, then I must have been very obscure in my narrative, or you too sleepy to seize upon the sense of my words. I don't defend my morality. There was no morality in the impulse which induced me to lay before him Brierly's plan of evasion--I may call it--in all its primitive simplicity. There were the rupees--absolutely ready in my pocket and very much at his service. Oh! a loan; a loan of course--and if an introduction to a man (in Rangoon) who could put some work in his way . . . Why! with the greatest pleasure. I had pen, ink, and paper in my room on the first floor And even while I was speaking I was impatient to begin the letter--day, month, year, 2.30 A.M. . . . for the sake of our old friendship I ask you to put some work in the way of Mr. James So-and-so, in whom, &c., &c. . . . I was even ready to write in that strain about him. If he had not enlisted my sympathies he had done better for himself--he had gone to the very fount and origin of that sentiment he had reached the secret sensibility of my egoism. I am concealing nothing from you, because were I to do so my action would appear more unintelligible than any man's action has the right to be, and--in the second place--to-morrow you will forget my sincerity along with the other lessons of the past. In this transaction, to speak grossly and precisely, I was the irreproachable man; but the subtle intentions of my immorality were defeated by the moral simplicity of the criminal. No doubt he was selfish too, but his selfishness had a higher origin, a more lofty aim. I discovered that, say what I would, he was eager to go through the ceremony of execution, and I didn't say much, for I felt that in argument his youth would tell against me heavily: he believed where I had already ceased to doubt. There was something fine in the wildness of his unexpressed, hardly formulated hope. "Clear out! Couldn't think of it," he said, with a shake of the head. "I make you an offer for which I neither demand nor expect any sort of gratitude," I said; "you shall repay the money when convenient, and . . ." "Awfully good of you," he muttered without looking up. I watched him narrowly: the future must have appeared horribly uncertain to him; but he did not falter, as though indeed there had been nothing wrong with his heart. I felt angry--not for the first time that night. "The whole wretched business," I said, "is bitter enough, I should think, for a man of your kind . . ." "It is, it is," he whispered twice, with his eyes fixed on the floor. It was heartrending. He towered above the light, and I could see the down on his cheek, the colour mantling warm under the smooth skin of his face. Believe me or not, I say it was outrageously heartrending. It provoked me to brutality. "Yes," I said; "and allow me to confess that I am totally unable to imagine what advantage you can expect from this licking of the dregs." "Advantage!" he murmured out of his stillness. "I am dashed if I do," I said, enraged. "I've been trying to tell you all there is in it," he went on slowly, as if meditating something unanswerable. "But after all, it is _my_ trouble." I opened my mouth to retort, and discovered suddenly that I'd lost all confidence in myself; and it was as if he too had given me up, for he mumbled like a man thinking half aloud. "Went away . . . went into hospitals. . . . Not one of them would face it. . . . They! . . ." He moved his hand slightly to imply disdain. "But I've got to get over this thing, and I mustn't shirk any of it or . . . I won't shirk any of it." He was silent. He gazed as though he had been haunted. His unconscious face reflected the passing expressions of scorn, of despair, of resolution--reflected them in turn, as a magic mirror would reflect the gliding passage of unearthly shapes. He lived surrounded by deceitful ghosts, by austere shades. "Oh! nonsense, my dear fellow," I began. He had a movement of impatience. "You don't seem to understand," he said incisively; then looking at me without a wink, "I may have jumped, but I don't run away." "I meant no offence," I said; and added stupidly, "Better men than you have found it expedient to run, at times." He coloured all over, while in my confusion I half-choked myself with my own tongue. "Perhaps so," he said at last, "I am not good enough; I can't afford it. I am bound to fight this thing down--I am fighting it now." I got out of my chair and felt stiff all over. The silence was embarrassing, and to put an end to it I imagined nothing better but to remark, "I had no idea it was so late," in an airy tone. . . . "I dare say you have had enough of this," he said brusquely: "and to tell you the truth"--he began to look round for his hat--"so have I." 'Well! he had refused this unique offer. He had struck aside my helping hand; he was ready to go now, and beyond the balustrade the night seemed to wait for him very still, as though he had been marked down for its prey. I heard his voice. "Ah! here it is." He had found his hat. For a few seconds we hung in the wind. "What will you do after--after . . ." I asked very low. "Go to the dogs as likely as not," he answered in a gruff mutter. I had recovered my wits in a measure, and judged best to take it lightly. "Pray remember," I said, "that I should like very much to see you again before you go." "I don't know what's to prevent you. The damned thing won't make me invisible," he said with intense bitterness,--"no such luck." And then at the moment of taking leave he treated me to a ghastly muddle of dubious stammers and movements, to an awful display of hesitations. God forgive him--me! He had taken it into his fanciful head that I was likely to make some difficulty as to shaking hands. It was too awful for words. I believe I shouted suddenly at him as you would bellow to a man you saw about to walk over a cliff; I remember our voices being raised, the appearance of a miserable grin on his face, a crushing clutch on my hand, a nervous laugh. The candle spluttered out, and the thing was over at last, with a groan that floated up to me in the dark. He got himself away somehow. The night swallowed his form. He was a horrible bungler. Horrible. I heard the quick crunch-crunch of the gravel under his boots. He was running. Absolutely running, with nowhere to go to. And he was not yet four-and-twenty.'

Chapters 12-13

https://web.archive.org/web/20210215030710/https://www.novelguide.com/lord-jim/summaries/chapter12-13

Chapters Twelve andThirteen . In Chapter Twelve, Jim recounts how the Avondale picked them up the next day just before sunset. The other men told 'their' story and Jim said nothing. He felt he had to live down the fact he jumped; the story did not matter. Marlow reveals for the first time that no one died on the Patna when Jim implies that 'having a story' was like cheating the dead. Jim had been relieved when he discovered the ship did not sink after all and must have imagined the shouts for help whilst in the boat. He insists the lights did go out and says he would have swum back if they had stayed on. Brierly believed this perception of the lights going out and suggested the ship's movement made it appear so. . . The Patna survived the open sea to end her days in a breaker's yard. At 9 am the next day, a French gunboat found her and the report of the commander in charge is public property. This affair has been remembered for an extremely long time. It 'had an extraordinary power of defying the shortness of memories and the length of time: it seemed to live, with a sort of uncanny vitality, in the minds of men, on the tips of their tongue.' A long time after the event, Marlow encounters a French lieutenant who had been on the gunboat. He tells Marlow that they towed the ship away and took care not to damage the bulkhead. All the time it was being towed, two men were ready with axes to cut them clear in case it sank. This man stayed on the Patna whilst it was being towed and this took 30 hours. Marlow expresses surprise at his decision to stay on the ship, but the officer explains that measures were taken . When they reached land, it took 25 minutes for all the passengers to disembark. . . Chapter Thirteen begins with the French officer asking Marlow what was at the bottom of this affair. Marlow explains and the officer is sympathetic towards Jim and says that all men suffer from fear. He adds that, 'man is born a coward'. Marlow has seen Jim only recently in Samarang where he worked at this point as a water-clerk . He does not know how Jim is coping with this new life, but is, 'pretty certain his adventurous fancy was suffering all the pangs of starvation'. He thinks of Jim's new life as a punishment 'for the heroics of his fancy'. . . The narrative shifts back again as Marlow remembers the night they talked before returning to the inquiry and how it was like 'a last vigil with a condemned man'. He offers to help him with Brierly's plan of evasion and to find work for him elsewhere, but Jim refuses to 'clear out'. Marlow tells him this business is bitter enough 'for a man of your kind' and Jim whispers his agreement. However, he adds that he may have jumped, but he does not run away. When they part company that night, he thinks of Jim as having nowhere to go, 'and he was not yet four-and-twenty'. . .

Chapters Twelve and Thirteen . Chapter Twelve reveals explicitly for the first time that nobody died on board the Patna. Jim's guilt for jumping remains, though, as he punishes himself for desertion. When the French officer hears from Marlow about Jim's decision, he reasons that all men feel fear and counters the notion that this was an act of cowardice. Ironically, he stayed on the ship as it was being towed away, but his understanding of Jim's decision demonstrates an awareness of the need for self-survival. He took measures to ensure his own safety.

gradesaver

all_chapterized_books/1200-chapters/book_1_chapters_34_to_58.txt

finished_summaries/gradesaver/Gargantua and Pantagruel/section_1_part_0.txt

Gargantua and Pantagruel.book 1.chapters 34-58

book 1, chapters 34-58

{"name": "Book 1, Chapters 34-58", "url": "https://web.archive.org/web/20180420203406/http://www.gradesaver.com/gargantua-and-pantagruel/study-guide/summary-book-1-chapters-34-58", "summary": "Gargantua and his men leave Paris and make way for Grangousier's kingdom. They find the land brutalized by Picrochole's armies. Through the help of powerful neighbors, they begin to plan an attack. Gargantua's friend, Gymnast, along with Prelingot, scout out the land to find out where the armies are located. In the midst of their scouting, they are surrounded by a platoon of soldiers. Gymnast feigns that he is possessed, performs horse tricks, and scares off most of the soldiers; then, he kills Captain Tripet, the captain of the soldiers. Upon arriving at the castle near the ford of Vede, Gargantua's horse urinates, and in doing so floods the land and over-floods the ford, which takes out a large portion of the enemy armies. To fight off the remaining enemies, Gargantua uproots a tree and fashions it into a lance. He moves to attack the castle, and the enemies within start to fire weapons of all sorts. Thanks to Gargantua's giant size, however, the bullets and cannon balls do not penetrate Gargantua's body. Gargantua takes his recently made lance and knocks over the castle, thus winning the battle. Gargantua and his company return to Grangousier's castle. Gargantua combs out his hair just prior to dinner, and out fall cannon balls and bullets, which Gargantua's father mistakes for lice. Ponocrates explains that as Gargantua's tutor and friend, he would never let him stay in a place so infested, and then Ponocrates proves that what has fallen from Gargantua's hair is indeed cannon balls and nothing more. After the battle, Grangousier provides a large feast. Gargantua craves a salad, and goes out to the garden to pick lettuce. Within the garden, however, six pilgrims from Picrochole's lands are hiding. They are afraid that they will be mistaken for spies, so they hide in Gargantua's garden; but since they are hiding so quietly, Gargantua does not see them, and picks them up with the heads of lettuce. He mixes them into a salad and nearly devours them, but the pilgrims are clever enough to grab hold of Gargantua's teeth, thus avoiding being swallowed. Gargantua picks out the pilgrims with a toothpick and flicks them aside, but Gargantua still does not see them. Gargantua then relieves himself, and in doing so his urine carries away the refuse, including the pilgrims. Gargantua and his company hear much about all the other skirmishes in the land. After hearing about Friar John, Gargantua wishes to meet the man, and so sends him a request for his company. Friar John arrives and is welcomed with much warmth by Gargantua. Friar John then sits, eats, and drinks with Gargantua, Grangousier, Eudemon, Gymnast, and Ponocrates. The men joke, discuss the war, talk about why people dislike monks, and then discuss how Friar John's nose acquired its particular shape. The next day, Gargantua and his company, joined by Friar John, make their way into battle. Friar John uses great words to motivate the company, but as he talks he neglects to pay attention to his surroundings, and accidentally gets stuck in a tree. Luckily, Gymnast and the others help him out. During the battle, Gargantua and his fellows, along with a small army, realize that they may be outnumbered, but that Picrochole's armies are untrained and undisciplined. Friar John loudly encourages his comrades to fight, regardless of the size of the enemy, but in doing so he gives away their location. The battle ensues. In the midst of battle, Friar John gets captured, but kills his captors and takes one of the enemy's leaders, Touchfaucet, as his prisoner. Gargantua and his company, including Friar John and his prisoner, return to Grangousier's castle. Grangousier explains to Touchfaucet that he will be set free, but that he must encourage his master to stop this war. Touchfaucet returns to Picrochole and begs him to negotiate peace, but to no avail. Touchfaucet is called a traitor, kills one of the other military captains, Rashcalf, and then Picrochole orders his guards to kill Touchfaucet. As the war continues, surrounding countries pledge loyalty to Grangousier, since they know that Picrochole fights unjustly without cause. Grangousier thanks all who have pledged loyalty to him, but he announces that he wishes to end the conflict quickly without wasting more lives. Meanwhile, Picrochole's armies are losing morale, as they hear word about how Grangousier's army is growing. In addition, Picrochole's armies are running out of food and supplies. Grangousier, Gargantua, and Gargantua's friends decide that they must plan a strategy that will end the war immediately. They position their armies to flank and surround their enemies. Friar John leads a battalion and manages to capture a large portion of Picrochole's army. Gargantua and his armies attack Picrochole directly; in the chaos of war, however, Picrochole, his servants, and his armies retreat, leaving Gargantua and his followers as the victors. With the war clearly over, Picrochole runs away, becomes separated from his people, and finds himself alone. He tries to find his way back, but ends up being beaten, his clothes ripped into shreds. According to rumor, he ends up a lowly porter in some other kingdom. Gargantua announces his victory with a humble story about one of his father's previous enemies, King Alpharbal. Like Picrochole, King Alpharbal was obsessed with conquest and pillaging. Upon being captured, Grangousier did not enslave or beat his enemy, and instead treated him with great kindness and allowed him to go home. King Alpharbal was so amazed by such kindness that he forever swore loyalty to Grangousier. Therefore, Gargantua announces that he will treat their current prisoners with the same kindness. Since Picrochole is nowhere to be found, and therefore cannot run his kingdom, ownership of the kingdom will fall upon Picrochole's son, who is too young to rule. To protect Picrochole's son, Gargantua appoints Ponocrates as the steward/governor of the land, until such time that Picrochole's son may rule. Gargantua awards each of his friends and servants, , with lands, titles, and castles, as a way to thank them for joining him in battle. To reward Friar John, he offers him dominion over some of the more famous abbeys, to which Friar John cannot accept, for he finds those abbeys corrupt, and requests the ability to build a different kind of abbey, which he names the Abbey of Thelme. Designed and constructed under the guidance of the Gargantua and Friar John, the Abbey of Thelme would be like no other abbey before it. The only rule of the abbey would be to \"do as thou wilt,\" implying that no one shall keep time, and that everyone would be free to live their lives as they wish. It would have no walls, for walls create conspiracy. The abbey would house both men and women, and it would allow the men and women to fraternize and even be married to one another. Many women would be educated here in a mostly egalitarian fashion, although certain chores and duties would still be assigned as gender-specific. The entire abbey would be built like an immaculate castle, and the persons living within would be garbed in decadent clothing. The narrator describes that even though these people would live very well, that they somehow would not allow such a decadent form of living to corrupt them or take up their time in a negative fashion. While they would be allowed to do what they wish, they must do so in accordance with leading good, noble, and productive lives. Upon breaking ground for the construction of the abbey, Gargantua and Friar John find a riddle carved into a piece of copper. Gargantua interprets the riddle as a religious metaphor, namely that individuals must seek out God and not allow earthly matters to drag them down to vice. Friar John, on the other hand, does not interpret the riddle as such. Instead, he interprets the poem more basely as the description of a tennis match. According to Friar John, players go against their opponents, as friends or enemies arrange matches. After each match, the players rest, refresh themselves, and then make themselves ready to play again. Those who win their matches are exceedingly happy, but even those who lose are still happy to some degree.", "analysis": "The climax of book one occurs in the second half of the story. Gargantua and his comrades take part in several battles. As they do so, the narrator goes into further detail concerning the characterization of the supporting characters. Gymnast, for example, appears in the first half of the book as a man skilled in horseback riding and military strategy. In the battlefield, we witness his knowledge put to the test. Not only does he use strategy to scout out the enemy, but he also proves his ability to be a great judge of character. Through watching the enemy, he establishes that the enemy soldiers lack discipline. Gymnast also realizes that these undisciplined soldiers are naive and subject to superstitious fear. When captured, Gymnast cleverly feigns demon possession to throw his assailants off-guard and to win the day. The further characterization of Friar John continues the seemingly split personality of the silly monk and the warrior monk. In preparing for battle, though, the silly monk becomes full of bravado. His overconfidence satirically mocks the clergy and, to some degree, the military, since it demonstrates how soldiers and leaders preparing for war become so focused and excited that they become blind to their surroundings. In the case of Friar John, as he tries to encourage Gargantua and his compatriots, Friar John somehow manages to get himself hung up in a tree and unable to proceed. He also talks too loudly at times, giving their position away to the enemy. After so many military blunders, Friar John gets captured and taken away, but that is when the warrior monk comes out. Oddly enough, Friar John's warrior abilities seem most pronounced when he stands separate from his associates. Even in the final battle, he fights and captures a battalion far removed from where Gargantua and the others are fighting. From the point of view of the writer, Rabelais may have felt that without someone playing the role of comedic relief that his story would have gone out of satire and into the realm of comedic drama. That could explain why Friar John's character leans toward the silly monk persona when he is in the company Gargantua has compatriots. After the war is over and Picrochole's armies are defeated, Rabelais uses a clever flashback strategy to explain the ideals of Utopia, Gargantua's homeland. Within the flashback, Gargantua tells the story about one of his father's previous enemies, Alpharbal, and how his father treated his enemy with compassion instead of malice. That compassion was rewarded with Alpharbal swearing lifelong allegiance to Grangousier. As an exposition, the flashback serves two purposes. First of all, it further establishes Grangousier as a kind and pacifistic ruler, regardless of his hedonistic ways in the beginning of the book. The flashback also foreshadows how Gargantua will run his kingdom and how he will train his son to rule. To further establish how Gargantua will run his kingdom, he and Friar John get into a conversation about how to redesign the ideal abbey. However, this conversation about the Abbey of Thelme is peculiarly juxtaposed against the character of Picrochole, the warmongering king. In her article, \"Was Picrochole Free? Rabelais between Luther and Erasmus,\" Eva Kushner discusses this strange pairing of topics. She points out how Gargantua and Friar John foresee that the Abbey of Thelme will house the most skilled and virtuous men and women in the land, and since they are born of noble birth, it will be in their nature to remain peaceful and dedicated to God. This very statement implies that those of nobility have an innate nature to act in a particular way. As Kushner explains, Picrochole is an educated man of noble birth, and yet he started a war without sufficient evidence. Worse than not, he refused to negotiate and would not listen to reason. Kushner posits that Rabelais's purpose behind these contradicting elements is to promote a satirical methodology showcasing how the ideals of Thelme may not hold true in the real world, since \"a man, who is furthermore endowed with royal power, will misuse his freedom and ignore that of other men,\" . Therefore, a place such as Thelme cannot function to the extent of the ideals dreamed by Gargantua and Friar John, unless such a place remains outside of the control of monarchies. Even then, whoever possesses decision-making power over Thelme, presumably Friar John, may also be susceptible to the corrupting forces of absolute power."}

How Gargantua left the city of Paris to succour his country, and how Gymnast encountered with the enemy. In this same very hour Gargantua, who was gone out of Paris as soon as he had read his father's letters, coming upon his great mare, had already passed the Nunnery-bridge, himself, Ponocrates, Gymnast, and Eudemon, who all three, the better to enable them to go along with him, took post-horses. The rest of his train came after him by even journeys at a slower pace, bringing with them all his books and philosophical instruments. As soon as he had alighted at Parille, he was informed by a farmer of Gouguet how Picrochole had fortified himself within the rock Clermond, and had sent Captain Tripet with a great army to set upon the wood of Vede and Vaugaudry, and that they had already plundered the whole country, not leaving cock nor hen, even as far as to the winepress of Billard. These strange and almost incredible news of the enormous abuses thus committed over all the land, so affrighted Gargantua that he knew not what to say nor do. But Ponocrates counselled him to go unto the Lord of Vauguyon, who at all times had been their friend and confederate, and that by him they should be better advised in their business. Which they did incontinently, and found him very willing and fully resolved to assist them, and therefore was of opinion that they should send some one of his company to scout along and discover the country, to learn in what condition and posture the enemy was, that they might take counsel, and proceed according to the present occasion. Gymnast offered himself to go. Whereupon it was concluded, that for his safety and the better expedition, he should have with him someone that knew the ways, avenues, turnings, windings, and rivers thereabout. Then away went he and Prelingot, the equerry or gentleman of Vauguyon's horse, who scouted and espied as narrowly as they could upon all quarters without any fear. In the meantime Gargantua took a little refreshment, ate somewhat himself, the like did those who were with him, and caused to give to his mare a picotine of oats, that is, three score and fourteen quarters and three bushels. Gymnast and his comrade rode so long, that at last they met with the enemy's forces, all scattered and out of order, plundering, stealing, robbing, and pillaging all they could lay their hands on. And, as far off as they could perceive him, they ran thronging upon the back of one another in all haste towards him, to unload him of his money, and untruss his portmantles. Then cried he out unto them, My masters, I am a poor devil, I desire you to spare me. I have yet one crown left. Come, we must drink it, for it is aurum potabile, and this horse here shall be sold to pay my welcome. Afterwards take me for one of your own, for never yet was there any man that knew better how to take, lard, roast, and dress, yea, by G--, to tear asunder and devour a hen, than I that am here: and for my proficiat I drink to all good fellows. With that he unscrewed his borracho (which was a great Dutch leathern bottle), and without putting in his nose drank very honestly. The maroufle rogues looked upon him, opening their throats a foot wide, and putting out their tongues like greyhounds, in hopes to drink after him; but Captain Tripet, in the very nick of that their expectation, came running to him to see who it was. To him Gymnast offered his bottle, saying, Hold, captain, drink boldly and spare not; I have been thy taster, it is wine of La Faye Monjau. What! said Tripet, this fellow gibes and flouts us? Who art thou? said Tripet. I am, said Gymnast, a poor devil (pauvre diable). Ha, said Tripet, seeing thou art a poor devil, it is reason that thou shouldst be permitted to go whithersoever thou wilt, for all poor devils pass everywhere without toll or tax. But it is not the custom of poor devils to be so well mounted; therefore, sir devil, come down, and let me have your horse, and if he do not carry me well, you, master devil, must do it: for I love a life that such a devil as you should carry me away. How Gymnast very souply and cunningly killed Captain Tripet and others of Picrochole's men. When they heard these words, some amongst them began to be afraid, and blessed themselves with both hands, thinking indeed that he had been a devil disguised, insomuch that one of them, named Good John, captain of the trained bands of the country bumpkins, took his psalter out of his codpiece, and cried out aloud, Hagios ho theos. If thou be of God, speak; if thou be of the other spirit, avoid hence, and get thee going. Yet he went not away. Which words being heard by all the soldiers that were there, divers of them being a little inwardly terrified, departed from the place. All this did Gymnast very well remark and consider, and therefore making as if he would have alighted from off his horse, as he was poising himself on the mounting side, he most nimbly, with his short sword by his thigh, shifting his foot in the stirrup, performed the stirrup-leather feat, whereby, after the inclining of his body downwards, he forthwith launched himself aloft in the air, and placed both his feet together on the saddle, standing upright with his back turned towards the horse's head. Now, said he, my case goes backward. Then suddenly in the same very posture wherein he was, he fetched a gambol upon one foot, and, turning to the left hand, failed not to carry his body perfectly round, just into its former stance, without missing one jot. Ha, said Tripet, I will not do that at this time, and not without cause. Well, said Gymnast, I have failed, I will undo this leap. Then with a marvellous strength and agility, turning towards the right hand, he fetched another frisking gambol as before, which done, he set his right-hand thumb upon the hind-bow of the saddle, raised himself up, and sprung in the air, poising and upholding his whole body upon the muscle and nerve of the said thumb, and so turned and whirled himself about three times. At the fourth, reversing his body, and overturning it upside down, and foreside back, without touching anything, he brought himself betwixt the horse's two ears, springing with all his body into the air, upon the thumb of his left hand, and in that posture, turning like a windmill, did most actively do that trick which is called the miller's pass. After this, clapping his right hand flat upon the middle of the saddle, he gave himself such a jerking swing that he thereby seated himself upon the crupper, after the manner of gentlewomen sitting on horseback. This done, he easily passed his right leg over the saddle, and placed himself like one that rides in croup. But, said he, it were better for me to get into the saddle; then putting the thumbs of both hands upon the crupper before him, and thereupon leaning himself, as upon the only supporters of his body, he incontinently turned heels over head in the air, and straight found himself betwixt the bow of the saddle in a good settlement. Then with a somersault springing into the air again, he fell to stand with both his feet close together upon the saddle, and there made above a hundred frisks, turns, and demipommads, with his arms held out across, and in so doing cried out aloud, I rage, I rage, devils, I am stark mad, devils, I am mad, hold me, devils, hold me, hold, devils, hold, hold! Whilst he was thus vaulting, the rogues in great astonishment said to one another, By cock's death, he is a goblin or a devil thus disguised. Ab hoste maligno libera nos, Domine, and ran away in a full flight, as if they had been routed, looking now and then behind them, like a dog that carrieth away a goose-wing in his mouth. Then Gymnast, spying his advantage, alighted from his horse, drew his sword, and laid on great blows upon the thickset and highest crested among them, and overthrew them in great heaps, hurt, wounded, and bruised, being resisted by nobody, they thinking he had been a starved devil, as well in regard of his wonderful feats in vaulting, which they had seen, as for the talk Tripet had with him, calling him poor devil. Only Tripet would have traitorously cleft his head with his horseman's sword, or lance-knight falchion; but he was well armed, and felt nothing of the blow but the weight of the stroke. Whereupon, turning suddenly about, he gave Tripet a home-thrust, and upon the back of that, whilst he was about to ward his head from a slash, he ran him in at the breast with a hit, which at once cut his stomach, the fifth gut called the colon, and the half of his liver, wherewith he fell to the ground, and in falling gushed forth above four pottles of pottage, and his soul mingled with the pottage. This done, Gymnast withdrew himself, very wisely considering that a case of great adventure and hazard should not be pursued unto its utmost period, and that it becomes all cavaliers modestly to use their good fortune, without troubling or stretching it too far. Wherefore, getting to horse, he gave him the spur, taking the right way unto Vauguyon, and Prelinguand with him. How Gargantua demolished the castle at the ford of Vede, and how they passed the ford. As soon as he came, he related the estate and condition wherein they had found the enemy, and the stratagem which he alone had used against all their multitude, affirming that they were but rascally rogues, plunderers, thieves, and robbers, ignorant of all military discipline, and that they might boldly set forward unto the field; it being an easy matter to fell and strike them down like beasts. Then Gargantua mounted his great mare, accompanied as we have said before, and finding in his way a high and great tree, which commonly was called by the name of St. Martin's tree, because heretofore St. Martin planted a pilgrim's staff there, which in tract of time grew to that height and greatness, said, This is that which I lacked; this tree shall serve me both for a staff and lance. With that he pulled it up easily, plucked off the boughs, and trimmed it at his pleasure. In the meantime his mare pissed to ease her belly, but it was in such abundance that it did overflow the country seven leagues, and all the piss of that urinal flood ran glib away towards the ford of Vede, wherewith the water was so swollen that all the forces the enemy had there were with great horror drowned, except some who had taken the way on the left hand towards the hills. Gargantua, being come to the place of the wood of Vede, was informed by Eudemon that there was some remainder of the enemy within the castle, which to know, Gargantua cried out as loud as he was able, Are you there, or are you not there? If you be there, be there no more; and if you are not there, I have no more to say. But a ruffian gunner, whose charge was to attend the portcullis over the gate, let fly a cannon-ball at him, and hit him with that shot most furiously on the right temple of his head, yet did him no more hurt than if he had but cast a prune or kernel of a wine-grape at him. What is this? said Gargantua; do you throw at us grape-kernels here? The vintage shall cost you dear; thinking indeed that the bullet had been the kernel of a grape, or raisin-kernel. Those who were within the castle, being till then busy at the pillage, when they heard this noise ran to the towers and fortresses, from whence they shot at him above nine thousand and five-and-twenty falconshot and arquebusades, aiming all at his head, and so thick did they shoot at him that he cried out, Ponocrates, my friend, these flies here are like to put out mine eyes; give me a branch of those willow-trees to drive them away, thinking that the bullets and stones shot out of the great ordnance had been but dunflies. Ponocrates looked and saw that there were no other flies but great shot which they had shot from the castle. Then was it that he rushed with his great tree against the castle, and with mighty blows overthrew both towers and fortresses, and laid all level with the ground, by which means all that were within were slain and broken in pieces. Going from thence, they came to the bridge at the mill, where they found all the ford covered with dead bodies, so thick that they had choked up the mill and stopped the current of its water, and these were those that were destroyed in the urinal deluge of the mare. There they were at a stand, consulting how they might pass without hindrance by these dead carcasses. But Gymnast said, If the devils have passed there, I will pass well enough. The devils have passed there, said Eudemon, to carry away the damned souls. By St. Treignan! said Ponocrates, then by necessary consequence he shall pass there. Yes, yes, said Gymnastes, or I shall stick in the way. Then setting spurs to his horse, he passed through freely, his horse not fearing nor being anything affrighted at the sight of the dead bodies; for he had accustomed him, according to the doctrine of Aelian, not to fear armour, nor the carcasses of dead men; and that not by killing men as Diomedes did the Thracians, or as Ulysses did in throwing the corpses of his enemies at his horse's feet, as Homer saith, but by putting a Jack-a-lent amongst his hay, and making him go over it ordinarily when he gave him his oats. The other three followed him very close, except Eudemon only, whose horse's fore-right or far forefoot sank up to the knee in the paunch of a great fat chuff who lay there upon his back drowned, and could not get it out. There was he pestered, until Gargantua, with the end of his staff, thrust down the rest of the villain's tripes into the water whilst the horse pulled out his foot; and, which is a wonderful thing in hippiatry, the said horse was thoroughly cured of a ringbone which he had in that foot by this touch of the burst guts of that great looby. How Gargantua, in combing his head, made the great cannon-balls fall out of his hair. Being come out of the river of Vede, they came very shortly after to Grangousier's castle, who waited for them with great longing. At their coming they were entertained with many congees, and cherished with embraces. Never was seen a more joyful company, for Supplementum Supplementi Chronicorum saith that Gargamelle died there with joy; for my part, truly I cannot tell, neither do I care very much for her, nor for anybody else. The truth was, that Gargantua, in shifting his clothes, and combing his head with a comb, which was nine hundred foot long of the Jewish cane measure, and whereof the teeth were great tusks of elephants, whole and entire, he made fall at every rake above seven balls of bullets, at a dozen the ball, that stuck in his hair at the razing of the castle of the wood of Vede. Which his father Grangousier seeing, thought they had been lice, and said unto him, What, my dear son, hast thou brought us this far some short-winged hawks of the college of Montague? I did not mean that thou shouldst reside there. Then answered Ponocrates, My sovereign lord, think not that I have placed him in that lousy college which they call Montague; I had rather have put him amongst the grave-diggers of Sanct Innocent, so enormous is the cruelty and villainy that I have known there: for the galley-slaves are far better used amongst the Moors and Tartars, the murderers in the criminal dungeons, yea, the very dogs in your house, than are the poor wretched students in the aforesaid college. And if I were King of Paris, the devil take me if I would not set it on fire, and burn both principal and regents, for suffering this inhumanity to be exercised before their eyes. Then, taking up one of these bullets, he said, These are cannon-shot, which your son Gargantua hath lately received by the treachery of your enemies, as he was passing before the wood of Vede. But they have been so rewarded, that they are all destroyed in the ruin of the castle, as were the Philistines by the policy of Samson, and those whom the tower of Silohim slew, as it is written in the thirteenth of Luke. My opinion is, that we pursue them whilst the luck is on our side; for occasion hath all her hair on her forehead; when she is passed, you may not recall her,--she hath no tuft whereby you can lay hold on her, for she is bald in the hind-part of her head, and never returneth again. Truly, said Grangousier, it shall not be at this time; for I will make you a feast this night, and bid you welcome. This said, they made ready supper, and, of extraordinary besides his daily fare, were roasted sixteen oxen, three heifers, two and thirty calves, three score and three fat kids, four score and fifteen wethers, three hundred farrow pigs or sheats soused in sweet wine or must, eleven score partridges, seven hundred snipes and woodcocks, four hundred Loudun and Cornwall capons, six thousand pullets, and as many pigeons, six hundred crammed hens, fourteen hundred leverets, or young hares and rabbits, three hundred and three buzzards, and one thousand and seven hundred cockerels. For venison, they could not so suddenly come by it, only eleven wild boars, which the Abbot of Turpenay sent, and eighteen fallow deer which the Lord of Gramount bestowed; together with seven score pheasants, which were sent by the Lord of Essars; and some dozens of queests, coushats, ringdoves, and woodculvers; river-fowl, teals and awteals, bitterns, courtes, plovers, francolins, briganders, tyrasons, young lapwings, tame ducks, shovellers, woodlanders, herons, moorhens, criels, storks, canepetiers, oranges, flamans, which are phaenicopters, or crimson-winged sea-fowls, terrigoles, turkeys, arbens, coots, solan-geese, curlews, termagants, and water-wagtails, with a great deal of cream, curds, and fresh cheese, and store of soup, pottages, and brewis with great variety. Without doubt there was meat enough, and it was handsomely dressed by Snapsauce, Hotchpot, and Brayverjuice, Grangousier's cooks. Jenkin Trudgeapace and Cleanglass were very careful to fill them drink. How Gargantua did eat up six pilgrims in a salad. The story requireth that we relate that which happened unto six pilgrims who came from Sebastian near to Nantes, and who for shelter that night, being afraid of the enemy, had hid themselves in the garden upon the chichling peas, among the cabbages and lettuces. Gargantua finding himself somewhat dry, asked whether they could get any lettuce to make him a salad; and hearing that there were the greatest and fairest in the country, for they were as great as plum-trees or as walnut-trees, he would go thither himself, and brought thence in his hand what he thought good, and withal carried away the six pilgrims, who were in so great fear that they did not dare to speak nor cough. Washing them, therefore, first at the fountain, the pilgrims said one to another softly, What shall we do? We are almost drowned here amongst these lettuce, shall we speak? But if we speak, he will kill us for spies. And, as they were thus deliberating what to do, Gargantua put them with the lettuce into a platter of the house, as large as the huge tun of the White Friars of the Cistercian order; which done, with oil, vinegar, and salt, he ate them up, to refresh himself a little before supper, and had already swallowed up five of the pilgrims, the sixth being in the platter, totally hid under a lettuce, except his bourdon or staff that appeared, and nothing else. Which Grangousier seeing, said to Gargantua, I think that is the horn of a shell-snail, do not eat it. Why not? said Gargantua, they are good all this month: which he no sooner said, but, drawing up the staff, and therewith taking up the pilgrim, he ate him very well, then drank a terrible draught of excellent white wine. The pilgrims, thus devoured, made shift to save themselves as well as they could, by withdrawing their bodies out of the reach of the grinders of his teeth, but could not escape from thinking they had been put in the lowest dungeon of a prison. And when Gargantua whiffed the great draught, they thought to have been drowned in his mouth, and the flood of wine had almost carried them away into the gulf of his stomach. Nevertheless, skipping with their bourdons, as St. Michael's palmers use to do, they sheltered themselves from the danger of that inundation under the banks of his teeth. But one of them by chance, groping or sounding the country with his staff, to try whether they were in safety or no, struck hard against the cleft of a hollow tooth, and hit the mandibulary sinew or nerve of the jaw, which put Gargantua to very great pain, so that he began to cry for the rage that he felt. To ease himself therefore of his smarting ache, he called for his toothpicker, and rubbing towards a young walnut-tree, where they lay skulking, unnestled you my gentlemen pilgrims. For he caught one by the legs, another by the scrip, another by the pocket, another by the scarf, another by the band of the breeches, and the poor fellow that had hurt him with the bourdon, him he hooked to him by the codpiece, which snatch nevertheless did him a great deal of good, for it pierced unto him a pocky botch he had in the groin, which grievously tormented him ever since they were past Ancenis. The pilgrims, thus dislodged, ran away athwart the plain a pretty fast pace, and the pain ceased, even just at the time when by Eudemon he was called to supper, for all was ready. I will go then, said he, and piss away my misfortune; which he did do in such a copious measure, that the urine taking away the feet from the pilgrims, they were carried along with the stream unto the bank of a tuft of trees. Upon which, as soon as they had taken footing, and that for their self-preservation they had run a little out of the road, they on a sudden fell all six, except Fourniller, into a trap that had been made to take wolves by a train, out of which, nevertheless, they escaped by the industry of the said Fourniller, who broke all the snares and ropes. Being gone from thence, they lay all the rest of that night in a lodge near unto Coudray, where they were comforted in their miseries by the gracious words of one of their company, called Sweer-to-go, who showed them that this adventure had been foretold by the prophet David, Psalm. Quum exsurgerent homines in nos, forte vivos deglutissent nos; when we were eaten in the salad, with salt, oil, and vinegar. Quum irasceretur furor eorum in nos, forsitan aqua absorbuisset nos; when he drank the great draught. Torrentem pertransivit anima nostra; when the stream of his water carried us to the thicket. Forsitan pertransisset anima nostra aquam intolerabilem; that is, the water of his urine, the flood whereof, cutting our way, took our feet from us. Benedictus Dominus qui non dedit nos in captionem dentibus eorum. Anima nostra sicut passer erepta est de laqueo venantium; when we fell in the trap. Laqueus contritus est, by Fourniller, et nos liberati sumus. Adjutorium nostrum, &c. How the Monk was feasted by Gargantua, and of the jovial discourse they had at supper. When Gargantua was set down at table, after all of them had somewhat stayed their stomachs by a snatch or two of the first bits eaten heartily, Grangousier began to relate the source and cause of the war raised between him and Picrochole; and came to tell how Friar John of the Funnels had triumphed at the defence of the close of the abbey, and extolled him for his valour above Camillus, Scipio, Pompey, Caesar, and Themistocles. Then Gargantua desired that he might be presently sent for, to the end that with him they might consult of what was to be done. Whereupon, by a joint consent, his steward went for him, and brought him along merrily, with his staff of the cross, upon Grangousier's mule. When he was come, a thousand huggings, a thousand embracements, a thousand good days were given. Ha, Friar John, my friend Friar John, my brave cousin Friar John from the devil! Let me clip thee, my heart, about the neck; to me an armful. I must grip thee, my ballock, till thy back crack with it. Come, my cod, let me coll thee till I kill thee. And Friar John, the gladdest man in the world, never was man made welcomer, never was any more courteously and graciously received than Friar John. Come, come, said Gargantua, a stool here close by me at this end. I am content, said the monk, seeing you will have it so. Some water, page; fill, my boy, fill; it is to refresh my liver. Give me some, child, to gargle my throat withal. Deposita cappa, said Gymnast, let us pull off this frock. Ho, by G--, gentlemen, said the monk, there is a chapter in Statutis Ordinis which opposeth my laying of it down. Pish! said Gymnast, a fig for your chapter! This frock breaks both your shoulders, put it off. My friend, said the monk, let me alone with it; for, by G--, I'll drink the better that it is on. It makes all my body jocund. If I should lay it aside, the waggish pages would cut to themselves garters out of it, as I was once served at Coulaines. And, which is worse, I shall lose my appetite. But if in this habit I sit down at table, I will drink, by G--, both to thee and to thy horse, and so courage, frolic, God save the company! I have already supped, yet will I eat never a whit the less for that; for I have a paved stomach, as hollow as a butt of malvoisie or St. Benedictus' boot (butt), and always open like a lawyer's pouch. Of all fishes but the tench take the wing of a partridge or the thigh of a nun. Doth not he die like a good fellow that dies with a stiff catso? Our prior loves exceedingly the white of a capon. In that, said Gymnast, he doth not resemble the foxes; for of the capons, hens, and pullets which they carry away they never eat the white. Why? said the monk. Because, said Gymnast, they have no cooks to dress them; and, if they be not competently made ready, they remain red and not white; the redness of meats being a token that they have not got enough of the fire, whether by boiling, roasting, or otherwise, except the shrimps, lobsters, crabs, and crayfishes, which are cardinalized with boiling. By God's feast-gazers, said the monk, the porter of our abbey then hath not his head well boiled, for his eyes are as red as a mazer made of an alder-tree. The thigh of this leveret is good for those that have the gout. To the purpose of the truel,--what is the reason that the thighs of a gentlewoman are always fresh and cool? This problem, said Gargantua, is neither in Aristotle, in Alexander Aphrodiseus, nor in Plutarch. There are three causes, said the monk, by which that place is naturally refreshed. Primo, because the water runs all along by it. Secundo, because it is a shady place, obscure and dark, upon which the sun never shines. And thirdly, because it is continually flabbelled, blown upon, and aired by the north winds of the hole arstick, the fan of the smock, and flipflap of the codpiece. And lusty, my lads. Some bousing liquor, page! So! crack, crack, crack. O how good is God, that gives us of this excellent juice! I call him to witness, if I had been in the time of Jesus Christ, I would have kept him from being taken by the Jews in the garden of Olivet. And the devil fail me, if I should have failed to cut off the hams of these gentlemen apostles who ran away so basely after they had well supped, and left their good master in the lurch. I hate that man worse than poison that offers to run away when he should fight and lay stoutly about him. Oh that I were but King of France for fourscore or a hundred years! By G--, I should whip like curtail-dogs these runaways of Pavia. A plague take them; why did they not choose rather to die there than to leave their good prince in that pinch and necessity? Is it not better and more honourable to perish in fighting valiantly than to live in disgrace by a cowardly running away? We are like to eat no great store of goslings this year; therefore, friend, reach me some of that roasted pig there. Diavolo, is there no more must? No more sweet wine? Germinavit radix Jesse. Je renie ma vie, je meurs de soif; I renounce my life, I rage for thirst. This wine is none of the worst. What wine drink you at Paris? I give myself to the devil, if I did not once keep open house at Paris for all comers six months together. Do you know Friar Claude of the high kilderkins? Oh the good fellow that he is! But I do not know what fly hath stung him of late, he is become so hard a student. For my part, I study not at all. In our abbey we never study for fear of the mumps, which disease in horses is called the mourning in the chine. Our late abbot was wont to say that it is a monstrous thing to see a learned monk. By G--, master, my friend, Magis magnos clericos non sunt magis magnos sapientes. You never saw so many hares as there are this year. I could not anywhere come by a goshawk nor tassel of falcon. My Lord Belloniere promised me a lanner, but he wrote to me not long ago that he was become pursy. The partridges will so multiply henceforth, that they will go near to eat up our ears. I take no delight in the stalking-horse, for I catch such cold that I am like to founder myself at that sport. If I do not run, toil, travel, and trot about, I am not well at ease. True it is that in leaping over the hedges and bushes my frock leaves always some of its wool behind it. I have recovered a dainty greyhound; I give him to the devil, if he suffer a hare to escape him. A groom was leading him to my Lord Huntlittle, and I robbed him of him. Did I ill? No, Friar John, said Gymnast, no, by all the devils that are, no! So, said the monk, do I attest these same devils so long as they last, or rather, virtue (of) G--, what could that gouty limpard have done with so fine a dog? By the body of G--, he is better pleased when one presents him with a good yoke of oxen. How now, said Ponocrates, you swear, Friar John. It is only, said the monk, but to grace and adorn my speech. They are colours of a Ciceronian rhetoric. Why monks are the outcasts of the world; and wherefore some have bigger noses than others. By the faith of a Christian, said Eudemon, I do wonderfully dote and enter in a great ecstasy when I consider the honesty and good fellowship of this monk, for he makes us here all merry. How is it, then, that they exclude the monks from all good companies, calling them feast-troublers, marrers of mirth, and disturbers of all civil conversation, as the bees drive away the drones from their hives? Ignavum fucos pecus, said Maro, a praesepibus arcent. Hereunto, answered Gargantua, there is nothing so true as that the frock and cowl draw unto itself the opprobries, injuries, and maledictions of the world, just as the wind called Cecias attracts the clouds. The peremptory reason is, because they eat the ordure and excrements of the world, that is to say, the sins of the people, and, like dung-chewers and excrementitious eaters, they are cast into the privies and secessive places, that is, the convents and abbeys, separated from political conversation, as the jakes and retreats of a house are. But if you conceive how an ape in a family is always mocked and provokingly incensed, you shall easily apprehend how monks are shunned of all men, both young and old. The ape keeps not the house as a dog doth, he draws not in the plough as the ox, he yields neither milk nor wool as the sheep, he carrieth no burden as a horse doth. That which he doth, is only to conskite, spoil, and defile all, which is the cause wherefore he hath of all men mocks, frumperies, and bastinadoes. After the same manner a monk--I mean those lither, idle, lazy monks--doth not labour and work, as do the peasant and artificer; doth not ward and defend the country, as doth the man of war; cureth not the sick and diseased, as the physician doth; doth neither preach nor teach, as do the evangelical doctors and schoolmasters; doth not import commodities and things necessary for the commonwealth, as the merchant doth. Therefore is it that by and of all men they are hooted at, hated, and abhorred. Yea, but, said Grangousier, they pray to God for us. Nothing less, answered Gargantua. True it is, that with a tingle tangle jangling of bells they trouble and disquiet all their neighbours about them. Right, said the monk; a mass, a matin, a vesper well rung, are half said. They mumble out great store of legends and psalms, by them not at all understood; they say many paternosters interlarded with Ave-Maries, without thinking upon or apprehending the meaning of what it is they say, which truly I call mocking of God, and not prayers. But so help them God, as they pray for us, and not for being afraid to lose their victuals, their manchots, and good fat pottage. All true Christians, of all estates and conditions, in all places and at all times, send up their prayers to God, and the Mediator prayeth and intercedeth for them, and God is gracious to them. Now such a one is our good Friar John; therefore every man desireth to have him in his company. He is no bigot or hypocrite; he is not torn and divided betwixt reality and appearance; no wretch of a rugged and peevish disposition, but honest, jovial, resolute, and a good fellow. He travels, he labours, he defends the oppressed, comforts the afflicted, helps the needy, and keeps the close of the abbey. Nay, said the monk, I do a great deal more than that; for whilst we are in despatching our matins and anniversaries in the choir, I make withal some crossbow-strings, polish glass bottles and bolts, I twist lines and weave purse nets wherein to catch coneys. I am never idle. But now, hither come, some drink, some drink here! Bring the fruit. These chestnuts are of the wood of Estrox, and with good new wine are able to make you a fine cracker and composer of bum-sonnets. You are not as yet, it seems, well moistened in this house with the sweet wine and must. By G--, I drink to all men freely, and at all fords, like a proctor or promoter's horse. Friar John, said Gymnast, take away the snot that hangs at your nose. Ha, ha, said the monk, am not I in danger of drowning, seeing I am in water even to the nose? No, no, Quare? Quia, though some water come out from thence, there never goes in any; for it is well antidoted with pot-proof armour and syrup of the vine-leaf. Oh, my friend, he that hath winter-boots made of such leather may boldly fish for oysters, for they will never take water. What is the cause, said Gargantua, that Friar John hath such a fair nose? Because, said Grangousier, that God would have it so, who frameth us in such form and for such end as is most agreeable with his divine will, even as a potter fashioneth his vessels. Because, said Ponocrates, he came with the first to the fair of noses, and therefore made choice of the fairest and the greatest. Pish, said the monk, that is not the reason of it, but, according to the true monastical philosophy, it is because my nurse had soft teats, by virtue whereof, whilst she gave me suck, my nose did sink in as in so much butter. The hard breasts of nurses make children short-nosed. But hey, gay, Ad formam nasi cognoscitur ad te levavi. I never eat any confections, page, whilst I am at the bibbery. Item, bring me rather some toasts. How the Monk made Gargantua sleep, and of his hours and breviaries. Supper being ended, they consulted of the business in hand, and concluded that about midnight they should fall unawares upon the enemy, to know what manner of watch and ward they kept, and that in the meanwhile they should take a little rest the better to refresh themselves. But Gargantua could not sleep by any means, on which side soever he turned himself. Whereupon the monk said to him, I never sleep soundly but when I am at sermon or prayers. Let us therefore begin, you and I, the seven penitential psalms, to try whether you shall not quickly fall asleep. The conceit pleased Gargantua very well, and, beginning the first of these psalms, as soon as they came to the words Beati quorum they fell asleep, both the one and the other. But the monk, for his being formerly accustomed to the hour of claustral matins, failed not to awake a little before midnight, and, being up himself, awaked all the rest, in singing aloud, and with a full clear voice, the song: Awake, O Reinian, ho, awake! Awake, O Reinian, ho! Get up, you no more sleep must take; Get up, for we must go. When they were all roused and up, he said, My masters, it is a usual saying, that we begin matins with coughing and supper with drinking. Let us now, in doing clean contrarily, begin our matins with drinking, and at night before supper we shall cough as hard as we can. What, said Gargantua, to drink so soon after sleep? This is not to live according to the diet and prescript rule of the physicians, for you ought first to scour and cleanse your stomach of all its superfluities and excrements. Oh, well physicked, said the monk; a hundred devils leap into my body, if there be not more old drunkards than old physicians! I have made this paction and covenant with my appetite, that it always lieth down and goes to bed with myself, for to that I every day give very good order; then the next morning it also riseth with me and gets up when I am awake. Mind you your charges, gentlemen, or tend your cures as much as you will. I will get me to my drawer; in terms of falconry, my tiring. What drawer or tiring do you mean? said Gargantua. My breviary, said the monk, for just as the falconers, before they feed their hawks, do make them draw at a hen's leg to purge their brains of phlegm and sharpen them to a good appetite, so, by taking this merry little breviary in the morning, I scour all my lungs and am presently ready to drink. After what manner, said Gargantua, do you say these fair hours and prayers of yours? After the manner of Whipfield (Fessecamp, and corruptly Fecan.), said the monk, by three psalms and three lessons, or nothing at all, he that will. I never tie myself to hours, prayers, and sacraments; for they are made for the man and not the man for them. Therefore is it that I make my prayers in fashion of stirrup-leathers; I shorten or lengthen them when I think good. Brevis oratio penetrat caelos et longa potatio evacuat scyphos. Where is that written? By my faith, said Ponocrates, I cannot tell, my pillicock, but thou art more worth than gold. Therein, said the monk, I am like you; but, venite, apotemus. Then made they ready store of carbonadoes, or rashers on the coals, and good fat soups, or brewis with sippets; and the monk drank what he pleased. Some kept him company, and the rest did forbear, for their stomachs were not as yet opened. Afterwards every man began to arm and befit himself for the field. And they armed the monk against his will; for he desired no other armour for back and breast but his frock, nor any other weapon in his hand but the staff of the cross. Yet at their pleasure was he completely armed cap-a-pie, and mounted upon one of the best horses in the kingdom, with a good slashing shable by his side, together with Gargantua, Ponocrates, Gymnast, Eudemon, and five-and-twenty more of the most resolute and adventurous of Grangousier's house, all armed at proof with their lances in their hands, mounted like St. George, and everyone of them having an arquebusier behind him. How the Monk encouraged his fellow-champions, and how he hanged upon a tree. Thus went out those valiant champions on their adventure, in full resolution to know what enterprise they should undertake, and what to take heed of and look well to in the day of the great and horrible battle. And the monk encouraged them, saying, My children, do not fear nor doubt, I will conduct you safely. God and Sanct Benedict be with us! If I had strength answerable to my courage, by's death, I would plume them for you like ducks. I fear nothing but the great ordnance; yet I know of a charm by way of prayer, which the subsexton of our abbey taught me, that will preserve a man from the violence of guns and all manner of fire-weapons and engines; but it will do me no good, because I do not believe it. Nevertheless, I hope my staff of the cross shall this day play devilish pranks amongst them. By G--, whoever of our party shall offer to play the duck, and shrink when blows are a-dealing, I give myself to the devil, if I do not make a monk of him in my stead, and hamper him within my frock, which is a sovereign cure against cowardice. Did you never hear of my Lord Meurles his greyhound, which was not worth a straw in the fields? He put a frock about his neck: by the body of G--, there was neither hare nor fox that could escape him, and, which is more, he lined all the bitches in the country, though before that he was feeble-reined and ex frigidis et maleficiatis. The monk uttering these words in choler, as he passed under a walnut-tree, in his way towards the causey, he broached the vizor of his helmet on the stump of a great branch of the said tree. Nevertheless, he set his spurs so fiercely to the horse, who was full of mettle and quick on the spur, that he bounded forwards, and the monk going about to ungrapple his vizor, let go his hold of the bridle, and so hanged by his hand upon the bough, whilst his horse stole away from under him. By this means was the monk left hanging on the walnut-tree, and crying for help, murder, murder, swearing also that he was betrayed. Eudemon perceived him first, and calling Gargantua said, Sir, come and see Absalom hanging. Gargantua, being come, considered the countenance of the monk, and in what posture he hanged; wherefore he said to Eudemon, You were mistaken in comparing him to Absalom; for Absalom hung by his hair, but this shaveling monk hangeth by the ears. Help me, said the monk, in the devil's name; is this a time for you to prate? You seem to me to be like the decretalist preachers, who say that whosoever shall see his neighbour in the danger of death, ought, upon pain of trisulk excommunication, rather choose to admonish him to make his confession to a priest, and put his conscience in the state of peace, than otherwise to help and relieve him. And therefore when I shall see them fallen into a river, and ready to be drowned, I shall make them a fair long sermon de contemptu mundi, et fuga seculi; and when they are stark dead, shall then go to their aid and succour in fishing after them. Be quiet, said Gymnast, and stir not, my minion. I am now coming to unhang thee and to set thee at freedom, for thou art a pretty little gentle monachus. Monachus in claustro non valet ova duo; sed quando est extra, bene valet triginta. I have seen above five hundred hanged, but I never saw any have a better countenance in his dangling and pendilatory swagging. Truly, if I had so good a one, I would willingly hang thus all my lifetime. What, said the monk, have you almost done preaching? Help me, in the name of God, seeing you will not in the name of the other spirit, or, by the habit which I wear, you shall repent it, tempore et loco praelibatis. Then Gymnast alighted from his horse, and, climbing up the walnut-tree, lifted up the monk with one hand by the gussets of his armour under the armpits, and with the other undid his vizor from the stump of the broken branch; which done, he let him fall to the ground and himself after. As soon as the monk was down, he put off all his armour, and threw away one piece after another about the field, and, taking to him again his staff of the cross, remounted up to his horse, which Eudemon had caught in his running away. Then went they on merrily, riding along on the highway. How the scouts and fore-party of Picrochole were met with by Gargantua, and how the Monk slew Captain Drawforth (Tirevant.), and then was taken prisoner by his enemies. Picrochole, at the relation of those who had escaped out of the broil and defeat wherein Tripet was untriped, grew very angry that the devils should have so run upon his men, and held all that night a counsel of war, at which Rashcalf and Touchfaucet (Hastiveau, Touquedillon.), concluded his power to be such that he was able to defeat all the devils of hell if they should come to jostle with his forces. This Picrochole did not fully believe, though he doubted not much of it. Therefore sent he under the command and conduct of the Count Drawforth, for discovering of the country, the number of sixteen hundred horsemen, all well mounted upon light horses for skirmish and thoroughly besprinkled with holy water; and everyone for their field-mark or cognizance had the sign of a star in his scarf, to serve at all adventures in case they should happen to encounter with devils, that by the virtue, as well of that Gregorian water as of the stars which they wore, they might make them disappear and evanish. In this equipage they made an excursion upon the country till they came near to the Vauguyon, which is the valley of Guyon, and to the spital, but could never find anybody to speak unto; whereupon they returned a little back, and took occasion to pass above the aforesaid hospital to try what intelligence they could come by in those parts. In which resolution riding on, and by chance in a pastoral lodge or shepherd's cottage near to Coudray hitting upon the five pilgrims, they carried them way-bound and manacled, as if they had been spies, for all the exclamations, adjurations, and requests that they could make. Being come down from thence towards Seville, they were heard by Gargantua, who said then unto those that were with him, Comrades and fellow-soldiers, we have here met with an encounter, and they are ten times in number more than we. Shall we charge them or no? What a devil, said the monk, shall we do else? Do you esteem men by their number rather than by their valour and prowess? With this he cried out, Charge, devils, charge! Which when the enemies heard, they thought certainly that they had been very devils, and therefore even then began all of them to run away as hard as they could drive, Drawforth only excepted, who immediately settled his lance on its rest, and therewith hit the monk with all his force on the very middle of his breast, but, coming against his horrific frock, the point of the iron being with the blow either broke off or blunted, it was in matter of execution as if you had struck against an anvil with a little wax-candle. Then did the monk with his staff of the cross give him such a sturdy thump and whirret betwixt his neck and shoulders, upon the acromion bone, that he made him lose both sense and motion and fall down stone dead at his horse's feet; and, seeing the sign of the star which he wore scarfwise, he said unto Gargantua, These men are but priests, which is but the beginning of a monk; by St. John, I am a perfect monk, I will kill them to you like flies. Then ran he after them at a swift and full gallop till he overtook the rear, and felled them down like tree-leaves, striking athwart and alongst and every way. Gymnast presently asked Gargantua if they should pursue them. To whom Gargantua answered, By no means; for, according to right military discipline, you must never drive your enemy unto despair, for that such a strait doth multiply his force and increase his courage, which was before broken and cast down; neither is there any better help or outrage of relief for men that are amazed, out of heart, toiled, and spent, than to hope for no favour at all. How many victories have been taken out of the hands of the victors by the vanquished, when they would not rest satisfied with reason, but attempt to put all to the sword, and totally to destroy their enemies, without leaving so much as one to carry home news of the defeat of his fellows. Open, therefore, unto your enemies all the gates and ways, and make to them a bridge of silver rather than fail, that you may be rid of them. Yea, but, said Gymnast, they have the monk. Have they the monk? said Gargantua. Upon mine honour, then, it will prove to their cost. But to prevent all dangers, let us not yet retreat, but halt here quietly as in an ambush; for I think I do already understand the policy and judgment of our enemies. They are truly more directed by chance and mere fortune than by good advice and counsel. In the meanwhile, whilst these made a stop under the walnut-trees, the monk pursued on the chase, charging all he overtook, and giving quarter to none, until he met with a trooper who carried behind him one of the poor pilgrims, and there would have rifled him. The pilgrim, in hope of relief at the sight of the monk, cried out, Ha, my lord prior, my good friend, my lord prior, save me, I beseech you, save me! Which words being heard by those that rode in the van, they instantly faced about, and seeing there was nobody but the monk that made this great havoc and slaughter among them, they loaded him with blows as thick as they use to do an ass with wood. But of all this he felt nothing, especially when they struck upon his frock, his skin was so hard. Then they committed him to two of the marshal's men to keep, and, looking about, saw nobody coming against them, whereupon they thought that Gargantua and his party were fled. Then was it that they rode as hard as they could towards the walnut-trees to meet with them, and left the monk there all alone, with his two foresaid men to guard him. Gargantua heard the noise and neighing of the horses, and said to his men, Comrades, I hear the track and beating of the enemy's horse-feet, and withal perceive that some of them come in a troop and full body against us. Let us rally and close here, then set forward in order, and by this means we shall be able to receive their charge to their loss and our honour. How the Monk rid himself of his keepers, and how Picrochole's forlorn hope was defeated. The monk, seeing them break off thus without order, conjectured that they were to set upon Gargantua and those that were with him, and was wonderfully grieved that he could not succour them. Then considered he the countenance of the two keepers in whose custody he was, who would have willingly run after the troops to get some booty and plunder, and were always looking towards the valley unto which they were going. Farther, he syllogized, saying, These men are but badly skilled in matters of war, for they have not required my parole, neither have they taken my sword from me. Suddenly hereafter he drew his brackmard or horseman's sword, wherewith he gave the keeper which held him on the right side such a sound slash that he cut clean through the jugulary veins and the sphagitid or transparent arteries of the neck, with the fore-part of the throat called the gargareon, even unto the two adenes, which are throat kernels; and, redoubling the blow, he opened the spinal marrow betwixt the second and third vertebrae. There fell down that keeper stark dead to the ground. Then the monk, reining his horse to the left, ran upon the other, who, seeing his fellow dead, and the monk to have the advantage of him, cried with a loud voice, Ha, my lord prior, quarter; I yield, my lord prior, quarter; quarter, my good friend, my lord prior. And the monk cried likewise, My lord posterior, my friend, my lord posterior, you shall have it upon your posteriorums. Ha, said the keeper, my lord prior, my minion, my gentle lord prior, I pray God make you an abbot. By the habit, said the monk, which I wear, I will here make you a cardinal. What! do you use to pay ransoms to religious men? You shall therefore have by-and-by a red hat of my giving. And the fellow cried, Ha, my lord prior, my lord prior, my lord abbot that shall be, my lord cardinal, my lord all! Ha, ha, hes, no, my lord prior, my good little lord the prior, I yield, render and deliver myself up to you. And I deliver thee, said the monk, to all the devils in hell. Then at one stroke he cut off his head, cutting his scalp upon the temple-bones, and lifting up in the upper part of the skull the two triangulary bones called sincipital, or the two bones bregmatis, together with the sagittal commissure or dartlike seam which distinguisheth the right side of the head from the left, as also a great part of the coronal or forehead bone, by which terrible blow likewise he cut the two meninges or films which enwrap the brain, and made a deep wound in the brain's two posterior ventricles, and the cranium or skull abode hanging upon his shoulders by the skin of the pericranium behind, in form of a doctor's bonnet, black without and red within. Thus fell he down also to the ground stark dead. And presently the monk gave his horse the spur, and kept the way that the enemy held, who had met with Gargantua and his companions in the broad highway, and were so diminished of their number for the enormous slaughter that Gargantua had made with his great tree amongst them, as also Gymnast, Ponocrates, Eudemon, and the rest, that they began to retreat disorderly and in great haste, as men altogether affrighted and troubled in both sense and understanding, and as if they had seen the very proper species and form of death before their eyes; or rather, as when you see an ass with a brizze or gadbee under his tail, or fly that stings him, run hither and thither without keeping any path or way, throwing down his load to the ground, breaking his bridle and reins, and taking no breath nor rest, and no man can tell what ails him, for they see not anything touch him. So fled these people destitute of wit, without knowing any cause of flying, only pursued by a panic terror which in their minds they had conceived. The monk, perceiving that their whole intent was to betake themselves to their heels, alighted from his horse and got upon a big large rock which was in the way, and with his great brackmard sword laid such load upon those runaways, and with main strength fetching a compass with his arm without feigning or sparing, slew and overthrew so many that his sword broke in two pieces. Then thought he within himself that he had slain and killed sufficiently, and that the rest should escape to carry news. Therefore he took up a battle-axe of those that lay there dead, and got upon the rock again, passing his time to see the enemy thus flying and to tumble himself amongst the dead bodies, only that he suffered none to carry pike, sword, lance, nor gun with him, and those who carried the pilgrims bound he made to alight, and gave their horses unto the said pilgrims, keeping them there with him under the hedge, and also Touchfaucet, who was then his prisoner. How the Monk carried along with him the Pilgrims, and of the good words that Grangousier gave them. This skirmish being ended, Gargantua retreated with his men, excepting the monk, and about the dawning of the day they came unto Grangousier, who in his bed was praying unto God for their safety and victory. And seeing them all safe and sound, he embraced them lovingly, and asked what was become of the monk. Gargantua answered him that without doubt the enemies had the monk. Then have they mischief and ill luck, said Grangousier; which was very true. Therefore is it a common proverb to this day, to give a man the monk, or, as in French, lui bailler le moine, when they would express the doing unto one a mischief. Then commanded he a good breakfast to be provided for their refreshment. When all was ready, they called Gargantua, but he was so aggrieved that the monk was not to be heard of that he would neither eat nor drink. In the meanwhile the monk comes, and from the gate of the outer court cries out aloud, Fresh wine, fresh wine, Gymnast my friend! Gymnast went out and saw that it was Friar John, who brought along with him five pilgrims and Touchfaucet prisoners; whereupon Gargantua likewise went forth to meet him, and all of them made him the best welcome that possibly they could, and brought him before Grangousier, who asked him of all his adventures. The monk told him all, both how he was taken, how he rid himself of his keepers, of the slaughter he had made by the way, and how he had rescued the pilgrims and brought along with him Captain Touchfaucet. Then did they altogether fall to banqueting most merrily. In the meantime Grangousier asked the pilgrims what countrymen they were, whence they came, and whither they went. Sweer-to-go in the name of the rest answered, My sovereign lord, I am of Saint Genou in Berry, this man is of Palvau, this other is of Onzay, this of Argy, this of St. Nazarand, and this man of Villebrenin. We come from Saint Sebastian near Nantes, and are now returning, as we best may, by easy journeys. Yea, but, said Grangousier, what went you to do at Saint Sebastian? We went, said Sweer-to-go, to offer up unto that sanct our vows against the plague. Ah, poor men! said Grangousier, do you think that the plague comes from Saint Sebastian? Yes, truly, answered Sweer-to-go, our preachers tell us so indeed. But is it so, said Grangousier, do the false prophets teach you such abuses? Do they thus blaspheme the sancts and holy men of God, as to make them like unto the devils, who do nothing but hurt unto mankind,--as Homer writeth, that the plague was sent into the camp of the Greeks by Apollo, and as the poets feign a great rabble of Vejoves and mischievous gods. So did a certain cafard or dissembling religionary preach at Sinay, that Saint Anthony sent the fire into men's legs, that Saint Eutropius made men hydropic, Saint Clidas, fools, and that Saint Genou made them goutish. But I punished him so exemplarily, though he called me heretic for it, that since that time no such hypocritical rogue durst set his foot within my territories. And truly I wonder that your king should suffer them in their sermons to publish such scandalous doctrine in his dominions; for they deserve to be chastised with greater severity than those who, by magical art, or any other device, have brought the pestilence into a country. The pest killeth but the bodies, but such abominable imposters empoison our very souls. As he spake these words, in came the monk very resolute, and asked them, Whence are you, you poor wretches? Of Saint Genou, said they. And how, said the monk, does the Abbot Gulligut, the good drinker,--and the monks, what cheer make they? By G-- body, they'll have a fling at your wives, and breast them to some purpose, whilst you are upon your roaming rant and gadding pilgrimage. Hin, hen, said Sweer-to-go, I am not afraid of mine, for he that shall see her by day will never break his neck to come to her in the night-time. Yea, marry, said the monk, now you have hit it. Let her be as ugly as ever was Proserpina, she will once, by the Lord G--, be overturned, and get her skin-coat shaken, if there dwell any monks near to her; for a good carpenter will make use of any kind of timber. Let me be peppered with the pox, if you find not all your wives with child at your return; for the very shadow of the steeple of an abbey is fruitful. It is, said Gargantua, like the water of Nilus in Egypt, if you believe Strabo and Pliny, Lib. 7, cap. 3. What virtue will there be then, said the monk, in their bullets of concupiscence, their habits and their bodies? Then, said Grangousier, go your ways, poor men, in the name of God the Creator, to whom I pray to guide you perpetually, and henceforward be not so ready to undertake these idle and unprofitable journeys. Look to your families, labour every man in his vocation, instruct your children, and live as the good apostle St. Paul directeth you; in doing whereof, God, his angels and sancts, will guard and protect you, and no evil or plague at any time shall befall you. Then Gargantua led them into the hall to take their refection; but the pilgrims did nothing but sigh, and said to Gargantua, O how happy is that land which hath such a man for their lord! We have been more edified and instructed by the talk which he had with us, than by all the sermons that ever were preached in our town. This is, said Gargantua, that which Plato saith, Lib. 5 de Republ., that those commonwealths are happy, whose rulers philosophate, and whose philosophers rule. Then caused he their wallets to be filled with victuals and their bottles with wine, and gave unto each of them a horse to ease them upon the way, together with some pence to live by. How Grangousier did very kindly entertain Touchfaucet his prisoner. Touchfaucet was presented unto Grangousier, and by him examined upon the enterprise and attempt of Picrochole, what it was he could pretend to, or aim at, by the rustling stir and tumultuary coil of this his sudden invasion. Whereunto he answered, that his end and purpose was to conquer all the country, if he could, for the injury done to his cake-bakers. It is too great an undertaking, said Grangousier; and, as the proverb is, He that grips too much, holds fast but little. The time is not now as formerly, to conquer the kingdoms of our neighbour princes, and to build up our own greatness upon the loss of our nearest Christian Brother. This imitation of the ancient Herculeses, Alexanders, Hannibals, Scipios, Caesars, and other such heroes, is quite contrary to the profession of the gospel of Christ, by which we are commanded to preserve, keep, rule, and govern every man his own country and lands, and not in a hostile manner to invade others; and that which heretofore the Barbars and Saracens called prowess and valour, we do now call robbing, thievery, and wickedness. It would have been more commendable in him to have contained himself within the bounds of his own territories, royally governing them, than to insult and domineer in mine, pillaging and plundering everywhere like a most unmerciful enemy; for, by ruling his own with discretion, he might have increased his greatness, but by robbing me he cannot escape destruction. Go your ways in the name of God, prosecute good enterprises, show your king what is amiss, and never counsel him with regard unto your own particular profit, for the public loss will swallow up the private benefit. As for your ransom, I do freely remit it to you, and will that your arms and horse be restored to you; so should good neighbours do, and ancient friends, seeing this our difference is not properly war. As Plato, Lib. 5 de Repub., would not have it called war, but sedition, when the Greeks took up arms against one another, and that therefore, when such combustions should arise amongst them, his advice was to behave themselves in the managing of them with all discretion and modesty. Although you call it war, it is but superficial; it entereth not into the closet and inmost cabinet of our hearts. For neither of us hath been wronged in his honour, nor is there any question betwixt us in the main, but only how to redress, by the bye, some petty faults committed by our men,--I mean, both yours and ours, which, although you knew, you ought to let pass; for these quarrelsome persons deserve rather to be contemned than mentioned, especially seeing I offered them satisfaction according to the wrong. God shall be the just judge of our variances, whom I beseech by death rather to take me out of this life, and to permit my goods to perish and be destroyed before mine eyes, than that by me or mine he should in any sort be wronged. These words uttered, he called the monk, and before them all thus spoke unto him, Friar John, my good friend, it is you that took prisoner the Captain Touchfaucet here present? Sir, said the monk, seeing himself is here, and that he is of the years of discretion, I had rather you should know it by his confession than by any words of mine. Then said Touchfaucet, My sovereign lord it is he indeed that took me, and I do therefore most freely yield myself his prisoner. Have you put him to any ransom? said Grangousier to the monk. No, said the monk, of that I take no care. How much would you have for having taken him? Nothing, nothing, said the monk; I am not swayed by that, nor do I regard it. Then Grangousier commanded that, in presence of Touchfaucet, should be delivered to the monk for taking him the sum of three score and two thousand saluts (in English money, fifteen thousand and five hundred pounds), which was done, whilst they made a collation or little banquet to the said Touchfaucet, of whom Grangousier asked if he would stay with him, or if he loved rather to return to his king. Touchfaucet answered that he was content to take whatever course he would advise him to. Then, said Grangousier, return unto your king, and God be with you. Then he gave him an excellent sword of a Vienne blade, with a golden scabbard wrought with vine-branch-like flourishes, of fair goldsmith's work, and a collar or neck-chain of gold, weighing seven hundred and two thousand marks (at eight ounces each), garnished with precious stones of the finest sort, esteemed at a hundred and sixty thousand ducats, and ten thousand crowns more, as an honourable donative, by way of present. After this talk Touchfaucet got to his horse, and Gargantua for his safety allowed him the guard of thirty men-at-arms and six score archers to attend him, under the conduct of Gymnast, to bring him even unto the gate of the rock Clermond, if there were need. As soon as he was gone, the monk restored unto Grangousier the three score and two thousand saluts which he had received, saying, Sir, it is not as yet the time for you to give such gifts; stay till this war be at an end, for none can tell what accidents may occur, and war begun without good provision of money beforehand for going through with it, is but as a breathing of strength, and blast that will quickly pass away. Coin is the sinews of war. Well then, said Grangousier, at the end I will content you by some honest recompense, as also all those who shall do me good service. How Grangousier sent for his legions, and how Touchfaucet slew Rashcalf, and was afterwards executed by the command of Picrochole. About this same time those of Besse, of the Old Market, of St. James' Bourg, of the Draggage, of Parille, of the Rivers, of the rocks St. Pol, of the Vaubreton, of Pautille, of the Brehemont, of Clainbridge, of Cravant, of Grammont, of the town at the Badgerholes, of Huymes, of Segre, of Husse, of St. Lovant, of Panzoust, of the Coldraux, of Verron, of Coulaines, of Chose, of Varenes, of Bourgueil, of the Bouchard Island, of the Croullay, of Narsay, of Cande, of Montsoreau, and other bordering places, sent ambassadors unto Grangousier, to tell him that they were advised of the great wrongs which Picrochole had done him, and, in regard of their ancient confederacy, offered him what assistance they could afford, both in men, money, victuals, and ammunition, and other necessaries for war. The money which by the joint agreement of them all was sent unto him, amounted to six score and fourteen millions, two crowns and a half of pure gold. The forces wherewith they did assist him did consist in fifteen thousand cuirassiers, two-and-thirty thousand light horsemen, four score and nine thousand dragoons, and a hundred-and-forty thousand volunteer adventurers. These had with them eleven thousand and two hundred cannons, double cannons, long pieces of artillery called basilisks, and smaller sized ones known by the name of spirols, besides the mortar-pieces and grenadoes. Of pioneers they had seven-and-forty thousand, all victualled and paid for six months and four days of advance. Which offer Gargantua did not altogether refuse, nor wholly accept of; but, giving them hearty thanks, said that he would compose and order the war by such a device, that there should not be found great need to put so many honest men to trouble in the managing of it; and therefore was content at that time to give order only for bringing along the legions which he maintained in his ordinary garrison towns of the Deviniere, of Chavigny, of Gravot, and of the Quinquenais, amounting to the number of two thousand cuirassiers, three score and six thousand foot-soldiers, six-and-twenty thousand dragoons, attended by two hundred pieces of great ordnance, two-and-twenty thousand pioneers, and six thousand light horsemen, all drawn up in troops, so well befitted and accommodated with their commissaries, sutlers, farriers, harness-makers, and other such like necessary members in a military camp, so fully instructed in the art of warfare, so perfectly knowing and following their colours, so ready to hear and obey their captains, so nimble to run, so strong at their charging, so prudent in their adventures, and every day so well disciplined, that they seemed rather to be a concert of organ-pipes, or mutual concord of the wheels of a clock, than an infantry and cavalry, or army of soldiers. Touchfaucet immediately after his return presented himself before Picrochole, and related unto him at large all that he had done and seen, and at last endeavoured to persuade him with strong and forcible arguments to capitulate and make an agreement with Grangousier, whom he found to be the honestest man in the world; saying further, that it was neither right nor reason thus to trouble his neighbours, of whom they had never received anything but good. And in regard of the main point, that they should never be able to go through stitch with that war, but to their great damage and mischief; for the forces of Picrochole were not so considerable but that Grangousier could easily overthrow them. He had not well done speaking when Rashcalf said out aloud, Unhappy is that prince which is by such men served, who are so easily corrupted, as I know Touchfaucet is. For I see his courage so changed that he had willingly joined with our enemies to fight against us and betray us, if they would have received him; but as virtue is of all, both friends and foes, praised and esteemed, so is wickedness soon known and suspected, and although it happen the enemies to make use thereof for their profit, yet have they always the wicked and the traitors in abomination. Touchfaucet being at these words very impatient, drew out his sword, and therewith ran Rashcalf through the body, a little under the nipple of his left side, whereof he died presently, and pulling back his sword out of his body said boldly, So let him perish that shall a faithful servant blame. Picrochole incontinently grew furious, and seeing Touchfaucet's new sword and his scabbard so richly diapered with flourishes of most excellent workmanship, said, Did they give thee this weapon so feloniously therewith to kill before my face my so good friend Rashcalf? Then immediately commanded he his guard to hew him in pieces, which was instantly done, and that so cruelly that the chamber was all dyed with blood. Afterwards he appointed the corpse of Rashcalf to be honourably buried, and that of Touchfaucet to be cast over the walls into the ditch. The news of these excessive violences were quickly spread through all the army; whereupon many began to murmur against Picrochole, in so far that Pinchpenny said to him, My sovereign lord, I know not what the issue of this enterprise will be. I see your men much dejected, and not well resolved in their minds, by considering that we are here very ill provided of victual, and that our number is already much diminished by three or four sallies. Furthermore, great supplies and recruits come daily in to your enemies; but we so moulder away that, if we be once besieged, I do not see how we can escape a total destruction. Tush, pish, said Picrochole, you are like the Melun eels, you cry before they come to you. Let them come, let them come, if they dare. How Gargantua set upon Picrochole within the rock Clermond, and utterly defeated the army of the said Picrochole. Gargantua had the charge of the whole army, and his father Grangousier stayed in his castle, who, encouraging them with good words, promised great rewards unto those that should do any notable service. Having thus set forward, as soon as they had gained the pass at the ford of Vede, with boats and bridges speedily made they passed over in a trice. Then considering the situation of the town, which was on a high and advantageous place, Gargantua thought fit to call his council, and pass that night in deliberation upon what was to be done. But Gymnast said unto him, My sovereign lord, such is the nature and complexion of the French, that they are worth nothing but at the first push. Then are they more fierce than devils. But if they linger a little and be wearied with delays, they'll prove more faint and remiss than women. My opinion is, therefore, that now presently, after your men have taken breath and some small refection, you give order for a resolute assault, and that we storm them instantly. His advice was found very good, and for effectuating thereof he brought forth his army into the plain field, and placed the reserves on the skirt or rising of a little hill. The monk took along with him six companies of foot and two hundred horsemen well armed, and with great diligence crossed the marsh, and valiantly got upon the top of the green hillock even unto the highway which leads to Loudun. Whilst the assault was thus begun, Picrochole's men could not tell well what was best, to issue out and receive the assailants, or keep within the town and not to stir. Himself in the mean time, without deliberation, sallied forth in a rage with the cavalry of his guard, who were forthwith received and royally entertained with great cannon-shot that fell upon them like hail from the high grounds on which the artillery was planted. Whereupon the Gargantuists betook themselves unto the valleys, to give the ordnance leave to play and range with the larger scope. Those of the town defended themselves as well as they could, but their shot passed over us without doing us any hurt at all. Some of Picrochole's men that had escaped our artillery set most fiercely upon our soldiers, but prevailed little; for they were all let in betwixt the files, and there knocked down to the ground, which their fellow-soldiers seeing, they would have retreated, but the monk having seized upon the pass by the which they were to return, they ran away and fled in all the disorder and confusion that could be imagined. Some would have pursued after them and followed the chase, but the monk withheld them, apprehending that in their pursuit the pursuers might lose their ranks, and so give occasion to the besieged to sally out of the town upon them. Then staying there some space and none coming against him, he sent the Duke Phrontist to advise Gargantua to advance towards the hill upon the left hand, to hinder Picrochole's retreat at that gate; which Gargantua did with all expedition, and sent thither four brigades under the conduct of Sebast, which had no sooner reached the top of the hill, but they met Picrochole in the teeth, and those that were with him scattered. Then charged they upon them stoutly, yet were they much endamaged by those that were upon the walls, who galled them with all manner of shot, both from the great ordnance, small guns, and bows. Which Gargantua perceiving, he went with a strong party to their relief, and with his artillery began to thunder so terribly upon that canton of the wall, and so long, that all the strength within the town, to maintain and fill up the breach, was drawn thither. The monk seeing that quarter which he kept besieged void of men and competent guards, and in a manner altogether naked and abandoned, did most magnanimously on a sudden lead up his men towards the fort, and never left it till he had got up upon it, knowing that such as come to the reserve in a conflict bring with them always more fear and terror than those that deal about them with they hands in the fight. Nevertheless, he gave no alarm till all his soldiers had got within the wall, except the two hundred horsemen, whom he left without to secure his entry. Then did he give a most horrible shout, so did all these who were with him, and immediately thereafter, without resistance, putting to the edge of the sword the guard that was at that gate, they opened it to the horsemen, with whom most furiously they altogether ran towards the east gate, where all the hurlyburly was, and coming close upon them in the rear overthrew all their forces. The besieged, seeing that the Gargantuists had won the town upon them, and that they were like to be secure in no corner of it, submitted themselves unto the mercy of the monk, and asked for quarter, which the monk very nobly granted to them, yet made them lay down their arms; then, shutting them up within churches, gave order to seize upon all the staves of the crosses, and placed men at the doors to keep them from coming forth. Then opening that east gate, he issued out to succour and assist Gargantua. But Picrochole, thinking it had been some relief coming to him from the town, adventured more forwardly than before, and was upon the giving of a most desperate home-charge, when Gargantua cried out, Ha, Friar John, my friend Friar John, you are come in a good hour. Which unexpected accident so affrighted Picrochole and his men, that, giving all for lost, they betook themselves to their heels, and fled on all hands. Gargantua chased them till they came near to Vaugaudry, killing and slaying all the way, and then sounded the retreat. How Picrochole in his flight fell into great misfortunes, and what Gargantua did after the battle. Picrochole thus in despair fled towards the Bouchard Island, and in the way to Riviere his horse stumbled and fell down, whereat he on a sudden was so incensed, that he with his sword without more ado killed him in his choler; then, not finding any that would remount him, he was about to have taken an ass at the mill that was thereby; but the miller's men did so baste his bones and so soundly bethwack him that they made him both black and blue with strokes; then stripping him of all his clothes, gave him a scurvy old canvas jacket wherewith to cover his nakedness. Thus went along this poor choleric wretch, who, passing the water at Port-Huaulx, and relating his misadventurous disasters, was foretold by an old Lourpidon hag that his kingdom should be restored to him at the coming of the Cocklicranes, which she called Coquecigrues. What is become of him since we cannot certainly tell, yet was I told that he is now a porter at Lyons, as testy and pettish in humour as ever he was before, and would be always with great lamentation inquiring at all strangers of the coming of the Cocklicranes, expecting assuredly, according to the old woman's prophecy, that at their coming he shall be re-established in his kingdom. The first thing Gargantua did after his return into the town was to call the muster-roll of his men, which when he had done, he found that there were very few either killed or wounded, only some few foot of Captain Tolmere's company, and Ponocrates, who was shot with a musket-ball through the doublet. Then he caused them all at and in their several posts and divisions to take a little refreshment, which was very plenteously provided for them in the best drink and victuals that could be had for money, and gave order to the treasurers and commissaries of the army to pay for and defray that repast, and that there should be no outrage at all nor abuse committed in the town, seeing it was his own. And furthermore commanded, that immediately after the soldiers had done with eating and drinking for that time sufficiently and to their own hearts' desire, a gathering should be beaten for bringing them altogether, to be drawn up on the piazza before the castle, there to receive six months' pay completely. All which was done. After this, by his direction, were brought before him in the said place all those that remained of Picrochole's party, unto whom, in the presence of the princes, nobles, and officers of his court and army, he spoke as followeth. Gargantua's speech to the vanquished. Our forefathers and ancestors of all times have been of this nature and disposition, that, upon the winning of a battle, they have chosen rather, for a sign and memorial of their triumphs and victories, to erect trophies and monuments in the hearts of the vanquished by clemency than by architecture in the lands which they had conquered. For they did hold in greater estimation the lively remembrance of men purchased by liberality than the dumb inscription of arches, pillars, and pyramids, subject to the injury of storms and tempests, and to the envy of everyone. You may very well remember of the courtesy which by them was used towards the Bretons in the battle of St. Aubin of Cormier and at the demolishing of Partenay. You have heard, and hearing admire, their gentle comportment towards those at the barriers (the barbarians) of Spaniola, who had plundered, wasted, and ransacked the maritime borders of Olone and Thalmondois. All this hemisphere of the world was filled with the praises and congratulations which yourselves and your fathers made, when Alpharbal, King of Canarre, not satisfied with his own fortunes, did most furiously invade the land of Onyx, and with cruel piracies molest all the Armoric Islands and confine regions of Britany. Yet was he in a set naval fight justly taken and vanquished by my father, whom God preserve and protect. But what? Whereas other kings and emperors, yea, those who entitle themselves Catholics, would have dealt roughly with him, kept him a close prisoner, and put him to an extreme high ransom, he entreated him very courteously, lodged him kindly with himself in his own palace, and out of his incredible mildness and gentle disposition sent him back with a safe conduct, laden with gifts, laden with favours, laden with all offices of friendship. What fell out upon it? Being returned into his country, he called a parliament, where all the princes and states of his kingdom being assembled, he showed them the humanity which he had found in us, and therefore wished them to take such course by way of compensation therein as that the whole world might be edified by the example, as well of their honest graciousness to us as of our gracious honesty towards them. The result hereof was, that it was voted and decreed by an unanimous consent, that they should offer up entirely their lands, dominions, and kingdoms, to be disposed of by us according to our pleasure. Alpharbal in his own person presently returned with nine thousand and thirty-eight great ships of burden, bringing with him the treasures, not only of his house and royal lineage, but almost of all the country besides. For he embarking himself, to set sail with a west-north-east wind, everyone in heaps did cast into the ship gold, silver, rings, jewels, spices, drugs, and aromatical perfumes, parrots, pelicans, monkeys, civet-cats, black-spotted weasels, porcupines, &c. He was accounted no good mother's son that did not cast in all the rare and precious things he had. Being safely arrived, he came to my said father, and would have kissed his feet. That action was found too submissively low, and therefore was not permitted, but in exchange he was most cordially embraced. He offered his presents; they were not received, because they were too excessive: he yielded himself voluntarily a servant and vassal, and was content his whole posterity should be liable to the same bondage; this was not accepted of, because it seemed not equitable: he surrendered, by virtue of the decree of his great parliamentary council, his whole countries and kingdoms to him, offering the deed and conveyance, signed, sealed, and ratified by all those that were concerned in it; this was altogether refused, and the parchments cast into the fire. In end, this free goodwill and simple meaning of the Canarians wrought such tenderness in my father's heart that he could not abstain from shedding tears, and wept most profusely; then, by choice words very congruously adapted, strove in what he could to diminish the estimation of the good offices which he had done them, saying, that any courtesy he had conferred upon them was not worth a rush, and what favour soever he had showed them he was bound to do it. But so much the more did Alpharbal augment the repute thereof. What was the issue? Whereas for his ransom, in the greatest extremity of rigour and most tyrannical dealing, could not have been exacted above twenty times a hundred thousand crowns, and his eldest sons detained as hostages till that sum had been paid, they made themselves perpetual tributaries, and obliged to give us every year two millions of gold at four-and-twenty carats fine. The first year we received the whole sum of two millions; the second year of their own accord they paid freely to us three-and-twenty hundred thousand crowns; the third year, six-and-twenty hundred thousand; the fourth year, three millions, and do so increase it always out of their own goodwill that we shall be constrained to forbid them to bring us any more. This is the nature of gratitude and true thankfulness. For time, which gnaws and diminisheth all things else, augments and increaseth benefits; because a noble action of liberality, done to a man of reason, doth grow continually by his generous thinking of it and remembering it. Being unwilling therefore any way to degenerate from the hereditary mildness and clemency of my parents, I do now forgive you, deliver you from all fines and imprisonments, fully release you, set you at liberty, and every way make you as frank and free as ever you were before. Moreover, at your going out of the gate, you shall have every one of you three months' pay to bring you home into your houses and families, and shall have a safe convoy of six hundred cuirassiers and eight thousand foot under the conduct of Alexander, esquire of my body, that the clubmen of the country may not do you any injury. God be with you! I am sorry from my heart that Picrochole is not here; for I would have given him to understand that this war was undertaken against my will and without any hope to increase either my goods or renown. But seeing he is lost, and that no man can tell where nor how he went away, it is my will that his kingdom remain entire to his son; who, because he is too young, he not being yet full five years old, shall be brought up and instructed by the ancient princes and learned men of the kingdom. And because a realm thus desolate may easily come to ruin, if the covetousness and avarice of those who by their places are obliged to administer justice in it be not curbed and restrained, I ordain and will have it so, that Ponocrates be overseer and superintendent above all his governors, with whatever power and authority is requisite thereto, and that he be continually with the child until he find him able and capable to rule and govern by himself. Now I must tell you, that you are to understand how a too feeble and dissolute facility in pardoning evildoers giveth them occasion to commit wickedness afterwards more readily, upon this pernicious confidence of receiving favour. I consider that Moses, the meekest man that was in his time upon the earth, did severely punish the mutinous and seditious people of Israel. I consider likewise that Julius Caesar, who was so gracious an emperor that Cicero said of him that his fortune had nothing more excellent than that he could, and his virtue nothing better than that he would always save and pardon every man--he, notwithstanding all this, did in certain places most rigorously punish the authors of rebellion. After the example of these good men, it is my will and pleasure that you deliver over unto me before you depart hence, first, that fine fellow Marquet, who was the prime cause, origin, and groundwork of this war by his vain presumption and overweening; secondly, his fellow cake-bakers, who were neglective in checking and reprehending his idle hairbrained humour in the instant time; and lastly, all the councillors, captains, officers, and domestics of Picrochole, who had been incendiaries or fomenters of the war by provoking, praising, or counselling him to come out of his limits thus to trouble us. How the victorious Gargantuists were recompensed after the battle. When Gargantua had finished his speech, the seditious men whom he required were delivered up unto him, except Swashbuckler, Dirt-tail, and Smalltrash, who ran away six hours before the battle--one of them as far as to Lainiel-neck at one course, another to the valley of Vire, and the third even unto Logroine, without looking back or taking breath by the way--and two of the cake-bakers who were slain in the fight. Gargantua did them no other hurt but that he appointed them to pull at the presses of his printing-house which he had newly set up. Then those who died there he caused to be honourably buried in Black-soile valley and Burn-hag field, and gave order that the wounded should be dressed and had care of in his great hospital or nosocome. After this, considering the great prejudice done to the town and its inhabitants, he reimbursed their charges and repaired all the losses that by their confession upon oath could appear they had sustained; and, for their better defence and security in times coming against all sudden uproars and invasions, commanded a strong citadel to be built there with a competent garrison to maintain it. At his departure he did very graciously thank all the soldiers of the brigades that had been at this overthrow, and sent them back to their winter-quarters in their several stations and garrisons; the decumane legion only excepted, whom in the field on that day he saw do some great exploit, and their captains also, whom he brought along with himself unto Grangousier. At the sight and coming of them, the good man was so joyful, that it is not possible fully to describe it. He made them a feast the most magnificent, plentiful, and delicious that ever was seen since the time of the king Ahasuerus. At the taking up of the table he distributed amongst them his whole cupboard of plate, which weighed eight hundred thousand and fourteen bezants (Each bezant is worth five pounds English money.) of gold, in great antique vessels, huge pots, large basins, big tasses, cups, goblets, candlesticks, comfit-boxes, and other such plate, all of pure massy gold, besides the precious stones, enamelling, and workmanship, which by all men's estimation was more worth than the matter of the gold. Then unto every one of them out of his coffers caused he to be given the sum of twelve hundred thousand crowns ready money. And, further, he gave to each of them for ever and in perpetuity, unless he should happen to decease without heirs, such castles and neighbouring lands of his as were most commodious for them. To Ponocrates he gave the rock Clermond; to Gymnast, the Coudray; to Eudemon, Montpensier; Rivau, to Tolmere, to Ithibolle, Montsoreau; to Acamas, Cande; Varenes, to Chironacte; Gravot, to Sebast; Quinquenais, to Alexander; Legre, to Sophrone, and so of his other places. How Gargantua caused to be built for the Monk the Abbey of Theleme. There was left only the monk to provide for, whom Gargantua would have made Abbot of Seville, but he refused it. He would have given him the Abbey of Bourgueil, or of Sanct Florent, which was better, or both, if it pleased him; but the monk gave him a very peremptory answer, that he would never take upon him the charge nor government of monks. For how shall I be able, said he, to rule over others, that have not full power and command of myself? If you think I have done you, or may hereafter do any acceptable service, give me leave to found an abbey after my own mind and fancy. The motion pleased Gargantua very well, who thereupon offered him all the country of Theleme by the river of Loire till within two leagues of the great forest of Port-Huaulx. The monk then requested Gargantua to institute his religious order contrary to all others. First, then, said Gargantua, you must not build a wall about your convent, for all other abbeys are strongly walled and mured about. See, said the monk, and not without cause (seeing wall and mur signify but one and the same thing); where there is mur before and mur behind, there is store of murmur, envy, and mutual conspiracy. Moreover, seeing there are certain convents in the world whereof the custom is, if any woman come in, I mean chaste and honest women, they immediately sweep the ground which they have trod upon; therefore was it ordained, that if any man or woman entered into religious orders should by chance come within this new abbey, all the rooms should be thoroughly washed and cleansed through which they had passed. And because in all other monasteries and nunneries all is compassed, limited, and regulated by hours, it was decreed that in this new structure there should be neither clock nor dial, but that according to the opportunities and incident occasions all their hours should be disposed of; for, said Gargantua, the greatest loss of time that I know is to count the hours. What good comes of it? Nor can there be any greater dotage in the world than for one to guide and direct his courses by the sound of a bell, and not by his own judgment and discretion. Item, Because at that time they put no women into nunneries but such as were either purblind, blinkards, lame, crooked, ill-favoured, misshapen, fools, senseless, spoiled, or corrupt; nor encloistered any men but those that were either sickly, subject to defluxions, ill-bred louts, simple sots, or peevish trouble-houses. But to the purpose, said the monk. A woman that is neither fair nor good, to what use serves she? To make a nun of, said Gargantua. Yea, said the monk, and to make shirts and smocks. Therefore was it ordained that into this religious order should be admitted no women that were not fair, well-featured, and of a sweet disposition; nor men that were not comely, personable, and well conditioned. Item, Because in the convents of women men come not but underhand, privily, and by stealth, it was therefore enacted that in this house there shall be no women in case there be not men, nor men in case there be not women. Item, Because both men and women that are received into religious orders after the expiring of their noviciate or probation year were constrained and forced perpetually to stay there all the days of their life, it was therefore ordered that all whatever, men or women, admitted within this abbey, should have full leave to depart with peace and contentment whensoever it should seem good to them so to do. Item, for that the religious men and women did ordinarily make three vows, to wit, those of chastity, poverty, and obedience, it was therefore constituted and appointed that in this convent they might be honourably married, that they might be rich, and live at liberty. In regard of the legitimate time of the persons to be initiated, and years under and above which they were not capable of reception, the women were to be admitted from ten till fifteen, and the men from twelve till eighteen. How the abbey of the Thelemites was built and endowed. For the fabric and furniture of the abbey Gargantua caused to be delivered out in ready money seven-and-twenty hundred thousand, eight hundred and one-and-thirty of those golden rams of Berry which have a sheep stamped on the one side and a flowered cross on the other; and for every year, until the whole work were completed, he allotted threescore nine thousand crowns of the sun, and as many of the seven stars, to be charged all upon the receipt of the custom. For the foundation and maintenance thereof for ever, he settled a perpetual fee-farm-rent of three-and-twenty hundred, three score and nine thousand, five hundred and fourteen rose nobles, exempted from all homage, fealty, service, or burden whatsoever, and payable every year at the gate of the abbey; and of this by letters patent passed a very good grant. The architecture was in a figure hexagonal, and in such a fashion that in every one of the six corners there was built a great round tower of threescore foot in diameter, and were all of a like form and bigness. Upon the north side ran along the river of Loire, on the bank whereof was situated the tower called Arctic. Going towards the east, there was another called Calaer,--the next following Anatole,--the next Mesembrine,--the next Hesperia, and the last Criere. Every tower was distant from other the space of three hundred and twelve paces. The whole edifice was everywhere six storeys high, reckoning the cellars underground for one. The second was arched after the fashion of a basket-handle; the rest were ceiled with pure wainscot, flourished with Flanders fretwork, in the form of the foot of a lamp, and covered above with fine slates, with an endorsement of lead, carrying the antique figures of little puppets and animals of all sorts, notably well suited to one another, and gilt, together with the gutters, which, jutting without the walls from betwixt the crossbars in a diagonal figure, painted with gold and azure, reached to the very ground, where they ended into great conduit-pipes, which carried all away unto the river from under the house. This same building was a hundred times more sumptuous and magnificent than ever was Bonnivet, Chambourg, or Chantilly; for there were in it nine thousand, three hundred and two-and-thirty chambers, every one whereof had a withdrawing-room, a handsome closet, a wardrobe, an oratory, and neat passage, leading into a great and spacious hall. Between every tower in the midst of the said body of building there was a pair of winding, such as we now call lantern stairs, whereof the steps were part of porphyry, which is a dark red marble spotted with white, part of Numidian stone, which is a kind of yellowishly-streaked marble upon various colours, and part of serpentine marble, with light spots on a dark green ground, each of those steps being two-and-twenty foot in length and three fingers thick, and the just number of twelve betwixt every rest, or, as we now term it, landing-place. In every resting-place were two fair antique arches where the light came in: and by those they went into a cabinet, made even with and of the breadth of the said winding, and the reascending above the roofs of the house ended conically in a pavilion. By that vise or winding they entered on every side into a great hall, and from the halls into the chambers. From the Arctic tower unto the Criere were the fair great libraries in Greek, Latin, Hebrew, French, Italian, and Spanish, respectively distributed in their several cantons, according to the diversity of these languages. In the midst there was a wonderful scalier or winding-stair, the entry whereof was without the house, in a vault or arch six fathom broad. It was made in such symmetry and largeness that six men-at-arms with their lances in their rests might together in a breast ride all up to the very top of all the palace. From the tower Anatole to the Mesembrine were fair spacious galleries, all coloured over and painted with the ancient prowesses, histories, and descriptions of the world. In the midst thereof there was likewise such another ascent and gate as we said there was on the river-side. Upon that gate was written in great antique letters that which followeth. The inscription set upon the great gate of Theleme. Here enter not vile bigots, hypocrites, Externally devoted apes, base snites, Puffed-up, wry-necked beasts, worse than the Huns, Or Ostrogoths, forerunners of baboons: Cursed snakes, dissembled varlets, seeming sancts, Slipshod caffards, beggars pretending wants, Fat chuffcats, smell-feast knockers, doltish gulls, Out-strouting cluster-fists, contentious bulls, Fomenters of divisions and debates, Elsewhere, not here, make sale of your deceits. Your filthy trumperies Stuffed with pernicious lies (Not worth a bubble), Would do but trouble Our earthly paradise, Your filthy trumperies. Here enter not attorneys, barristers, Nor bridle-champing law-practitioners: Clerks, commissaries, scribes, nor pharisees, Wilful disturbers of the people's ease: Judges, destroyers, with an unjust breath, Of honest men, like dogs, even unto death. Your salary is at the gibbet-foot: Go drink there! for we do not here fly out On those excessive courses, which may draw A waiting on your courts by suits in law. Lawsuits, debates, and wrangling Hence are exiled, and jangling. Here we are very Frolic and merry, And free from all entangling, Lawsuits, debates, and wrangling. Here enter not base pinching usurers, Pelf-lickers, everlasting gatherers, Gold-graspers, coin-gripers, gulpers of mists, Niggish deformed sots, who, though your chests Vast sums of money should to you afford, Would ne'ertheless add more unto that hoard, And yet not be content,--you clunchfist dastards, Insatiable fiends, and Pluto's bastards, Greedy devourers, chichy sneakbill rogues, Hell-mastiffs gnaw your bones, you ravenous dogs. You beastly-looking fellows, Reason doth plainly tell us That we should not To you allot Room here, but at the gallows, You beastly-looking fellows. Here enter not fond makers of demurs In love adventures, peevish, jealous curs, Sad pensive dotards, raisers of garboils, Hags, goblins, ghosts, firebrands of household broils, Nor drunkards, liars, cowards, cheaters, clowns, Thieves, cannibals, faces o'ercast with frowns, Nor lazy slugs, envious, covetous, Nor blockish, cruel, nor too credulous,-- Here mangy, pocky folks shall have no place, No ugly lusks, nor persons of disgrace. Grace, honour, praise, delight, Here sojourn day and night. Sound bodies lined With a good mind, Do here pursue with might Grace, honour, praise, delight. Here enter you, and welcome from our hearts, All noble sparks, endowed with gallant parts. This is the glorious place, which bravely shall Afford wherewith to entertain you all. Were you a thousand, here you shall not want For anything; for what you'll ask we'll grant. Stay here, you lively, jovial, handsome, brisk, Gay, witty, frolic, cheerful, merry, frisk, Spruce, jocund, courteous, furtherers of trades, And, in a word, all worthy gentle blades. Blades of heroic breasts Shall taste here of the feasts, Both privily And civilly Of the celestial guests, Blades of heroic breasts. Here enter you, pure, honest, faithful, true Expounders of the Scriptures old and new. Whose glosses do not blind our reason, but Make it to see the clearer, and who shut Its passages from hatred, avarice, Pride, factions, covenants, and all sort of vice. Come, settle here a charitable faith, Which neighbourly affection nourisheth. And whose light chaseth all corrupters hence, Of the blest word, from the aforesaid sense. The holy sacred Word, May it always afford T' us all in common, Both man and woman, A spiritual shield and sword, The holy sacred Word. Here enter you all ladies of high birth, Delicious, stately, charming, full of mirth, Ingenious, lovely, miniard, proper, fair, Magnetic, graceful, splendid, pleasant, rare, Obliging, sprightly, virtuous, young, solacious, Kind, neat, quick, feat, bright, compt, ripe, choice, dear, precious. Alluring, courtly, comely, fine, complete, Wise, personable, ravishing, and sweet, Come joys enjoy. The Lord celestial Hath given enough wherewith to please us all. Gold give us, God forgive us, And from all woes relieve us; That we the treasure May reap of pleasure, And shun whate'er is grievous, Gold give us, God forgive us. What manner of dwelling the Thelemites had. In the middle of the lower court there was a stately fountain of fair alabaster. Upon the top thereof stood the three Graces, with their cornucopias, or horns of abundance, and did jet out the water at their breasts, mouth, ears, eyes, and other open passages of the body. The inside of the buildings in this lower court stood upon great pillars of chalcedony stone and porphyry marble made archways after a goodly antique fashion. Within those were spacious galleries, long and large, adorned with curious pictures, the horns of bucks and unicorns: with rhinoceroses, water-horses called hippopotames, the teeth and tusks of elephants, and other things well worth the beholding. The lodging of the ladies, for so we may call those gallant women, took up all from the tower Arctic unto the gate Mesembrine. The men possessed the rest. Before the said lodging of the ladies, that they might have their recreation, between the two first towers, on the outside, were placed the tiltyard, the barriers or lists for tournaments, the hippodrome or riding-court, the theatre or public playhouse, and natatory or place to swim in, with most admirable baths in three stages, situated above one another, well furnished with all necessary accommodation, and store of myrtle-water. By the river-side was the fair garden of pleasure, and in the midst of that the glorious labyrinth. Between the two other towers were the courts for the tennis and the balloon. Towards the tower Criere stood the orchard full of all fruit-trees, set and ranged in a quincuncial order. At the end of that was the great park, abounding with all sort of venison. Betwixt the third couple of towers were the butts and marks for shooting with a snapwork gun, an ordinary bow for common archery, or with a crossbow. The office-houses were without the tower Hesperia, of one storey high. The stables were beyond the offices, and before them stood the falconry, managed by ostrich-keepers and falconers very expert in the art, and it was yearly supplied and furnished by the Candians, Venetians, Sarmates, now called Muscoviters, with all sorts of most excellent hawks, eagles, gerfalcons, goshawks, sacres, lanners, falcons, sparrowhawks, marlins, and other kinds of them, so gentle and perfectly well manned, that, flying of themselves sometimes from the castle for their own disport, they would not fail to catch whatever they encountered. The venery, where the beagles and hounds were kept, was a little farther off, drawing towards the park. All the halls, chambers, and closets or cabinets were richly hung with tapestry and hangings of divers sorts, according to the variety of the seasons of the year. All the pavements and floors were covered with green cloth. The beds were all embroidered. In every back-chamber or withdrawing-room there was a looking-glass of pure crystal set in a frame of fine gold, garnished all about with pearls, and was of such greatness that it would represent to the full the whole lineaments and proportion of the person that stood before it. At the going out of the halls which belong to the ladies' lodgings were the perfumers and trimmers through whose hands the gallants passed when they were to visit the ladies. Those sweet artificers did every morning furnish the ladies' chambers with the spirit of roses, orange-flower-water, and angelica; and to each of them gave a little precious casket vapouring forth the most odoriferous exhalations of the choicest aromatical scents. How the men and women of the religious order of Theleme were apparelled. The ladies at the foundation of this order were apparelled after their own pleasure and liking; but, since that of their own accord and free will they have reformed themselves, their accoutrement is in manner as followeth. They wore stockings of scarlet crimson, or ingrained purple dye, which reached just three inches above the knee, having a list beautified with exquisite embroideries and rare incisions of the cutter's art. Their garters were of the colour of their bracelets, and circled the knee a little both over and under. Their shoes, pumps, and slippers were either of red, violet, or crimson-velvet, pinked and jagged like lobster waddles. Next to their smock they put on the pretty kirtle or vasquin of pure silk camlet: above that went the taffety or tabby farthingale, of white, red, tawny, grey, or of any other colour. Above this taffety petticoat they had another of cloth of tissue or brocade, embroidered with fine gold and interlaced with needlework, or as they thought good, and according to the temperature and disposition of the weather had their upper coats of satin, damask, or velvet, and those either orange, tawny, green, ash-coloured, blue, yellow, bright red, crimson, or white, and so forth; or had them of cloth of gold, cloth of silver, or some other choice stuff, enriched with purl, or embroidered according to the dignity of the festival days and times wherein they wore them. Their gowns, being still correspondent to the season, were either of cloth of gold frizzled with a silver-raised work; of red satin, covered with gold purl; of tabby, or taffety, white, blue, black, tawny, &c., of silk serge, silk camlet, velvet, cloth of silver, silver tissue, cloth of gold, gold wire, figured velvet, or figured satin tinselled and overcast with golden threads, in divers variously purfled draughts. In the summer some days instead of gowns they wore light handsome mantles, made either of the stuff of the aforesaid attire, or like Moresco rugs, of violet velvet frizzled, with a raised work of gold upon silver purl, or with a knotted cord-work of gold embroidery, everywhere garnished with little Indian pearls. They always carried a fair panache, or plume of feathers, of the colour of their muff, bravely adorned and tricked out with glistering spangles of gold. In the winter time they had their taffety gowns of all colours, as above-named, and those lined with the rich furrings of hind-wolves, or speckled lynxes, black-spotted weasels, martlet skins of Calabria, sables, and other costly furs of an inestimable value. Their beads, rings, bracelets, collars, carcanets, and neck-chains were all of precious stones, such as carbuncles, rubies, baleus, diamonds, sapphires, emeralds, turquoises, garnets, agates, beryls, and excellent margarites. Their head-dressing also varied with the season of the year, according to which they decked themselves. In winter it was of the French fashion; in the spring, of the Spanish; in summer, of the fashion of Tuscany, except only upon the holy days and Sundays, at which times they were accoutred in the French mode, because they accounted it more honourable and better befitting the garb of a matronal pudicity. The men were apparelled after their fashion. Their stockings were of tamine or of cloth serge, of white, black, scarlet, or some other ingrained colour. Their breeches were of velvet, of the same colour with their stockings, or very near, embroidered and cut according to their fancy. Their doublet was of cloth of gold, of cloth of silver, of velvet, satin, damask, taffeties, &c., of the same colours, cut, embroidered, and suitably trimmed up in perfection. The points were of silk of the same colours; the tags were of gold well enamelled. Their coats and jerkins were of cloth of gold, cloth of silver, gold, tissue or velvet embroidered, as they thought fit. Their gowns were every whit as costly as those of the ladies. Their girdles were of silks, of the colour of their doublets. Every one had a gallant sword by his side, the hilt and handle whereof were gilt, and the scabbard of velvet, of the colour of his breeches, with a chape of gold, and pure goldsmith's work. The dagger was of the same. Their caps or bonnets were of black velvet, adorned with jewels and buttons of gold. Upon that they wore a white plume, most prettily and minion-like parted by so many rows of gold spangles, at the end whereof hung dangling in a more sparkling resplendency fair rubies, emeralds, diamonds, &c., but there was such a sympathy betwixt the gallants and the ladies, that every day they were apparelled in the same livery. And that they might not miss, there were certain gentlemen appointed to tell the youths every morning what vestments the ladies would on that day wear: for all was done according to the pleasure of the ladies. In these so handsome clothes, and habiliments so rich, think not that either one or other of either sex did waste any time at all; for the masters of the wardrobes had all their raiments and apparel so ready for every morning, and the chamber-ladies so well skilled, that in a trice they would be dressed and completely in their clothes from head to foot. And to have those accoutrements with the more conveniency, there was about the wood of Theleme a row of houses of the extent of half a league, very neat and cleanly, wherein dwelt the goldsmiths, lapidaries, jewellers, embroiderers, tailors, gold-drawers, velvet-weavers, tapestry-makers and upholsterers, who wrought there every one in his own trade, and all for the aforesaid jolly friars and nuns of the new stamp. They were furnished with matter and stuff from the hands of the Lord Nausiclete, who every year brought them seven ships from the Perlas and Cannibal Islands, laden with ingots of gold, with raw silk, with pearls and precious stones. And if any margarites, called unions, began to grow old and lose somewhat of their natural whiteness and lustre, those with their art they did renew by tendering them to eat to some pretty cocks, as they use to give casting unto hawks. How the Thelemites were governed, and of their manner of living. All their life was spent not in laws, statutes, or rules, but according to their own free will and pleasure. They rose out of their beds when they thought good; they did eat, drink, labour, sleep, when they had a mind to it and were disposed for it. None did awake them, none did offer to constrain them to eat, drink, nor to do any other thing; for so had Gargantua established it. In all their rule and strictest tie of their order there was but this one clause to be observed, Do What Thou Wilt; because men that are free, well-born, well-bred, and conversant in honest companies, have naturally an instinct and spur that prompteth them unto virtuous actions, and withdraws them from vice, which is called honour. Those same men, when by base subjection and constraint they are brought under and kept down, turn aside from that noble disposition by which they formerly were inclined to virtue, to shake off and break that bond of servitude wherein they are so tyrannously enslaved; for it is agreeable with the nature of man to long after things forbidden and to desire what is denied us. By this liberty they entered into a very laudable emulation to do all of them what they saw did please one. If any of the gallants or ladies should say, Let us drink, they would all drink. If any one of them said, Let us play, they all played. If one said, Let us go a-walking into the fields they went all. If it were to go a-hawking or a-hunting, the ladies mounted upon dainty well-paced nags, seated in a stately palfrey saddle, carried on their lovely fists, miniardly begloved every one of them, either a sparrowhawk or a laneret or a marlin, and the young gallants carried the other kinds of hawks. So nobly were they taught, that there was neither he nor she amongst them but could read, write, sing, play upon several musical instruments, speak five or six several languages, and compose in them all very quaintly, both in verse and prose. Never were seen so valiant knights, so noble and worthy, so dexterous and skilful both on foot and a-horse-back, more brisk and lively, more nimble and quick, or better handling all manner of weapons than were there. Never were seen ladies so proper and handsome, so miniard and dainty, less froward, or more ready with their hand and with their needle in every honest and free action belonging to that sex, than were there. For this reason, when the time came that any man of the said abbey, either at the request of his parents, or for some other cause, had a mind to go out of it, he carried along with him one of the ladies, namely, her whom he had before that chosen for his mistress, and (they) were married together. And if they had formerly in Theleme lived in good devotion and amity, they did continue therein and increase it to a greater height in their state of matrimony; and did entertain that mutual love till the very last day of their life, in no less vigour and fervency than at the very day of their wedding. Here must not I forget to set down unto you a riddle which was found under the ground as they were laying the foundation of the abbey, engraven in a copper plate, and it was thus as followeth. A prophetical Riddle. Poor mortals, who wait for a happy day, Cheer up your hearts, and hear what I shall say: If it be lawful firmly to believe That the celestial bodies can us give Wisdom to judge of things that are not yet; Or if from heaven such wisdom we may get As may with confidence make us discourse Of years to come, their destiny and course; I to my hearers give to understand That this next winter, though it be at hand, Yea and before, there shall appear a race Of men who, loth to sit still in one place, Shall boldly go before all people's eyes, Suborning men of divers qualities To draw them unto covenants and sides, In such a manner that, whate'er betides, They'll move you, if you give them ear, no doubt, With both your friends and kindred to fall out. They'll make a vassal to gain-stand his lord, And children their own parents; in a word, All reverence shall then be banished, No true respect to other shall be had. They'll say that every man should have his turn, Both in his going forth and his return; And hereupon there shall arise such woes, Such jarrings, and confused to's and fro's, That never were in history such coils Set down as yet, such tumults and garboils. Then shall you many gallant men see by Valour stirr'd up, and youthful fervency, Who, trusting too much in their hopeful time, Live but a while, and perish in their prime. Neither shall any, who this course shall run, Leave off the race which he hath once begun, Till they the heavens with noise by their contention Have fill'd, and with their steps the earth's dimension. Then those shall have no less authority, That have no faith, than those that will not lie; For all shall be governed by a rude, Base, ignorant, and foolish multitude; The veriest lout of all shall be their judge, O horrible and dangerous deluge! Deluge I call it, and that for good reason, For this shall be omitted in no season; Nor shall the earth of this foul stir be free, Till suddenly you in great store shall see The waters issue out, with whose streams the Most moderate of all shall moistened be, And justly too; because they did not spare The flocks of beasts that innocentest are, But did their sinews and their bowels take, Not to the gods a sacrifice to make, But usually to serve themselves for sport: And now consider, I do you exhort, In such commotions so continual, What rest can take the globe terrestrial? Most happy then are they, that can it hold, And use it carefully as precious gold, By keeping it in gaol, whence it shall have No help but him who being to it gave. And to increase his mournful accident, The sun, before it set in th' occident, Shall cease to dart upon it any light, More than in an eclipse, or in the night,-- So that at once its favour shall be gone, And liberty with it be left alone. And yet, before it come to ruin thus, Its quaking shall be as impetuous As Aetna's was when Titan's sons lay under, And yield, when lost, a fearful sound like thunder. Inarime did not more quickly move, When Typheus did the vast huge hills remove, And for despite into the sea them threw. Thus shall it then be lost by ways not few, And changed suddenly, when those that have it To other men that after come shall leave it. Then shall it be high time to cease from this So long, so great, so tedious exercise; For the great waters told you now by me, Will make each think where his retreat shall be; And yet, before that they be clean disperst, You may behold in th' air, where nought was erst, The burning heat of a great flame to rise, Lick up the water, and the enterprise. It resteth after those things to declare, That those shall sit content who chosen are, With all good things, and with celestial man (ne,) And richly recompensed every man: The others at the last all stripp'd shall be, That after this great work all men may see, How each shall have his due. This is their lot; O he is worthy praise that shrinketh not! No sooner was this enigmatical monument read over, but Gargantua, fetching a very deep sigh, said unto those that stood by, It is not now only, I perceive, that people called to the faith of the gospel, and convinced with the certainty of evangelical truths, are persecuted. But happy is that man that shall not be scandalized, but shall always continue to the end in aiming at that mark which God by his dear Son hath set before us, without being distracted or diverted by his carnal affections and depraved nature. The monk then said, What do you think in your conscience is meant and signified by this riddle? What? said Gargantua,--the progress and carrying on of the divine truth. By St. Goderan, said the monk, that is not my exposition. It is the style of the prophet Merlin. Make upon it as many grave allegories and glosses as you will, and dote upon it you and the rest of the world as long as you please; for my part, I can conceive no other meaning in it but a description of a set at tennis in dark and obscure terms. The suborners of men are the makers of matches, which are commonly friends. After the two chases are made, he that was in the upper end of the tennis-court goeth out, and the other cometh in. They believe the first that saith the ball was over or under the line. The waters are the heats that the players take till they sweat again. The cords of the rackets are made of the guts of sheep or goats. The globe terrestrial is the tennis-ball. After playing, when the game is done, they refresh themselves before a clear fire, and change their shirts; and very willingly they make all good cheer, but most merrily those that have gained. And so, farewell! End book 1 THE SECOND BOOK. For the Reader. The Reader here may be pleased to take notice that the copy of verses by the title of 'Rablophila', premised to the first book of this translation, being but a kind of mock poem, in imitation of somewhat lately published (as to any indifferent observer will easily appear, by the false quantities in the Latin, the abusive strain of the English, and extravagant subscription to both), and as such, by a friend of the translator's, at the desire of some frolic gentlemen of his acquaintance, more for a trial of skill than prejudicacy to any, composed in his jollity to please their fancies, was only ordained to be prefixed to a dozen of books, and no more, thereby to save the labour of transcribing so many as were requisite for satisfying the curiosity of a company of just that number; and that, therefore, the charging of the whole impression with it is merely to be imputed to the negligence of the pressmen, who, receiving it about the latter end of the night, were so eager before the next morning to afford complete books, that, as they began, they went on, without animadverting what was recommended to their discretion. This is hoped will suffice to assure the ingenuous Reader that in no treatise of the translator's, whether original or translatitious, shall willingly be offered the meanest rub to the reputation of any worthy gentleman, and that, however providence dispose of him, no misfortune shall be able to induce his mind to any complacency in the disparagement of another. Again. The Pentateuch of Rabelais mentioned in the title-page of the first book of this translation being written originally in the French tongue (as it comprehendeth some of its brusquest dialects), with so much ingeniosity and wit, that more impressions have been sold thereof in that language than of any other book that hath been set forth at any time within these fifteen hundred years; so difficult nevertheless to be turned into any other speech that many prime spirits in most of the nations of Europe, since the year 1573, which was fourscore years ago, after having attempted it, were constrained with no small regret to give it over as a thing impossible to be done, is now in its translation thus far advanced, and the remainder faithfully undertaken with the same hand to be rendered into English by a person of quality, who (though his lands be sequestered, his house garrisoned, his other goods sold, and himself detained a prisoner of war at London, for his having been at Worcester fight) hath, at the most earnest entreaty of some of his especial friends well acquainted with his inclination to the performance of conducible singularities, promised, besides his version of these two already published, very speedily to offer up unto this Isle of Britain the virginity of the translation of the other three most admirable books of the aforesaid author; provided that by the plurality of judicious and understanding men it be not declared he hath already proceeded too far, or that the continuation of the rigour whereby he is dispossessed of all his both real and personal estate, by pressing too hard upon him, be not an impediment thereto, and to other more eminent undertakings of his, as hath been oftentimes very fully mentioned by the said translator in several original treatises of his own penning, lately by him so numerously dispersed that there is scarce any, who being skilful in the English idiom, or curious of any new ingenious invention, hath not either read them or heard of them. Mr. Hugh Salel to Rabelais. If profit mixed with pleasure may suffice T' extol an author's worth above the skies, Thou certainly for both must praised be: I know it; for thy judgment hath in the Contexture of this book set down such high Contentments, mingled with utility, That (as I think) I see Democritus Laughing at men as things ridiculous. Insist in thy design; for, though we prove Ungrate on earth, thy merit is above.

Book 1, Chapters 34-58

https://web.archive.org/web/20180420203406/http://www.gradesaver.com/gargantua-and-pantagruel/study-guide/summary-book-1-chapters-34-58

Gargantua and his men leave Paris and make way for Grangousier's kingdom. They find the land brutalized by Picrochole's armies. Through the help of powerful neighbors, they begin to plan an attack. Gargantua's friend, Gymnast, along with Prelingot, scout out the land to find out where the armies are located. In the midst of their scouting, they are surrounded by a platoon of soldiers. Gymnast feigns that he is possessed, performs horse tricks, and scares off most of the soldiers; then, he kills Captain Tripet, the captain of the soldiers. Upon arriving at the castle near the ford of Vede, Gargantua's horse urinates, and in doing so floods the land and over-floods the ford, which takes out a large portion of the enemy armies. To fight off the remaining enemies, Gargantua uproots a tree and fashions it into a lance. He moves to attack the castle, and the enemies within start to fire weapons of all sorts. Thanks to Gargantua's giant size, however, the bullets and cannon balls do not penetrate Gargantua's body. Gargantua takes his recently made lance and knocks over the castle, thus winning the battle. Gargantua and his company return to Grangousier's castle. Gargantua combs out his hair just prior to dinner, and out fall cannon balls and bullets, which Gargantua's father mistakes for lice. Ponocrates explains that as Gargantua's tutor and friend, he would never let him stay in a place so infested, and then Ponocrates proves that what has fallen from Gargantua's hair is indeed cannon balls and nothing more. After the battle, Grangousier provides a large feast. Gargantua craves a salad, and goes out to the garden to pick lettuce. Within the garden, however, six pilgrims from Picrochole's lands are hiding. They are afraid that they will be mistaken for spies, so they hide in Gargantua's garden; but since they are hiding so quietly, Gargantua does not see them, and picks them up with the heads of lettuce. He mixes them into a salad and nearly devours them, but the pilgrims are clever enough to grab hold of Gargantua's teeth, thus avoiding being swallowed. Gargantua picks out the pilgrims with a toothpick and flicks them aside, but Gargantua still does not see them. Gargantua then relieves himself, and in doing so his urine carries away the refuse, including the pilgrims. Gargantua and his company hear much about all the other skirmishes in the land. After hearing about Friar John, Gargantua wishes to meet the man, and so sends him a request for his company. Friar John arrives and is welcomed with much warmth by Gargantua. Friar John then sits, eats, and drinks with Gargantua, Grangousier, Eudemon, Gymnast, and Ponocrates. The men joke, discuss the war, talk about why people dislike monks, and then discuss how Friar John's nose acquired its particular shape. The next day, Gargantua and his company, joined by Friar John, make their way into battle. Friar John uses great words to motivate the company, but as he talks he neglects to pay attention to his surroundings, and accidentally gets stuck in a tree. Luckily, Gymnast and the others help him out. During the battle, Gargantua and his fellows, along with a small army, realize that they may be outnumbered, but that Picrochole's armies are untrained and undisciplined. Friar John loudly encourages his comrades to fight, regardless of the size of the enemy, but in doing so he gives away their location. The battle ensues. In the midst of battle, Friar John gets captured, but kills his captors and takes one of the enemy's leaders, Touchfaucet, as his prisoner. Gargantua and his company, including Friar John and his prisoner, return to Grangousier's castle. Grangousier explains to Touchfaucet that he will be set free, but that he must encourage his master to stop this war. Touchfaucet returns to Picrochole and begs him to negotiate peace, but to no avail. Touchfaucet is called a traitor, kills one of the other military captains, Rashcalf, and then Picrochole orders his guards to kill Touchfaucet. As the war continues, surrounding countries pledge loyalty to Grangousier, since they know that Picrochole fights unjustly without cause. Grangousier thanks all who have pledged loyalty to him, but he announces that he wishes to end the conflict quickly without wasting more lives. Meanwhile, Picrochole's armies are losing morale, as they hear word about how Grangousier's army is growing. In addition, Picrochole's armies are running out of food and supplies. Grangousier, Gargantua, and Gargantua's friends decide that they must plan a strategy that will end the war immediately. They position their armies to flank and surround their enemies. Friar John leads a battalion and manages to capture a large portion of Picrochole's army. Gargantua and his armies attack Picrochole directly; in the chaos of war, however, Picrochole, his servants, and his armies retreat, leaving Gargantua and his followers as the victors. With the war clearly over, Picrochole runs away, becomes separated from his people, and finds himself alone. He tries to find his way back, but ends up being beaten, his clothes ripped into shreds. According to rumor, he ends up a lowly porter in some other kingdom. Gargantua announces his victory with a humble story about one of his father's previous enemies, King Alpharbal. Like Picrochole, King Alpharbal was obsessed with conquest and pillaging. Upon being captured, Grangousier did not enslave or beat his enemy, and instead treated him with great kindness and allowed him to go home. King Alpharbal was so amazed by such kindness that he forever swore loyalty to Grangousier. Therefore, Gargantua announces that he will treat their current prisoners with the same kindness. Since Picrochole is nowhere to be found, and therefore cannot run his kingdom, ownership of the kingdom will fall upon Picrochole's son, who is too young to rule. To protect Picrochole's son, Gargantua appoints Ponocrates as the steward/governor of the land, until such time that Picrochole's son may rule. Gargantua awards each of his friends and servants, , with lands, titles, and castles, as a way to thank them for joining him in battle. To reward Friar John, he offers him dominion over some of the more famous abbeys, to which Friar John cannot accept, for he finds those abbeys corrupt, and requests the ability to build a different kind of abbey, which he names the Abbey of Thelme. Designed and constructed under the guidance of the Gargantua and Friar John, the Abbey of Thelme would be like no other abbey before it. The only rule of the abbey would be to "do as thou wilt," implying that no one shall keep time, and that everyone would be free to live their lives as they wish. It would have no walls, for walls create conspiracy. The abbey would house both men and women, and it would allow the men and women to fraternize and even be married to one another. Many women would be educated here in a mostly egalitarian fashion, although certain chores and duties would still be assigned as gender-specific. The entire abbey would be built like an immaculate castle, and the persons living within would be garbed in decadent clothing. The narrator describes that even though these people would live very well, that they somehow would not allow such a decadent form of living to corrupt them or take up their time in a negative fashion. While they would be allowed to do what they wish, they must do so in accordance with leading good, noble, and productive lives. Upon breaking ground for the construction of the abbey, Gargantua and Friar John find a riddle carved into a piece of copper. Gargantua interprets the riddle as a religious metaphor, namely that individuals must seek out God and not allow earthly matters to drag them down to vice. Friar John, on the other hand, does not interpret the riddle as such. Instead, he interprets the poem more basely as the description of a tennis match. According to Friar John, players go against their opponents, as friends or enemies arrange matches. After each match, the players rest, refresh themselves, and then make themselves ready to play again. Those who win their matches are exceedingly happy, but even those who lose are still happy to some degree.

The climax of book one occurs in the second half of the story. Gargantua and his comrades take part in several battles. As they do so, the narrator goes into further detail concerning the characterization of the supporting characters. Gymnast, for example, appears in the first half of the book as a man skilled in horseback riding and military strategy. In the battlefield, we witness his knowledge put to the test. Not only does he use strategy to scout out the enemy, but he also proves his ability to be a great judge of character. Through watching the enemy, he establishes that the enemy soldiers lack discipline. Gymnast also realizes that these undisciplined soldiers are naive and subject to superstitious fear. When captured, Gymnast cleverly feigns demon possession to throw his assailants off-guard and to win the day. The further characterization of Friar John continues the seemingly split personality of the silly monk and the warrior monk. In preparing for battle, though, the silly monk becomes full of bravado. His overconfidence satirically mocks the clergy and, to some degree, the military, since it demonstrates how soldiers and leaders preparing for war become so focused and excited that they become blind to their surroundings. In the case of Friar John, as he tries to encourage Gargantua and his compatriots, Friar John somehow manages to get himself hung up in a tree and unable to proceed. He also talks too loudly at times, giving their position away to the enemy. After so many military blunders, Friar John gets captured and taken away, but that is when the warrior monk comes out. Oddly enough, Friar John's warrior abilities seem most pronounced when he stands separate from his associates. Even in the final battle, he fights and captures a battalion far removed from where Gargantua and the others are fighting. From the point of view of the writer, Rabelais may have felt that without someone playing the role of comedic relief that his story would have gone out of satire and into the realm of comedic drama. That could explain why Friar John's character leans toward the silly monk persona when he is in the company Gargantua has compatriots. After the war is over and Picrochole's armies are defeated, Rabelais uses a clever flashback strategy to explain the ideals of Utopia, Gargantua's homeland. Within the flashback, Gargantua tells the story about one of his father's previous enemies, Alpharbal, and how his father treated his enemy with compassion instead of malice. That compassion was rewarded with Alpharbal swearing lifelong allegiance to Grangousier. As an exposition, the flashback serves two purposes. First of all, it further establishes Grangousier as a kind and pacifistic ruler, regardless of his hedonistic ways in the beginning of the book. The flashback also foreshadows how Gargantua will run his kingdom and how he will train his son to rule. To further establish how Gargantua will run his kingdom, he and Friar John get into a conversation about how to redesign the ideal abbey. However, this conversation about the Abbey of Thelme is peculiarly juxtaposed against the character of Picrochole, the warmongering king. In her article, "Was Picrochole Free? Rabelais between Luther and Erasmus," Eva Kushner discusses this strange pairing of topics. She points out how Gargantua and Friar John foresee that the Abbey of Thelme will house the most skilled and virtuous men and women in the land, and since they are born of noble birth, it will be in their nature to remain peaceful and dedicated to God. This very statement implies that those of nobility have an innate nature to act in a particular way. As Kushner explains, Picrochole is an educated man of noble birth, and yet he started a war without sufficient evidence. Worse than not, he refused to negotiate and would not listen to reason. Kushner posits that Rabelais's purpose behind these contradicting elements is to promote a satirical methodology showcasing how the ideals of Thelme may not hold true in the real world, since "a man, who is furthermore endowed with royal power, will misuse his freedom and ignore that of other men," . Therefore, a place such as Thelme cannot function to the extent of the ideals dreamed by Gargantua and Friar John, unless such a place remains outside of the control of monarchies. Even then, whoever possesses decision-making power over Thelme, presumably Friar John, may also be susceptible to the corrupting forces of absolute power.

shmoop

all_chapterized_books/110-chapters/13.txt

finished_summaries/shmoop/Tess of the D'Urbervilles/section_12_part_0.txt

Tess of the D'Urbervilles.chapter 13

chapter 13

{"name": "Phase II: \"Maiden No More,\" Chapter Thirteen", "url": "https://web.archive.org/web/20210424232301/http://www.shmoop.com/study-guides/literature/tess-of-the-durbervilles/summary/chapter-13", "summary": "The afternoon of Tess's arrival, several old friends come over to see her, dressed in their best clothes. They assume that she's going to marry Alec D'Urberville, and are fascinated by the idea of their old friend marrying a gentleman--especially a gentleman with a reputation for being a player and a heart-breaker. The cheerfulness of her friends is contagious, and Tess becomes almost cheerful herself. The next morning, though, is a Monday--a workday--and there are no visitors to cheer her up. She's terribly depressed. One week she goes to church, because she loves to hear the music , but everyone looks around and whispers about her. She spends much of her time in the bedroom that she shares with the younger children. She hardly goes out anymore, and many of their neighbors think that she's gone away. Only after dark does she venture outside the house. She doesn't worry about the dark in the woods, but she does want to avoid other people as much as possible. Tess feels guilty about her past, even though it was a social law that she was \"made\" to break, according to the narrator .", "analysis": ""}

The event of Tess Durbeyfield's return from the manor of her bogus kinsfolk was rumoured abroad, if rumour be not too large a word for a space of a square mile. In the afternoon several young girls of Marlott, former schoolfellows and acquaintances of Tess, called to see her, arriving dressed in their best starched and ironed, as became visitors to a person who had made a transcendent conquest (as they supposed), and sat round the room looking at her with great curiosity. For the fact that it was this said thirty-first cousin, Mr d'Urberville, who had fallen in love with her, a gentleman not altogether local, whose reputation as a reckless gallant and heartbreaker was beginning to spread beyond the immediate boundaries of Trantridge, lent Tess's supposed position, by its fearsomeness, a far higher fascination that it would have exercised if unhazardous. Their interest was so deep that the younger ones whispered when her back was turned-- "How pretty she is; and how that best frock do set her off! I believe it cost an immense deal, and that it was a gift from him." Tess, who was reaching up to get the tea-things from the corner-cupboard, did not hear these commentaries. If she had heard them, she might soon have set her friends right on the matter. But her mother heard, and Joan's simple vanity, having been denied the hope of a dashing marriage, fed itself as well as it could upon the sensation of a dashing flirtation. Upon the whole she felt gratified, even though such a limited and evanescent triumph should involve her daughter's reputation; it might end in marriage yet, and in the warmth of her responsiveness to their admiration she invited her visitors to stay to tea. Their chatter, their laughter, their good-humoured innuendoes, above all, their flashes and flickerings of envy, revived Tess's spirits also; and, as the evening wore on, she caught the infection of their excitement, and grew almost gay. The marble hardness left her face, she moved with something of her old bounding step, and flushed in all her young beauty. At moments, in spite of thought, she would reply to their inquiries with a manner of superiority, as if recognizing that her experiences in the field of courtship had, indeed, been slightly enviable. But so far was she from being, in the words of Robert South, "in love with her own ruin," that the illusion was transient as lightning; cold reason came back to mock her spasmodic weakness; the ghastliness of her momentary pride would convict her, and recall her to reserved listlessness again. And the despondency of the next morning's dawn, when it was no longer Sunday, but Monday; and no best clothes; and the laughing visitors were gone, and she awoke alone in her old bed, the innocent younger children breathing softly around her. In place of the excitement of her return, and the interest it had inspired, she saw before her a long and stony highway which she had to tread, without aid, and with little sympathy. Her depression was then terrible, and she could have hidden herself in a tomb. In the course of a few weeks Tess revived sufficiently to show herself so far as was necessary to get to church one Sunday morning. She liked to hear the chanting--such as it was--and the old Psalms, and to join in the Morning Hymn. That innate love of melody, which she had inherited from her ballad-singing mother, gave the simplest music a power over her which could well-nigh drag her heart out of her bosom at times. To be as much out of observation as possible for reasons of her own, and to escape the gallantries of the young men, she set out before the chiming began, and took a back seat under the gallery, close to the lumber, where only old men and women came, and where the bier stood on end among the churchyard tools. Parishioners dropped in by twos and threes, deposited themselves in rows before her, rested three-quarters of a minute on their foreheads as if they were praying, though they were not; then sat up, and looked around. When the chants came on, one of her favourites happened to be chosen among the rest--the old double chant "Langdon"--but she did not know what it was called, though she would much have liked to know. She thought, without exactly wording the thought, how strange and god-like was a composer's power, who from the grave could lead through sequences of emotion, which he alone had felt at first, a girl like her who had never heard of his name, and never would have a clue to his personality. The people who had turned their heads turned them again as the service proceeded; and at last observing her, they whispered to each other. She knew what their whispers were about, grew sick at heart, and felt that she could come to church no more. The bedroom which she shared with some of the children formed her retreat more continually than ever. Here, under her few square yards of thatch, she watched winds, and snows, and rains, gorgeous sunsets, and successive moons at their full. So close kept she that at length almost everybody thought she had gone away. The only exercise that Tess took at this time was after dark; and it was then, when out in the woods, that she seemed least solitary. She knew how to hit to a hair's-breadth that moment of evening when the light and the darkness are so evenly balanced that the constraint of day and the suspense of night neutralize each other, leaving absolute mental liberty. It is then that the plight of being alive becomes attenuated to its least possible dimensions. She had no fear of the shadows; her sole idea seemed to be to shun mankind--or rather that cold accretion called the world, which, so terrible in the mass, is so unformidable, even pitiable, in its units. On these lonely hills and dales her quiescent glide was of a piece with the element she moved in. Her flexuous and stealthy figure became an integral part of the scene. At times her whimsical fancy would intensify natural processes around her till they seemed a part of her own story. Rather they became a part of it; for the world is only a psychological phenomenon, and what they seemed they were. The midnight airs and gusts, moaning amongst the tightly-wrapped buds and bark of the winter twigs, were formulae of bitter reproach. A wet day was the expression of irremediable grief at her weakness in the mind of some vague ethical being whom she could not class definitely as the God of her childhood, and could not comprehend as any other. But this encompassment of her own characterization, based on shreds of convention, peopled by phantoms and voices antipathetic to her, was a sorry and mistaken creation of Tess's fancy--a cloud of moral hobgoblins by which she was terrified without reason. It was they that were out of harmony with the actual world, not she. Walking among the sleeping birds in the hedges, watching the skipping rabbits on a moonlit warren, or standing under a pheasant-laden bough, she looked upon herself as a figure of Guilt intruding into the haunts of Innocence. But all the while she was making a distinction where there was no difference. Feeling herself in antagonism, she was quite in accord. She had been made to break an accepted social law, but no law known to the environment in which she fancied herself such an anomaly.

Phase II: "Maiden No More," Chapter Thirteen

https://web.archive.org/web/20210424232301/http://www.shmoop.com/study-guides/literature/tess-of-the-durbervilles/summary/chapter-13

The afternoon of Tess's arrival, several old friends come over to see her, dressed in their best clothes. They assume that she's going to marry Alec D'Urberville, and are fascinated by the idea of their old friend marrying a gentleman--especially a gentleman with a reputation for being a player and a heart-breaker. The cheerfulness of her friends is contagious, and Tess becomes almost cheerful herself. The next morning, though, is a Monday--a workday--and there are no visitors to cheer her up. She's terribly depressed. One week she goes to church, because she loves to hear the music , but everyone looks around and whispers about her. She spends much of her time in the bedroom that she shares with the younger children. She hardly goes out anymore, and many of their neighbors think that she's gone away. Only after dark does she venture outside the house. She doesn't worry about the dark in the woods, but she does want to avoid other people as much as possible. Tess feels guilty about her past, even though it was a social law that she was "made" to break, according to the narrator .

gradesaver

all_chapterized_books/110-chapters/18.txt

finished_summaries/gradesaver/Tess of the D'Urbervilles/section_2_part_3.txt

Tess of the D'Urbervilles.chapter 18

chapter 18

{"name": "Chapter 18", "url": "https://web.archive.org/web/20210410060617/https://www.gradesaver.com/tess-of-the-durbervilles/study-guide/summary-phase-3-chapters-16-24", "summary": "Angel Clare has a nebulous, preoccupied quality, for he is a man with no very definite aim or concern about his material future. The youngest son of his father, a poor parson, he is at Talbothays to acquire a practical skill in the various processes of farming. His father had married his mother late in life, and his brothers had each acquired a university degree, even though Angel was the one whose promise might have done full justice to academic training. Before Angel met Tess at the dance in Marlott years before, a parcel came to Reverend Clare from the bookseller. This book was a philosophical work that prompts an argument between Angel and his father in which he admits that he does not want to be a minister. Since he was not to be ordained, Mr. Clare did not send Angel to Cambridge. Angel instead spent years in desultory studies, undertakings and meditations, beginning to evince considerable indifference to social forms and observances. He began to despise the distinctions of rank and wealth. Angel now takes great delight in the companionship at Talbothays: the conventional farm-folk of his imagination were obliterated in favor of more respectable people. Angel had grown away from old associations and now sees something new in life and humanity, making close acquaintance with natural phenomena. Tess and Angel discuss whether or not one's soul can leave his body while alive, and he finds her to be a fresh and virginal daughter of nature. He seems to discern in her something familiar that carries him back to a joyous past.", "analysis": "Hardy shifts the focus of the novel for this chapter, leaving his constant focus on Tess Durbeyfield for the first time to give biographical information about Angel Clare. Hardy gives greater indication that Angel Clare is a man with unconventional moral and religious views; in contrast to the narrow religious beliefs of his father, Angel is open to other moral belief systems and it is this difference of opinion that leads Angel not to attend college and enter the clergy as his father expected. Angel's political beliefs coincidence with his unconventional religious beliefs; he does not believe in the primacy of rank and social status, beliefs which clash with traditional English mores. This disdain for polite social behavior complements Tess's equal disregard for convention, thus setting up greater similarities between the two characters. Nevertheless, even at this early point Hardy foreshadows later problems between Tess and Angel. Angel idealizes Tess as a \"fresh and virginal daughter of nature,\" a characterization that obvious clashes with her more sordid past. The knowledge that Tess does not represent the qualities he exalts in her will provide area for conflict within the novel, while allowing for the theme of the permanence of sins. At this point in the novel, Hardy indicates that Tess has found a new purity and innocence after her troubled history with Alec d'Urberville; however, others may find that her earlier actions have permanently tainted Tess"}

Angel Clare rises out of the past not altogether as a distinct figure, but as an appreciative voice, a long regard of fixed, abstracted eyes, and a mobility of mouth somewhat too small and delicately lined for a man's, though with an unexpectedly firm close of the lower lip now and then; enough to do away with any inference of indecision. Nevertheless, something nebulous, preoccupied, vague, in his bearing and regard, marked him as one who probably had no very definite aim or concern about his material future. Yet as a lad people had said of him that he was one who might do anything if he tried. He was the youngest son of his father, a poor parson at the other end of the county, and had arrived at Talbothays Dairy as a six months' pupil, after going the round of some other farms, his object being to acquire a practical skill in the various processes of farming, with a view either to the Colonies or the tenure of a home-farm, as circumstances might decide. His entry into the ranks of the agriculturists and breeders was a step in the young man's career which had been anticipated neither by himself nor by others. Mr Clare the elder, whose first wife had died and left him a daughter, married a second late in life. This lady had somewhat unexpectedly brought him three sons, so that between Angel, the youngest, and his father the Vicar there seemed to be almost a missing generation. Of these boys the aforesaid Angel, the child of his old age, was the only son who had not taken a University degree, though he was the single one of them whose early promise might have done full justice to an academical training. Some two or three years before Angel's appearance at the Marlott dance, on a day when he had left school and was pursuing his studies at home, a parcel came to the Vicarage from the local bookseller's, directed to the Reverend James Clare. The Vicar having opened it and found it to contain a book, read a few pages; whereupon he jumped up from his seat and went straight to the shop with the book under his arm. "Why has this been sent to my house?" he asked peremptorily, holding up the volume. "It was ordered, sir." "Not by me, or any one belonging to me, I am happy to say." The shopkeeper looked into his order-book. "Oh, it has been misdirected, sir," he said. "It was ordered by Mr Angel Clare, and should have been sent to him." Mr Clare winced as if he had been struck. He went home pale and dejected, and called Angel into his study. "Look into this book, my boy," he said. "What do you know about it?" "I ordered it," said Angel simply. "What for?" "To read." "How can you think of reading it?" "How can I? Why--it is a system of philosophy. There is no more moral, or even religious, work published." "Yes--moral enough; I don't deny that. But religious!--and for YOU, who intend to be a minister of the Gospel!" "Since you have alluded to the matter, father," said the son, with anxious thought upon his face, "I should like to say, once for all, that I should prefer not to take Orders. I fear I could not conscientiously do so. I love the Church as one loves a parent. I shall always have the warmest affection for her. There is no institution for whose history I have a deeper admiration; but I cannot honestly be ordained her minister, as my brothers are, while she refuses to liberate her mind from an untenable redemptive theolatry." It had never occurred to the straightforward and simple-minded Vicar that one of his own flesh and blood could come to this! He was stultified, shocked, paralysed. And if Angel were not going to enter the Church, what was the use of sending him to Cambridge? The University as a step to anything but ordination seemed, to this man of fixed ideas, a preface without a volume. He was a man not merely religious, but devout; a firm believer--not as the phrase is now elusively construed by theological thimble-riggers in the Church and out of it, but in the old and ardent sense of the Evangelical school: one who could Indeed opine That the Eternal and Divine Did, eighteen centuries ago In very truth... Angel's father tried argument, persuasion, entreaty. "No, father; I cannot underwrite Article Four (leave alone the rest), taking it 'in the literal and grammatical sense' as required by the Declaration; and, therefore, I can't be a parson in the present state of affairs," said Angel. "My whole instinct in matters of religion is towards reconstruction; to quote your favorite Epistle to the Hebrews, 'the removing of those things that are shaken, as of things that are made, that those things which cannot be shaken may remain.'" His father grieved so deeply that it made Angel quite ill to see him. "What is the good of your mother and me economizing and stinting ourselves to give you a University education, if it is not to be used for the honour and glory of God?" his father repeated. "Why, that it may be used for the honour and glory of man, father." Perhaps if Angel had persevered he might have gone to Cambridge like his brothers. But the Vicar's view of that seat of learning as a stepping-stone to Orders alone was quite a family tradition; and so rooted was the idea in his mind that perseverance began to appear to the sensitive son akin to an intent to misappropriate a trust, and wrong the pious heads of the household, who had been and were, as his father had hinted, compelled to exercise much thrift to carry out this uniform plan of education for the three young men. "I will do without Cambridge," said Angel at last. "I feel that I have no right to go there in the circumstances." The effects of this decisive debate were not long in showing themselves. He spent years and years in desultory studies, undertakings, and meditations; he began to evince considerable indifference to social forms and observances. The material distinctions of rank and wealth he increasingly despised. Even the "good old family" (to use a favourite phrase of a late local worthy) had no aroma for him unless there were good new resolutions in its representatives. As a balance to these austerities, when he went to live in London to see what the world was like, and with a view to practising a profession or business there, he was carried off his head, and nearly entrapped by a woman much older than himself, though luckily he escaped not greatly the worse for the experience. Early association with country solitudes had bred in him an unconquerable, and almost unreasonable, aversion to modern town life, and shut him out from such success as he might have aspired to by following a mundane calling in the impracticability of the spiritual one. But something had to be done; he had wasted many valuable years; and having an acquaintance who was starting on a thriving life as a Colonial farmer, it occurred to Angel that this might be a lead in the right direction. Farming, either in the Colonies, America, or at home--farming, at any rate, after becoming well qualified for the business by a careful apprenticeship--that was a vocation which would probably afford an independence without the sacrifice of what he valued even more than a competency--intellectual liberty. So we find Angel Clare at six-and-twenty here at Talbothays as a student of kine, and, as there were no houses near at hand in which he could get a comfortable lodging, a boarder at the dairyman's. His room was an immense attic which ran the whole length of the dairy-house. It could only be reached by a ladder from the cheese-loft, and had been closed up for a long time till he arrived and selected it as his retreat. Here Clare had plenty of space, and could often be heard by the dairy-folk pacing up and down when the household had gone to rest. A portion was divided off at one end by a curtain, behind which was his bed, the outer part being furnished as a homely sitting-room. At first he lived up above entirely, reading a good deal, and strumming upon an old harp which he had bought at a sale, saying when in a bitter humour that he might have to get his living by it in the streets some day. But he soon preferred to read human nature by taking his meals downstairs in the general dining-kitchen, with the dairyman and his wife, and the maids and men, who all together formed a lively assembly; for though but few milking hands slept in the house, several joined the family at meals. The longer Clare resided here the less objection had he to his company, and the more did he like to share quarters with them in common. Much to his surprise he took, indeed, a real delight in their companionship. The conventional farm-folk of his imagination-- personified in the newspaper-press by the pitiable dummy known as Hodge--were obliterated after a few days' residence. At close quarters no Hodge was to be seen. At first, it is true, when Clare's intelligence was fresh from a contrasting society, these friends with whom he now hobnobbed seemed a little strange. Sitting down as a level member of the dairyman's household seemed at the outset an undignified proceeding. The ideas, the modes, the surroundings, appeared retrogressive and unmeaning. But with living on there, day after day, the acute sojourner became conscious of a new aspect in the spectacle. Without any objective change whatever, variety had taken the place of monotonousness. His host and his host's household, his men and his maids, as they became intimately known to Clare, began to differentiate themselves as in a chemical process. The thought of Pascal's was brought home to him: "_A mesure qu'on a plus d'esprit, on trouve qu'il y a plus d'hommes originaux. Les gens du commun ne trouvent pas de difference entre les hommes._" The typical and unvarying Hodge ceased to exist. He had been disintegrated into a number of varied fellow-creatures--beings of many minds, beings infinite in difference; some happy, many serene, a few depressed, one here and there bright even to genius, some stupid, others wanton, others austere; some mutely Miltonic, some potentially Cromwellian--into men who had private views of each other, as he had of his friends; who could applaud or condemn each other, amuse or sadden themselves by the contemplation of each other's foibles or vices; men every one of whom walked in his own individual way the road to dusty death. Unexpectedly he began to like the outdoor life for its own sake, and for what it brought, apart from its bearing on his own proposed career. Considering his position he became wonderfully free from the chronic melancholy which is taking hold of the civilized races with the decline of belief in a beneficent Power. For the first time of late years he could read as his musings inclined him, without any eye to cramming for a profession, since the few farming handbooks which he deemed it desirable to master occupied him but little time. He grew away from old associations, and saw something new in life and humanity. Secondarily, he made close acquaintance with phenomena which he had before known but darkly--the seasons in their moods, morning and evening, night and noon, winds in their different tempers, trees, waters and mists, shades and silences, and the voices of inanimate things. The early mornings were still sufficiently cool to render a fire acceptable in the large room wherein they breakfasted; and, by Mrs Crick's orders, who held that he was too genteel to mess at their table, it was Angel Clare's custom to sit in the yawning chimney-corner during the meal, his cup-and-saucer and plate being placed on a hinged flap at his elbow. The light from the long, wide, mullioned window opposite shone in upon his nook, and, assisted by a secondary light of cold blue quality which shone down the chimney, enabled him to read there easily whenever disposed to do so. Between Clare and the window was the table at which his companions sat, their munching profiles rising sharp against the panes; while to the side was the milk-house door, through which were visible the rectangular leads in rows, full to the brim with the morning's milk. At the further end the great churn could be seen revolving, and its slip-slopping heard--the moving power being discernible through the window in the form of a spiritless horse walking in a circle and driven by a boy. For several days after Tess's arrival Clare, sitting abstractedly reading from some book, periodical, or piece of music just come by post, hardly noticed that she was present at table. She talked so little, and the other maids talked so much, that the babble did not strike him as possessing a new note, and he was ever in the habit of neglecting the particulars of an outward scene for the general impression. One day, however, when he had been conning one of his music-scores, and by force of imagination was hearing the tune in his head, he lapsed into listlessness, and the music-sheet rolled to the hearth. He looked at the fire of logs, with its one flame pirouetting on the top in a dying dance after the breakfast-cooking and boiling, and it seemed to jig to his inward tune; also at the two chimney crooks dangling down from the cotterel, or cross-bar, plumed with soot, which quivered to the same melody; also at the half-empty kettle whining an accompaniment. The conversation at the table mixed in with his phantasmal orchestra till he thought: "What a fluty voice one of those milkmaids has! I suppose it is the new one." Clare looked round upon her, seated with the others. She was not looking towards him. Indeed, owing to his long silence, his presence in the room was almost forgotten. "I don't know about ghosts," she was saying; "but I do know that our souls can be made to go outside our bodies when we are alive." The dairyman turned to her with his mouth full, his eyes charged with serious inquiry, and his great knife and fork (breakfasts were breakfasts here) planted erect on the table, like the beginning of a gallows. "What--really now? And is it so, maidy?" he said. "A very easy way to feel 'em go," continued Tess, "is to lie on the grass at night and look straight up at some big bright star; and, by fixing your mind upon it, you will soon find that you are hundreds and hundreds o' miles away from your body, which you don't seem to want at all." The dairyman removed his hard gaze from Tess, and fixed it on his wife. "Now that's a rum thing, Christianer--hey? To think o' the miles I've vamped o' starlight nights these last thirty year, courting, or trading, or for doctor, or for nurse, and yet never had the least notion o' that till now, or feeled my soul rise so much as an inch above my shirt-collar." The general attention being drawn to her, including that of the dairyman's pupil, Tess flushed, and remarking evasively that it was only a fancy, resumed her breakfast. Clare continued to observe her. She soon finished her eating, and having a consciousness that Clare was regarding her, began to trace imaginary patterns on the tablecloth with her forefinger with the constraint of a domestic animal that perceives itself to be watched. "What a fresh and virginal daughter of Nature that milkmaid is!" he said to himself. And then he seemed to discern in her something that was familiar, something which carried him back into a joyous and unforeseeing past, before the necessity of taking thought had made the heavens gray. He concluded that he had beheld her before; where he could not tell. A casual encounter during some country ramble it certainly had been, and he was not greatly curious about it. But the circumstance was sufficient to lead him to select Tess in preference to the other pretty milkmaids when he wished to contemplate contiguous womankind.

Chapter 18

https://web.archive.org/web/20210410060617/https://www.gradesaver.com/tess-of-the-durbervilles/study-guide/summary-phase-3-chapters-16-24

Angel Clare has a nebulous, preoccupied quality, for he is a man with no very definite aim or concern about his material future. The youngest son of his father, a poor parson, he is at Talbothays to acquire a practical skill in the various processes of farming. His father had married his mother late in life, and his brothers had each acquired a university degree, even though Angel was the one whose promise might have done full justice to academic training. Before Angel met Tess at the dance in Marlott years before, a parcel came to Reverend Clare from the bookseller. This book was a philosophical work that prompts an argument between Angel and his father in which he admits that he does not want to be a minister. Since he was not to be ordained, Mr. Clare did not send Angel to Cambridge. Angel instead spent years in desultory studies, undertakings and meditations, beginning to evince considerable indifference to social forms and observances. He began to despise the distinctions of rank and wealth. Angel now takes great delight in the companionship at Talbothays: the conventional farm-folk of his imagination were obliterated in favor of more respectable people. Angel had grown away from old associations and now sees something new in life and humanity, making close acquaintance with natural phenomena. Tess and Angel discuss whether or not one's soul can leave his body while alive, and he finds her to be a fresh and virginal daughter of nature. He seems to discern in her something familiar that carries him back to a joyous past.

Hardy shifts the focus of the novel for this chapter, leaving his constant focus on Tess Durbeyfield for the first time to give biographical information about Angel Clare. Hardy gives greater indication that Angel Clare is a man with unconventional moral and religious views; in contrast to the narrow religious beliefs of his father, Angel is open to other moral belief systems and it is this difference of opinion that leads Angel not to attend college and enter the clergy as his father expected. Angel's political beliefs coincidence with his unconventional religious beliefs; he does not believe in the primacy of rank and social status, beliefs which clash with traditional English mores. This disdain for polite social behavior complements Tess's equal disregard for convention, thus setting up greater similarities between the two characters. Nevertheless, even at this early point Hardy foreshadows later problems between Tess and Angel. Angel idealizes Tess as a "fresh and virginal daughter of nature," a characterization that obvious clashes with her more sordid past. The knowledge that Tess does not represent the qualities he exalts in her will provide area for conflict within the novel, while allowing for the theme of the permanence of sins. At this point in the novel, Hardy indicates that Tess has found a new purity and innocence after her troubled history with Alec d'Urberville; however, others may find that her earlier actions have permanently tainted Tess

shmoop

all_chapterized_books/1130-chapters/26.txt

finished_summaries/shmoop/The Tragedy of Antony and Cleopatra/section_25_part_0.txt

The Tragedy of Antony and Cleopatra.act iv.scene i

act iv, scene i

{"name": "Act IV, Scene i", "url": "https://web.archive.org/web/20210116191009/https://www.shmoop.com/study-guides/literature/antony-cleopatra/summary/act-iv-scene-i", "summary": "Back at Caesar's camp outside of Alexandria, Thidias has returned to deliver Antony's message. Caesar scoffs at Antony's challenge, but it's clear to Maecenas that Antony is distracted by his own fury. Although he's valiant now, Antony is likely to be defeated. Caesar's plan: the next day, he'll take his army and fight the battle to end this war for good.", "analysis": ""}

ACT IV. SCENE I. CAESAR'S camp before Alexandria Enter CAESAR, AGRIPPA, and MAECENAS, with his army; CAESAR reading a letter CAESAR. He calls me boy, and chides as he had power To beat me out of Egypt. My messenger He hath whipt with rods; dares me to personal combat, Caesar to Antony. Let the old ruffian know I have many other ways to die, meantime Laugh at his challenge. MAECENAS. Caesar must think When one so great begins to rage, he's hunted Even to falling. Give him no breath, but now Make boot of his distraction. Never anger Made good guard for itself. CAESAR. Let our best heads Know that to-morrow the last of many battles We mean to fight. Within our files there are Of those that serv'd Mark Antony but late Enough to fetch him in. See it done; And feast the army; we have store to do't, And they have earn'd the waste. Poor Antony! Exeunt ACT_4|SC_2

Act IV, Scene i

https://web.archive.org/web/20210116191009/https://www.shmoop.com/study-guides/literature/antony-cleopatra/summary/act-iv-scene-i

Back at Caesar's camp outside of Alexandria, Thidias has returned to deliver Antony's message. Caesar scoffs at Antony's challenge, but it's clear to Maecenas that Antony is distracted by his own fury. Although he's valiant now, Antony is likely to be defeated. Caesar's plan: the next day, he'll take his army and fight the battle to end this war for good.

shmoop

all_chapterized_books/1130-chapters/11.txt

finished_summaries/shmoop/The Tragedy of Antony and Cleopatra/section_10_part_0.txt

The Tragedy of Antony and Cleopatra.act ii.scene vi

act ii, scene vi

{"name": "Act II, Scene vi", "url": "https://web.archive.org/web/20210116191009/https://www.shmoop.com/study-guides/literature/antony-cleopatra/summary/act-ii-scene-vi", "summary": "Back at Mount Misenum, in southern Italy, Pompey's crew has just walked in to meet with the triumvirate and attendants. They're ready to do some old-school negotiating before they fight. Caesar refers to a letter the triumvirs sent that outlines some terms the enemies can discuss. Pompey points out he's fighting to avenge the death of his father. was defeated by Julius Caesar and had to flee to Egypt, where he was murdered.) Ignoring this, Antony points out that although Pompey's force at sea is masterful, Rome's land forces far outweigh Pompey's. Pompey knows they're right about his troops being out of their league on land, and when pressed, he goes over the terms that have been offered. The triumvirs have said that Pompey can have Sicily and Sardinia if he rids the sea of pirates and sends wheat to Rome on occasion. Pompey is ready to agree to the terms except for one little thing. It seems that he entertained Antony's mom in Sicily while Caesar and Antony's brother Lucius was at war. Pompey just wants his generosity to be acknowledged. Antony apologizes and admits he owes Pompey some big thank yous. Thousands of lives are saved and war is averted. They shake on it, and agree to feast together, but not before Pompey gets in a few jibes at Antony about how being with Cleopatra means that he's getting Julius Caesar's sloppy seconds. Enobarbus, Antony's friend and confidante, stops the joking around before someone gets their throat cut, and they all go carousing on Pompey's ship. Menas, Pompey's friend, and Enobarbus, from Antony's camp, are left alone to discuss the newly made truce. They're friends, though they admit there's a little edge to this whole affair. Pompey the elder would never have done what Pompey the younger has done. Having made this compromising pact, the younger Pompey can kiss his good fortune goodbye. You weren't supposed to make nice with the enemy, it seems. It wasn't the manly, Roman thing to do. They then discuss how Antony has married Octavia, which was clearly for political purposes, as Octavia is a quiet and cold, especially compared to the sultry Cleopatra waiting in Egypt. Enobarbus predicts that, rather than seal the bond between Antony and Caesar, the marriage will ruin any goodwill between the men because there's no way that Antony will remain faithful to Octavia. Antony's inevitable betrayal of Octavia is bound to anger Caesar.", "analysis": ""}

SCENE VI. Near Misenum Flourish. Enter POMPEY and MENAS at one door, with drum and trumpet; at another, CAESAR, ANTONY, LEPIDUS, ENOBARBUS, MAECENAS, AGRIPPA, with soldiers marching POMPEY. Your hostages I have, so have you mine; And we shall talk before we fight. CAESAR. Most meet That first we come to words; and therefore have we Our written purposes before us sent; Which if thou hast considered, let us know If 'twill tie up thy discontented sword And carry back to Sicily much tall youth That else must perish here. POMPEY. To you all three, The senators alone of this great world, Chief factors for the gods: I do not know Wherefore my father should revengers want, Having a son and friends, since Julius Caesar, Who at Philippi the good Brutus ghosted, There saw you labouring for him. What was't That mov'd pale Cassius to conspire? and what Made the all-honour'd honest Roman, Brutus, With the arm'd rest, courtiers of beauteous freedom, To drench the Capitol, but that they would Have one man but a man? And that is it Hath made me rig my navy, at whose burden The anger'd ocean foams; with which I meant To scourge th' ingratitude that despiteful Rome Cast on my noble father. CAESAR. Take your time. ANTONY. Thou canst not fear us, Pompey, with thy sails; We'll speak with thee at sea; at land thou know'st How much we do o'er-count thee. POMPEY. At land, indeed, Thou dost o'er-count me of my father's house. But since the cuckoo builds not for himself, Remain in't as thou mayst. LEPIDUS. Be pleas'd to tell us- For this is from the present- how you take The offers we have sent you. CAESAR. There's the point. ANTONY. Which do not be entreated to, but weigh What it is worth embrac'd. CAESAR. And what may follow, To try a larger fortune. POMPEY. You have made me offer Of Sicily, Sardinia; and I must Rid all the sea of pirates; then to send Measures of wheat to Rome; this 'greed upon, To part with unhack'd edges and bear back Our targes undinted. ALL. That's our offer. POMPEY. Know, then, I came before you here a man prepar'd To take this offer; but Mark Antony Put me to some impatience. Though I lose The praise of it by telling, you must know, When Caesar and your brother were at blows, Your mother came to Sicily and did find Her welcome friendly. ANTONY. I have heard it, Pompey, And am well studied for a liberal thanks Which I do owe you. POMPEY. Let me have your hand. I did not think, sir, to have met you here. ANTONY. The beds i' th' East are soft; and thanks to you, That call'd me timelier than my purpose hither; For I have gained by't. CAESAR. Since I saw you last There is a change upon you. POMPEY. Well, I know not What counts harsh fortune casts upon my face; But in my bosom shall she never come To make my heart her vassal. LEPIDUS. Well met here. POMPEY. I hope so, Lepidus. Thus we are agreed. I crave our composition may be written, And seal'd between us. CAESAR. That's the next to do. POMPEY. We'll feast each other ere we part, and let's Draw lots who shall begin. ANTONY. That will I, Pompey. POMPEY. No, Antony, take the lot; But, first or last, your fine Egyptian cookery Shall have the fame. I have heard that Julius Caesar Grew fat with feasting there. ANTONY. You have heard much. POMPEY. I have fair meanings, sir. ANTONY. And fair words to them. POMPEY. Then so much have I heard; And I have heard Apollodorus carried- ENOBARBUS. No more of that! He did so. POMPEY. What, I pray you? ENOBARBUS. A certain queen to Caesar in a mattress. POMPEY. I know thee now. How far'st thou, soldier? ENOBARBUS. Well; And well am like to do, for I perceive Four feasts are toward. POMPEY. Let me shake thy hand. I never hated thee; I have seen thee fight, When I have envied thy behaviour. ENOBARBUS. Sir, I never lov'd you much; but I ha' prais'd ye When you have well deserv'd ten times as much As I have said you did. POMPEY. Enjoy thy plainness; It nothing ill becomes thee. Aboard my galley I invite you all. Will you lead, lords? ALL. Show's the way, sir. POMPEY. Come. Exeunt all but ENOBARBUS and MENAS MENAS. [Aside] Thy father, Pompey, would ne'er have made this treaty.- You and I have known, sir. ENOBARBUS. At sea, I think. MENAS. We have, sir. ENOBARBUS. You have done well by water. MENAS. And you by land. ENOBARBUS. I Will praise any man that will praise me; though it cannot be denied what I have done by land. MENAS. Nor what I have done by water. ENOBARBUS. Yes, something you can deny for your own safety: you have been a great thief by sea. MENAS. And you by land. ENOBARBUS. There I deny my land service. But give me your hand, Menas; if our eyes had authority, here they might take two thieves kissing. MENAS. All men's faces are true, whatsome'er their hands are. ENOBARBUS. But there is never a fair woman has a true face. MENAS. No slander: they steal hearts. ENOBARBUS. We came hither to fight with you. MENAS. For my part, I am sorry it is turn'd to a drinking. Pompey doth this day laugh away his fortune. ENOBARBUS. If he do, sure he cannot weep't back again. MENAS. Y'have said, sir. We look'd not for Mark Antony here. Pray you, is he married to Cleopatra? ENOBARBUS. Caesar' sister is call'd Octavia. MENAS. True, sir; she was the wife of Caius Marcellus. ENOBARBUS. But she is now the wife of Marcus Antonius. MENAS. Pray ye, sir? ENOBARBUS. 'Tis true. MENAS. Then is Caesar and he for ever knit together. ENOBARBUS. If I were bound to divine of this unity, I would not prophesy so. MENAS. I think the policy of that purpose made more in the marriage than the love of the parties. ENOBARBUS. I think so too. But you shall find the band that seems to tie their friendship together will be the very strangler of their amity: Octavia is of a holy, cold, and still conversation. MENAS. Who would not have his wife so? ENOBARBUS. Not he that himself is not so; which is Mark Antony. He will to his Egyptian dish again; then shall the sighs of Octavia blow the fire up in Caesar, and, as I said before, that which is the strength of their amity shall prove the immediate author of their variance. Antony will use his affection where it is; he married but his occasion here. MENAS. And thus it may be. Come, sir, will you aboard? I have a health for you. ENOBARBUS. I shall take it, sir. We have us'd our throats in Egypt. MENAS. Come, let's away. Exeunt ACT_2|SC_7

Act II, Scene vi

https://web.archive.org/web/20210116191009/https://www.shmoop.com/study-guides/literature/antony-cleopatra/summary/act-ii-scene-vi

Back at Mount Misenum, in southern Italy, Pompey's crew has just walked in to meet with the triumvirate and attendants. They're ready to do some old-school negotiating before they fight. Caesar refers to a letter the triumvirs sent that outlines some terms the enemies can discuss. Pompey points out he's fighting to avenge the death of his father. was defeated by Julius Caesar and had to flee to Egypt, where he was murdered.) Ignoring this, Antony points out that although Pompey's force at sea is masterful, Rome's land forces far outweigh Pompey's. Pompey knows they're right about his troops being out of their league on land, and when pressed, he goes over the terms that have been offered. The triumvirs have said that Pompey can have Sicily and Sardinia if he rids the sea of pirates and sends wheat to Rome on occasion. Pompey is ready to agree to the terms except for one little thing. It seems that he entertained Antony's mom in Sicily while Caesar and Antony's brother Lucius was at war. Pompey just wants his generosity to be acknowledged. Antony apologizes and admits he owes Pompey some big thank yous. Thousands of lives are saved and war is averted. They shake on it, and agree to feast together, but not before Pompey gets in a few jibes at Antony about how being with Cleopatra means that he's getting Julius Caesar's sloppy seconds. Enobarbus, Antony's friend and confidante, stops the joking around before someone gets their throat cut, and they all go carousing on Pompey's ship. Menas, Pompey's friend, and Enobarbus, from Antony's camp, are left alone to discuss the newly made truce. They're friends, though they admit there's a little edge to this whole affair. Pompey the elder would never have done what Pompey the younger has done. Having made this compromising pact, the younger Pompey can kiss his good fortune goodbye. You weren't supposed to make nice with the enemy, it seems. It wasn't the manly, Roman thing to do. They then discuss how Antony has married Octavia, which was clearly for political purposes, as Octavia is a quiet and cold, especially compared to the sultry Cleopatra waiting in Egypt. Enobarbus predicts that, rather than seal the bond between Antony and Caesar, the marriage will ruin any goodwill between the men because there's no way that Antony will remain faithful to Octavia. Antony's inevitable betrayal of Octavia is bound to anger Caesar.

shmoop

all_chapterized_books/161-chapters/34.txt

finished_summaries/shmoop/Sense and Sensibility/section_33_part_0.txt

Sense and Sensibility.chapter 34

chapter 34

{"name": "Chapter 34", "url": "https://web.archive.org/web/20210421140324/https://www.shmoop.com/study-guides/literature/sense-and-sensibility/summary/chapter-34", "summary": "Now that John has given his approval to his sisters' new friends, Fanny deigns to visit them. She and Lady Middleton, who are both cold, fashionable, and selfish, immediately hit it off. The good-natured Mrs. Jennings, however, immediately dislikes Fanny. Elinor wants to know what Edward's deal is, but can't ask. Fanny, of course, doesn't want to bring up Edward in front of her sister-in-law. Elinor ends up hearing about Edward from Lucy, who stops by later to complain that she hasn't seen him, even though he's in town. Soon enough, Edward himself stops by, leaving his calling card at the Jennings abode on Berkeley Street. Fanny and John like the Middletons so much that they decide to throw a dinner party for them, including Mrs. Jennings, Elinor, Marianne, Colonel Brandon, and the dreaded Mrs. Ferrars - as well as the two Miss Steeles. Elinor is very interested in how this party will play out, though she's not exactly looking forward to it. The Miss Steeles, it turns out, are on the guest list simply because they're guests of the Middletons, not because Fanny and John are interested in them. Elinor doesn't know how she will be able to bear the discomfort of Mrs. Ferrars, Edward, Lucy, and herself all in one room. Lucy tells Elinor that, fortunately, Edward probably won't be there - she thinks he won't be able to hide his affection for her in front of the group. Finally, the day of the party arrives. Lucy is all aflutter with anxiety about meeting her potential mother-in-law. Elinor restrains herself from saying that it's most likely to be Miss Morton's future mother-in-law, not Lucy's. Mrs. Ferrars sounds like a wholly unpleasant woman - she takes an instant dislike to Elinor. Elinor, from her current position outside of the Edward-Lucy-Miss Morton love triangle, doesn't really care that Mrs. Ferrars doesn't like her. She's amused to see that both Fanny and Mrs. Ferrars dote upon Lucy, not knowing that she's actually the one who endangers their plans to marry Edward off to Miss Morton. The dinner is extravagant, and demonstrates the great wealth of the Ferrars family. The whole event is grand but still unremarkable - and definitely not very much fun. The ladies and gentlemen separate after dinner; the guys go talk about sports, while the women retreat to the drawing room to chat about children. They quibble about which of the Middleton and Dashwood children are taller. The gentlemen rejoin the ladies for coffee, and John praises some screens that Elinor painted that are on display. He conspicuously asks Colonel Brandon for his opinion. The Colonel admires them, as does everyone else. When they get to Mrs. Ferrars, though, she dismisses them rather rudely, upon finding that Elinor painted them. Fanny, feeling torn, says that they are very pretty - but Miss Morton paints better. This is what her mother wants to hear; she emphasizes how good Miss Morton is at everything. Marianne stands up for her sister, saying that Miss Morton doesn't matter - after all, it's Elinor they're concerned with! This is a rather shocking exclamation, and everyone is thrown off by it. Mrs. Ferrars and Fanny are both infuriated. Marianne can't control her feelings; she hugs Elinor, telling her not to let everyone bring her down, then bursts into tears. Everyone notices and a big fuss ensues. Marianne calms down after a few minutes, but still looks seriously stressed. John comments rather cattily to Colonel Brandon that Marianne is very fragile - after all, it must be stressful to know that one's youth and beauty have already faded.", "analysis": ""}

Mrs. John Dashwood had so much confidence in her husband's judgment, that she waited the very next day both on Mrs. Jennings and her daughter; and her confidence was rewarded by finding even the former, even the woman with whom her sisters were staying, by no means unworthy her notice; and as for Lady Middleton, she found her one of the most charming women in the world! Lady Middleton was equally pleased with Mrs. Dashwood. There was a kind of cold hearted selfishness on both sides, which mutually attracted them; and they sympathised with each other in an insipid propriety of demeanor, and a general want of understanding. The same manners, however, which recommended Mrs. John Dashwood to the good opinion of Lady Middleton did not suit the fancy of Mrs. Jennings, and to HER she appeared nothing more than a little proud-looking woman of uncordial address, who met her husband's sisters without any affection, and almost without having anything to say to them; for of the quarter of an hour bestowed on Berkeley Street, she sat at least seven minutes and a half in silence. Elinor wanted very much to know, though she did not chuse to ask, whether Edward was then in town; but nothing would have induced Fanny voluntarily to mention his name before her, till able to tell her that his marriage with Miss Morton was resolved on, or till her husband's expectations on Colonel Brandon were answered; because she believed them still so very much attached to each other, that they could not be too sedulously divided in word and deed on every occasion. The intelligence however, which SHE would not give, soon flowed from another quarter. Lucy came very shortly to claim Elinor's compassion on being unable to see Edward, though he had arrived in town with Mr. and Mrs. Dashwood. He dared not come to Bartlett's Buildings for fear of detection, and though their mutual impatience to meet, was not to be told, they could do nothing at present but write. Edward assured them himself of his being in town, within a very short time, by twice calling in Berkeley Street. Twice was his card found on the table, when they returned from their morning's engagements. Elinor was pleased that he had called; and still more pleased that she had missed him. The Dashwoods were so prodigiously delighted with the Middletons, that, though not much in the habit of giving anything, they determined to give them--a dinner; and soon after their acquaintance began, invited them to dine in Harley Street, where they had taken a very good house for three months. Their sisters and Mrs. Jennings were invited likewise, and John Dashwood was careful to secure Colonel Brandon, who, always glad to be where the Miss Dashwoods were, received his eager civilities with some surprise, but much more pleasure. They were to meet Mrs. Ferrars; but Elinor could not learn whether her sons were to be of the party. The expectation of seeing HER, however, was enough to make her interested in the engagement; for though she could now meet Edward's mother without that strong anxiety which had once promised to attend such an introduction, though she could now see her with perfect indifference as to her opinion of herself, her desire of being in company with Mrs. Ferrars, her curiosity to know what she was like, was as lively as ever. The interest with which she thus anticipated the party, was soon afterwards increased, more powerfully than pleasantly, by her hearing that the Miss Steeles were also to be at it. So well had they recommended themselves to Lady Middleton, so agreeable had their assiduities made them to her, that though Lucy was certainly not so elegant, and her sister not even genteel, she was as ready as Sir John to ask them to spend a week or two in Conduit Street; and it happened to be particularly convenient to the Miss Steeles, as soon as the Dashwoods' invitation was known, that their visit should begin a few days before the party took place. Their claims to the notice of Mrs. John Dashwood, as the nieces of the gentleman who for many years had had the care of her brother, might not have done much, however, towards procuring them seats at her table; but as Lady Middleton's guests they must be welcome; and Lucy, who had long wanted to be personally known to the family, to have a nearer view of their characters and her own difficulties, and to have an opportunity of endeavouring to please them, had seldom been happier in her life, than she was on receiving Mrs. John Dashwood's card. On Elinor its effect was very different. She began immediately to determine, that Edward who lived with his mother, must be asked as his mother was, to a party given by his sister; and to see him for the first time, after all that passed, in the company of Lucy!--she hardly knew how she could bear it! These apprehensions, perhaps, were not founded entirely on reason, and certainly not at all on truth. They were relieved however, not by her own recollection, but by the good will of Lucy, who believed herself to be inflicting a severe disappointment when she told her that Edward certainly would not be in Harley Street on Tuesday, and even hoped to be carrying the pain still farther by persuading her that he was kept away by the extreme affection for herself, which he could not conceal when they were together. The important Tuesday came that was to introduce the two young ladies to this formidable mother-in-law. "Pity me, dear Miss Dashwood!" said Lucy, as they walked up the stairs together--for the Middletons arrived so directly after Mrs. Jennings, that they all followed the servant at the same time--"There is nobody here but you, that can feel for me.--I declare I can hardly stand. Good gracious!--In a moment I shall see the person that all my happiness depends on--that is to be my mother!"-- Elinor could have given her immediate relief by suggesting the possibility of its being Miss Morton's mother, rather than her own, whom they were about to behold; but instead of doing that, she assured her, and with great sincerity, that she did pity her--to the utter amazement of Lucy, who, though really uncomfortable herself, hoped at least to be an object of irrepressible envy to Elinor. Mrs. Ferrars was a little, thin woman, upright, even to formality, in her figure, and serious, even to sourness, in her aspect. Her complexion was sallow; and her features small, without beauty, and naturally without expression; but a lucky contraction of the brow had rescued her countenance from the disgrace of insipidity, by giving it the strong characters of pride and ill nature. She was not a woman of many words; for, unlike people in general, she proportioned them to the number of her ideas; and of the few syllables that did escape her, not one fell to the share of Miss Dashwood, whom she eyed with the spirited determination of disliking her at all events. Elinor could not NOW be made unhappy by this behaviour.-- A few months ago it would have hurt her exceedingly; but it was not in Mrs. Ferrars' power to distress her by it now;--and the difference of her manners to the Miss Steeles, a difference which seemed purposely made to humble her more, only amused her. She could not but smile to see the graciousness of both mother and daughter towards the very person-- for Lucy was particularly distinguished--whom of all others, had they known as much as she did, they would have been most anxious to mortify; while she herself, who had comparatively no power to wound them, sat pointedly slighted by both. But while she smiled at a graciousness so misapplied, she could not reflect on the mean-spirited folly from which it sprung, nor observe the studied attentions with which the Miss Steeles courted its continuance, without thoroughly despising them all four. Lucy was all exultation on being so honorably distinguished; and Miss Steele wanted only to be teazed about Dr. Davies to be perfectly happy. The dinner was a grand one, the servants were numerous, and every thing bespoke the Mistress's inclination for show, and the Master's ability to support it. In spite of the improvements and additions which were making to the Norland estate, and in spite of its owner having once been within some thousand pounds of being obliged to sell out at a loss, nothing gave any symptom of that indigence which he had tried to infer from it;--no poverty of any kind, except of conversation, appeared--but there, the deficiency was considerable. John Dashwood had not much to say for himself that was worth hearing, and his wife had still less. But there was no peculiar disgrace in this; for it was very much the case with the chief of their visitors, who almost all laboured under one or other of these disqualifications for being agreeable--Want of sense, either natural or improved--want of elegance--want of spirits--or want of temper. When the ladies withdrew to the drawing-room after dinner, this poverty was particularly evident, for the gentlemen HAD supplied the discourse with some variety--the variety of politics, inclosing land, and breaking horses--but then it was all over; and one subject only engaged the ladies till coffee came in, which was the comparative heights of Harry Dashwood, and Lady Middleton's second son William, who were nearly of the same age. Had both the children been there, the affair might have been determined too easily by measuring them at once; but as Harry only was present, it was all conjectural assertion on both sides; and every body had a right to be equally positive in their opinion, and to repeat it over and over again as often as they liked. The parties stood thus: The two mothers, though each really convinced that her own son was the tallest, politely decided in favour of the other. The two grandmothers, with not less partiality, but more sincerity, were equally earnest in support of their own descendant. Lucy, who was hardly less anxious to please one parent than the other, thought the boys were both remarkably tall for their age, and could not conceive that there could be the smallest difference in the world between them; and Miss Steele, with yet greater address gave it, as fast as she could, in favour of each. Elinor, having once delivered her opinion on William's side, by which she offended Mrs. Ferrars and Fanny still more, did not see the necessity of enforcing it by any farther assertion; and Marianne, when called on for hers, offended them all, by declaring that she had no opinion to give, as she had never thought about it. Before her removing from Norland, Elinor had painted a very pretty pair of screens for her sister-in-law, which being now just mounted and brought home, ornamented her present drawing room; and these screens, catching the eye of John Dashwood on his following the other gentlemen into the room, were officiously handed by him to Colonel Brandon for his admiration. "These are done by my eldest sister," said he; "and you, as a man of taste, will, I dare say, be pleased with them. I do not know whether you have ever happened to see any of her performances before, but she is in general reckoned to draw extremely well." The Colonel, though disclaiming all pretensions to connoisseurship, warmly admired the screens, as he would have done any thing painted by Miss Dashwood; and on the curiosity of the others being of course excited, they were handed round for general inspection. Mrs. Ferrars, not aware of their being Elinor's work, particularly requested to look at them; and after they had received gratifying testimony of Lady Middletons's approbation, Fanny presented them to her mother, considerately informing her, at the same time, that they were done by Miss Dashwood. "Hum"--said Mrs. Ferrars--"very pretty,"--and without regarding them at all, returned them to her daughter. Perhaps Fanny thought for a moment that her mother had been quite rude enough,--for, colouring a little, she immediately said, "They are very pretty, ma'am--an't they?" But then again, the dread of having been too civil, too encouraging herself, probably came over her, for she presently added, "Do you not think they are something in Miss Morton's style of painting, Ma'am?--She DOES paint most delightfully!--How beautifully her last landscape is done!" "Beautifully indeed! But SHE does every thing well." Marianne could not bear this.--She was already greatly displeased with Mrs. Ferrars; and such ill-timed praise of another, at Elinor's expense, though she had not any notion of what was principally meant by it, provoked her immediately to say with warmth, "This is admiration of a very particular kind!--what is Miss Morton to us?--who knows, or who cares, for her?--it is Elinor of whom WE think and speak." And so saying, she took the screens out of her sister-in-law's hands, to admire them herself as they ought to be admired. Mrs. Ferrars looked exceedingly angry, and drawing herself up more stiffly than ever, pronounced in retort this bitter philippic, "Miss Morton is Lord Morton's daughter." Fanny looked very angry too, and her husband was all in a fright at his sister's audacity. Elinor was much more hurt by Marianne's warmth than she had been by what produced it; but Colonel Brandon's eyes, as they were fixed on Marianne, declared that he noticed only what was amiable in it, the affectionate heart which could not bear to see a sister slighted in the smallest point. Marianne's feelings did not stop here. The cold insolence of Mrs. Ferrars's general behaviour to her sister, seemed, to her, to foretell such difficulties and distresses to Elinor, as her own wounded heart taught her to think of with horror; and urged by a strong impulse of affectionate sensibility, she moved after a moment, to her sister's chair, and putting one arm round her neck, and one cheek close to hers, said in a low, but eager, voice, "Dear, dear Elinor, don't mind them. Don't let them make YOU unhappy." She could say no more; her spirits were quite overcome, and hiding her face on Elinor's shoulder, she burst into tears. Every body's attention was called, and almost every body was concerned.--Colonel Brandon rose up and went to them without knowing what he did.--Mrs. Jennings, with a very intelligent "Ah! poor dear," immediately gave her her salts; and Sir John felt so desperately enraged against the author of this nervous distress, that he instantly changed his seat to one close by Lucy Steele, and gave her, in a whisper, a brief account of the whole shocking affair. In a few minutes, however, Marianne was recovered enough to put an end to the bustle, and sit down among the rest; though her spirits retained the impression of what had passed, the whole evening. "Poor Marianne!" said her brother to Colonel Brandon, in a low voice, as soon as he could secure his attention,-- "She has not such good health as her sister,--she is very nervous,--she has not Elinor's constitution;--and one must allow that there is something very trying to a young woman who HAS BEEN a beauty in the loss of her personal attractions. You would not think it perhaps, but Marianne WAS remarkably handsome a few months ago; quite as handsome as Elinor.-- Now you see it is all gone."

Chapter 34

https://web.archive.org/web/20210421140324/https://www.shmoop.com/study-guides/literature/sense-and-sensibility/summary/chapter-34

Now that John has given his approval to his sisters' new friends, Fanny deigns to visit them. She and Lady Middleton, who are both cold, fashionable, and selfish, immediately hit it off. The good-natured Mrs. Jennings, however, immediately dislikes Fanny. Elinor wants to know what Edward's deal is, but can't ask. Fanny, of course, doesn't want to bring up Edward in front of her sister-in-law. Elinor ends up hearing about Edward from Lucy, who stops by later to complain that she hasn't seen him, even though he's in town. Soon enough, Edward himself stops by, leaving his calling card at the Jennings abode on Berkeley Street. Fanny and John like the Middletons so much that they decide to throw a dinner party for them, including Mrs. Jennings, Elinor, Marianne, Colonel Brandon, and the dreaded Mrs. Ferrars - as well as the two Miss Steeles. Elinor is very interested in how this party will play out, though she's not exactly looking forward to it. The Miss Steeles, it turns out, are on the guest list simply because they're guests of the Middletons, not because Fanny and John are interested in them. Elinor doesn't know how she will be able to bear the discomfort of Mrs. Ferrars, Edward, Lucy, and herself all in one room. Lucy tells Elinor that, fortunately, Edward probably won't be there - she thinks he won't be able to hide his affection for her in front of the group. Finally, the day of the party arrives. Lucy is all aflutter with anxiety about meeting her potential mother-in-law. Elinor restrains herself from saying that it's most likely to be Miss Morton's future mother-in-law, not Lucy's. Mrs. Ferrars sounds like a wholly unpleasant woman - she takes an instant dislike to Elinor. Elinor, from her current position outside of the Edward-Lucy-Miss Morton love triangle, doesn't really care that Mrs. Ferrars doesn't like her. She's amused to see that both Fanny and Mrs. Ferrars dote upon Lucy, not knowing that she's actually the one who endangers their plans to marry Edward off to Miss Morton. The dinner is extravagant, and demonstrates the great wealth of the Ferrars family. The whole event is grand but still unremarkable - and definitely not very much fun. The ladies and gentlemen separate after dinner; the guys go talk about sports, while the women retreat to the drawing room to chat about children. They quibble about which of the Middleton and Dashwood children are taller. The gentlemen rejoin the ladies for coffee, and John praises some screens that Elinor painted that are on display. He conspicuously asks Colonel Brandon for his opinion. The Colonel admires them, as does everyone else. When they get to Mrs. Ferrars, though, she dismisses them rather rudely, upon finding that Elinor painted them. Fanny, feeling torn, says that they are very pretty - but Miss Morton paints better. This is what her mother wants to hear; she emphasizes how good Miss Morton is at everything. Marianne stands up for her sister, saying that Miss Morton doesn't matter - after all, it's Elinor they're concerned with! This is a rather shocking exclamation, and everyone is thrown off by it. Mrs. Ferrars and Fanny are both infuriated. Marianne can't control her feelings; she hugs Elinor, telling her not to let everyone bring her down, then bursts into tears. Everyone notices and a big fuss ensues. Marianne calms down after a few minutes, but still looks seriously stressed. John comments rather cattily to Colonel Brandon that Marianne is very fragile - after all, it must be stressful to know that one's youth and beauty have already faded.

shmoop

all_chapterized_books/5658-chapters/41.txt

finished_summaries/shmoop/Lord Jim/section_40_part_0.txt

Lord Jim.chapter 41

chapter 41

{"name": "Chapter 41", "url": "https://web.archive.org/web/20210118112654/https://www.shmoop.com/study-guides/literature/lord-jim/summary/chapter-41", "summary": "A bit more cautious than Cornelius, Brown opts to talk with Jim before shooting him. The two chat nervously about their situation and what they want from each other. Brown explains that he came to Patusan out of hunger and fear of being imprisoned. Jim, for one, can totally relate. Brown is hitting all the right buttons.", "analysis": ""}

'To the very last moment, till the full day came upon them with a spring, the fires on the west bank blazed bright and clear; and then Brown saw in a knot of coloured figures motionless between the advanced houses a man in European clothes, in a helmet, all white. "That's him; look! look!" Cornelius said excitedly. All Brown's men had sprung up and crowded at his back with lustreless eyes. The group of vivid colours and dark faces with the white figure in their midst were observing the knoll. Brown could see naked arms being raised to shade the eyes and other brown arms pointing. What should he do? He looked around, and the forests that faced him on all sides walled the cock-pit of an unequal contest. He looked once more at his men. A contempt, a weariness, the desire of life, the wish to try for one more chance--for some other grave--struggled in his breast. From the outline the figure presented it seemed to him that the white man there, backed up by all the power of the land, was examining his position through binoculars. Brown jumped up on the log, throwing his arms up, the palms outwards. The coloured group closed round the white man, and fell back twice before he got clear of them, walking slowly alone. Brown remained standing on the log till Jim, appearing and disappearing between the patches of thorny scrub, had nearly reached the creek; then Brown jumped off and went down to meet him on his side. 'They met, I should think, not very far from the place, perhaps on the very spot, where Jim took the second desperate leap of his life--the leap that landed him into the life of Patusan, into the trust, the love, the confidence of the people. They faced each other across the creek, and with steady eyes tried to understand each other before they opened their lips. Their antagonism must have been expressed in their glances; I know that Brown hated Jim at first sight. Whatever hopes he might have had vanished at once. This was not the man he had expected to see. He hated him for this--and in a checked flannel shirt with sleeves cut off at the elbows, grey bearded, with a sunken, sun-blackened face--he cursed in his heart the other's youth and assurance, his clear eyes and his untroubled bearing. That fellow had got in a long way before him! He did not look like a man who would be willing to give anything for assistance. He had all the advantages on his side--possession, security, power; he was on the side of an overwhelming force! He was not hungry and desperate, and he did not seem in the least afraid. And there was something in the very neatness of Jim's clothes, from the white helmet to the canvas leggings and the pipeclayed shoes, which in Brown's sombre irritated eyes seemed to belong to things he had in the very shaping of his life condemned and flouted. '"Who are you?" asked Jim at last, speaking in his usual voice. "My name's Brown," answered the other loudly; "Captain Brown. What's yours?" and Jim after a little pause went on quietly, as If he had not heard: "What made you come here?" "You want to know," said Brown bitterly. "It's easy to tell. Hunger. And what made you?" '"The fellow started at this," said Brown, relating to me the opening of this strange conversation between those two men, separated only by the muddy bed of a creek, but standing on the opposite poles of that conception of life which includes all mankind--"The fellow started at this and got very red in the face. Too big to be questioned, I suppose. I told him that if he looked upon me as a dead man with whom you may take liberties, he himself was not a whit better off really. I had a fellow up there who had a bead drawn on him all the time, and only waited for a sign from me. There was nothing to be shocked at in this. He had come down of his own free will. 'Let us agree,' said I, 'that we are both dead men, and let us talk on that basis, as equals. We are all equal before death,' I said. I admitted I was there like a rat in a trap, but we had been driven to it, and even a trapped rat can give a bite. He caught me up in a moment. 'Not if you don't go near the trap till the rat is dead.' I told him that sort of game was good enough for these native friends of his, but I would have thought him too white to serve even a rat so. Yes, I had wanted to talk with him. Not to beg for my life, though. My fellows were--well--what they were--men like himself, anyhow. All we wanted from him was to come on in the devil's name and have it out. 'God d--n it,' said I, while he stood there as still as a wooden post, 'you don't want to come out here every day with your glasses to count how many of us are left on our feet. Come. Either bring your infernal crowd along or let us go out and starve in the open sea, by God! You have been white once, for all your tall talk of this being your own people and you being one with them. Are you? And what the devil do you get for it; what is it you've found here that is so d--d precious? Hey? You don't want us to come down here perhaps--do you? You are two hundred to one. You don't want us to come down into the open. Ah! I promise you we shall give you some sport before you've done. You talk about me making a cowardly set upon unoffending people. What's that to me that they are unoffending, when I am starving for next to no offence? But I am not a coward. Don't you be one. Bring them along or, by all the fiends, we shall yet manage to send half your unoffending town to heaven with us in smoke!'" 'He was terrible--relating this to me--this tortured skeleton of a man drawn up together with his face over his knees, upon a miserable bed in that wretched hovel, and lifting his head to look at me with malignant triumph. '"That's what I told him--I knew what to say," he began again, feebly at first, but working himself up with incredible speed into a fiery utterance of his scorn. "We aren't going into the forest to wander like a string of living skeletons dropping one after another for ants to go to work upon us before we are fairly dead. Oh no! . . . 'You don't deserve a better fate,' he said. 'And what do you deserve,' I shouted at him, 'you that I find skulking here with your mouth full of your responsibility, of innocent lives, of your infernal duty? What do you know more of me than I know of you? I came here for food. D'ye hear?--food to fill our bellies. And what did _you_ come for? What did you ask for when you came here? We don't ask you for anything but to give us a fight or a clear road to go back whence we came. . . .' 'I would fight with you now,' says he, pulling at his little moustache. 'And I would let you shoot me, and welcome,' I said. 'This is as good a jumping-off place for me as another. I am sick of my infernal luck. But it would be too easy. There are my men in the same boat--and, by God, I am not the sort to jump out of trouble and leave them in a d--d lurch,' I said. He stood thinking for a while and then wanted to know what I had done ('out there' he says, tossing his head down-stream) to be hazed about so. 'Have we met to tell each other the story of our lives?' I asked him. 'Suppose you begin. No? Well, I am sure I don't want to hear. Keep it to yourself. I know it is no better than mine. I've lived--and so did you, though you talk as if you were one of those people that should have wings so as to go about without touching the dirty earth. Well--it is dirty. I haven't got any wings. I am here because I was afraid once in my life. Want to know what of? Of a prison. That scares me, and you may know it--if it's any good to you. I won't ask you what scared you into this infernal hole, where you seem to have found pretty pickings. That's your luck and this is mine--the privilege to beg for the favour of being shot quickly, or else kicked out to go free and starve in my own way.' . . ." 'His debilitated body shook with an exultation so vehement, so assured, and so malicious that it seemed to have driven off the death waiting for him in that hut. The corpse of his mad self-love uprose from rags and destitution as from the dark horrors of a tomb. It is impossible to say how much he lied to Jim then, how much he lied to me now--and to himself always. Vanity plays lurid tricks with our memory, and the truth of every passion wants some pretence to make it live. Standing at the gate of the other world in the guise of a beggar, he had slapped this world's face, he had spat on it, he had thrown upon it an immensity of scorn and revolt at the bottom of his misdeeds. He had overcome them all--men, women, savages, traders, ruffians, missionaries--and Jim--"that beefy-faced beggar." I did not begrudge him this triumph in articulo mortis, this almost posthumous illusion of having trampled all the earth under his feet. While he was boasting to me, in his sordid and repulsive agony, I couldn't help thinking of the chuckling talk relating to the time of his greatest splendour when, during a year or more, Gentleman Brown's ship was to be seen, for many days on end, hovering off an islet befringed with green upon azure, with the dark dot of the mission-house on a white beach; while Gentleman Brown, ashore, was casting his spells over a romantic girl for whom Melanesia had been too much, and giving hopes of a remarkable conversion to her husband. The poor man, some time or other, had been heard to express the intention of winning "Captain Brown to a better way of life." . . . "Bag Gentleman Brown for Glory"--as a leery-eyed loafer expressed it once--"just to let them see up above what a Western Pacific trading skipper looks like." And this was the man, too, who had run off with a dying woman, and had shed tears over her body. "Carried on like a big baby," his then mate was never tired of telling, "and where the fun came in may I be kicked to death by diseased Kanakas if _I_ know. Why, gents! she was too far gone when he brought her aboard to know him; she just lay there on her back in his bunk staring at the beam with awful shining eyes--and then she died. Dam' bad sort of fever, I guess. . . ." I remembered all these stories while, wiping his matted lump of a beard with a livid hand, he was telling me from his noisome couch how he got round, got in, got home, on that confounded, immaculate, don't-you-touch-me sort of fellow. He admitted that he couldn't be scared, but there was a way, "as broad as a turnpike, to get in and shake his twopenny soul around and inside out and upside down--by God!"'

Chapter 41

https://web.archive.org/web/20210118112654/https://www.shmoop.com/study-guides/literature/lord-jim/summary/chapter-41

A bit more cautious than Cornelius, Brown opts to talk with Jim before shooting him. The two chat nervously about their situation and what they want from each other. Brown explains that he came to Patusan out of hunger and fear of being imprisoned. Jim, for one, can totally relate. Brown is hitting all the right buttons.

sparknotes

all_chapterized_books/107-chapters/chapters_43_to_48.txt

finished_summaries/sparknotes/Far from the Madding Crowd/section_8_part_0.txt

Far from the Madding Crowd.chapters 43-48

chapters 43-48

{"name": "", "url": "https://web.archive.org/web/20210225000853/https://www.sparknotes.com/lit/maddingcrowd/section9/", "summary": "Liddy offers to sit up and watch over Fanny's coffin with Bathsheba until Troy gets home. Bathsheba refuses, asks Liddy if she has heard anything strange, and bursts into tears. Liddy leaves the room and returns, saying that a laborer's wife, Maryann Money, has heard that Fanny has had a baby . Bathsheba does not want to believe it. Alone, her first instinct is to seek Gabriel's advice. He has hidden the truth from her, not knowing that she has seen Fanny on the way back from Casterbridge. Bathsheba goes to Gabriel's cottage and looks in the window. She sees him praying and is too nervous to knock. When she returns, obsessed by the uncertainty of whether the coffin contains a baby or not, Bathsheba finally takes a screwdriver and opens the lid of the coffin. Inside lies Fanny, with hair the same color as the curl in Troy's watch, and a baby in her arms. In a stupor, Bathsheba puts flowers around her in the coffin and waits for her husband to return. When Troy enters the house, not yet having heard of Fanny's death, his first instinct is to wonder who in the house has died. When he approaches the coffin and sees Fanny, he leans down to kiss her; he tells Bathsheba he has been a bad, black-hearted man. He declares that Fanny is his wife in the eyes of Heaven, and tells Bathsheba, \"I am not morally yours.\" Bathsheba leaves the room and runs out of the house. Bathsheba stays outside all night, and when Liddy comes looking for her in the morning, she has lost her voice. Liddy tells her that Troy has left, and Bathsheba barricades herself and Liddy in the attic to avoid Troy when he returns. Troy never returns, however, and later that day there is news that two men from Casterbridge are putting up a tombstone in Weatherbury. Chapter 45 backs up and tells us what has happened from Troy's point of view. He has gone on Monday morning to meet Fanny and, not finding her at the appointed place, gets angry and goes to the Budmouth races instead. While there, he reflects and regrets not having made more inquiries in Casterbridge. He comes home to find Bathsheba in the room with Fanny's open coffin and a dead baby by Fanny's side. Troy spends his last 27 pounds buying a gravestone for Fanny in Casterbridge. It is installed and he spends the evening planting an absurd number of flowers around her grave. Exhausted, he goes to sleep in the church overlooking Fanny's grave. Overnight, a strong rain comes. Through a twist of fate, the gargoyle on the church has a spout that, in heavy rain, pours directly onto Fanny's grave, displacing all the flowers and spattering the white gravestone with mud. When Troy awakes, he finds his hard work ruined. Discouraged, he does not attempt to fix it but leaves town. In the morning, Bathsheba learns that Troy has been seen leaving town, and she emerges from the attic. She visits Fanny's grave and sees the damage the rain has done. With Gabriel's help, Bathsheba replants the flowers, has the gargoyle spout altered, and cleans off the gravestone. The inscription reads, \"Erected by Francis Troy in Beloved Memory of Fanny Robin. \" Chapter 47 shows Troy wandering around the countryside. When he reaches the coast, he goes swimming, leaving his clothes and watch on the bank. As he swims a current pulls him from shore, and he nearly drowns. At the last minute, a boat of sailors picks him up and saves him. In the meantime, Bathsheba feels certain that Troy is coming back, and she worries distractedly about the farm. Despite Troy's heartlessness, she still feels bound to him. When she goes to the market a stranger tells her that he saw Troy drown, but Bathsheba cannot believe this is true. It is only when Troy's clothes arrive, with the watch still containing a curl of Fanny's hair, that Bathsheba begins to accept that he is dead.", "analysis": "Commentary This is a dramatic section, covering a great deal of action in a small space. Chapter 43 focuses on the intense emotional anxiety that leads Bathsheba first to open Fanny's coffin, then to confront Troy when he returns home. It is crucial that this whole section is told from Bathsheba's point of view, making us aware of her jealousy as it wars with her generosity. Bathsheba turns to Gabriel in the height of her trouble and gradually begins to realize Gabriel's selflessness, his intelligence and goodness. Hardy further builds the drama by waiting to disclose Troy's experiences on this fateful day. Troy has resolved to make amends to Fanny, but his decision comes too late, and in his self-reproach he behaves callously toward Bathsheba. Although Bathsheba resents Fanny, her sympathy toward her shows her to be far more sensitive than she has previously appeared; her dependence on Troy has brought her humility. The gargoyle's destruction of Fanny's carefully attended grave seems like a ridiculous contrivance on the part of Hardy, and it is one of the least credible coincidences in the novel. At the same time, there is significance to the fact that Bathsheba succeeds in tending Fanny's grave while Troy does not: Bathsheba has learned generosity and sympathy through her own weakness for Troy, a trait she did not possess at the beginning of the novel. Troy's regret does not benefit Fanny, serving only to hurt Bathsheba. Thus, he is not worthy to decorate Fanny's grave."}

FANNY'S REVENGE "Do you want me any longer ma'am?" inquired Liddy, at a later hour the same evening, standing by the door with a chamber candlestick in her hand and addressing Bathsheba, who sat cheerless and alone in the large parlour beside the first fire of the season. "No more to-night, Liddy." "I'll sit up for master if you like, ma'am. I am not at all afraid of Fanny, if I may sit in my own room and have a candle. She was such a childlike, nesh young thing that her spirit couldn't appear to anybody if it tried, I'm quite sure." "Oh no, no! You go to bed. I'll sit up for him myself till twelve o'clock, and if he has not arrived by that time, I shall give him up and go to bed too." "It is half-past ten now." "Oh! is it?" "Why don't you sit upstairs, ma'am?" "Why don't I?" said Bathsheba, desultorily. "It isn't worth while--there's a fire here, Liddy." She suddenly exclaimed in an impulsive and excited whisper, "Have you heard anything strange said of Fanny?" The words had no sooner escaped her than an expression of unutterable regret crossed her face, and she burst into tears. "No--not a word!" said Liddy, looking at the weeping woman with astonishment. "What is it makes you cry so, ma'am; has anything hurt you?" She came to Bathsheba's side with a face full of sympathy. "No, Liddy--I don't want you any more. I can hardly say why I have taken to crying lately: I never used to cry. Good-night." Liddy then left the parlour and closed the door. Bathsheba was lonely and miserable now; not lonelier actually than she had been before her marriage; but her loneliness then was to that of the present time as the solitude of a mountain is to the solitude of a cave. And within the last day or two had come these disquieting thoughts about her husband's past. Her wayward sentiment that evening concerning Fanny's temporary resting-place had been the result of a strange complication of impulses in Bathsheba's bosom. Perhaps it would be more accurately described as a determined rebellion against her prejudices, a revulsion from a lower instinct of uncharitableness, which would have withheld all sympathy from the dead woman, because in life she had preceded Bathsheba in the attentions of a man whom Bathsheba had by no means ceased from loving, though her love was sick to death just now with the gravity of a further misgiving. In five or ten minutes there was another tap at the door. Liddy reappeared, and coming in a little way stood hesitating, until at length she said, "Maryann has just heard something very strange, but I know it isn't true. And we shall be sure to know the rights of it in a day or two." "What is it?" "Oh, nothing connected with you or us, ma'am. It is about Fanny. That same thing you have heard." "I have heard nothing." "I mean that a wicked story is got to Weatherbury within this last hour--that--" Liddy came close to her mistress and whispered the remainder of the sentence slowly into her ear, inclining her head as she spoke in the direction of the room where Fanny lay. Bathsheba trembled from head to foot. "I don't believe it!" she said, excitedly. "And there's only one name written on the coffin-cover." "Nor I, ma'am. And a good many others don't; for we should surely have been told more about it if it had been true--don't you think so, ma'am?" "We might or we might not." Bathsheba turned and looked into the fire, that Liddy might not see her face. Finding that her mistress was going to say no more, Liddy glided out, closed the door softly, and went to bed. Bathsheba's face, as she continued looking into the fire that evening, might have excited solicitousness on her account even among those who loved her least. The sadness of Fanny Robin's fate did not make Bathsheba's glorious, although she was the Esther to this poor Vashti, and their fates might be supposed to stand in some respects as contrasts to each other. When Liddy came into the room a second time the beautiful eyes which met hers had worn a listless, weary look. When she went out after telling the story they had expressed wretchedness in full activity. Her simple country nature, fed on old-fashioned principles, was troubled by that which would have troubled a woman of the world very little, both Fanny and her child, if she had one, being dead. Bathsheba had grounds for conjecturing a connection between her own history and the dimly suspected tragedy of Fanny's end which Oak and Boldwood never for a moment credited her with possessing. The meeting with the lonely woman on the previous Saturday night had been unwitnessed and unspoken of. Oak may have had the best of intentions in withholding for as many days as possible the details of what had happened to Fanny; but had he known that Bathsheba's perceptions had already been exercised in the matter, he would have done nothing to lengthen the minutes of suspense she was now undergoing, when the certainty which must terminate it would be the worst fact suspected after all. She suddenly felt a longing desire to speak to some one stronger than herself, and so get strength to sustain her surmised position with dignity and her lurking doubts with stoicism. Where could she find such a friend? nowhere in the house. She was by far the coolest of the women under her roof. Patience and suspension of judgement for a few hours were what she wanted to learn, and there was nobody to teach her. Might she but go to Gabriel Oak!--but that could not be. What a way Oak had, she thought, of enduring things. Boldwood, who seemed so much deeper and higher and stronger in feeling than Gabriel, had not yet learnt, any more than she herself, the simple lesson which Oak showed a mastery of by every turn and look he gave--that among the multitude of interests by which he was surrounded, those which affected his personal well-being were not the most absorbing and important in his eyes. Oak meditatively looked upon the horizon of circumstances without any special regard to his own standpoint in the midst. That was how she would wish to be. But then Oak was not racked by incertitude upon the inmost matter of his bosom, as she was at this moment. Oak knew all about Fanny that he wished to know--she felt convinced of that. If she were to go to him now at once and say no more than these few words, "What is the truth of the story?" he would feel bound in honour to tell her. It would be an inexpressible relief. No further speech would need to be uttered. He knew her so well that no eccentricity of behaviour in her would alarm him. She flung a cloak round her, went to the door and opened it. Every blade, every twig was still. The air was yet thick with moisture, though somewhat less dense than during the afternoon, and a steady smack of drops upon the fallen leaves under the boughs was almost musical in its soothing regularity. It seemed better to be out of the house than within it, and Bathsheba closed the door, and walked slowly down the lane till she came opposite to Gabriel's cottage, where he now lived alone, having left Coggan's house through being pinched for room. There was a light in one window only, and that was downstairs. The shutters were not closed, nor was any blind or curtain drawn over the window, neither robbery nor observation being a contingency which could do much injury to the occupant of the domicile. Yes, it was Gabriel himself who was sitting up: he was reading. From her standing-place in the road she could see him plainly, sitting quite still, his light curly head upon his hand, and only occasionally looking up to snuff the candle which stood beside him. At length he looked at the clock, seemed surprised at the lateness of the hour, closed his book, and arose. He was going to bed, she knew, and if she tapped it must be done at once. Alas for her resolve! She felt she could not do it. Not for worlds now could she give a hint about her misery to him, much less ask him plainly for information on the cause of Fanny's death. She must suspect, and guess, and chafe, and bear it all alone. Like a homeless wanderer she lingered by the bank, as if lulled and fascinated by the atmosphere of content which seemed to spread from that little dwelling, and was so sadly lacking in her own. Gabriel appeared in an upper room, placed his light in the window-bench, and then--knelt down to pray. The contrast of the picture with her rebellious and agitated existence at this same time was too much for her to bear to look upon longer. It was not for her to make a truce with trouble by any such means. She must tread her giddy distracting measure to its last note, as she had begun it. With a swollen heart she went again up the lane, and entered her own door. More fevered now by a reaction from the first feelings which Oak's example had raised in her, she paused in the hall, looking at the door of the room wherein Fanny lay. She locked her fingers, threw back her head, and strained her hot hands rigidly across her forehead, saying, with a hysterical sob, "Would to God you would speak and tell me your secret, Fanny! ... Oh, I hope, hope it is not true that there are two of you! ... If I could only look in upon you for one little minute, I should know all!" A few moments passed, and she added, slowly, "AND I WILL." Bathsheba in after times could never gauge the mood which carried her through the actions following this murmured resolution on this memorable evening of her life. She went to the lumber-closet for a screw-driver. At the end of a short though undefined time she found herself in the small room, quivering with emotion, a mist before her eyes, and an excruciating pulsation in her brain, standing beside the uncovered coffin of the girl whose conjectured end had so entirely engrossed her, and saying to herself in a husky voice as she gazed within-- "It was best to know the worst, and I know it now!" She was conscious of having brought about this situation by a series of actions done as by one in an extravagant dream; of following that idea as to method, which had burst upon her in the hall with glaring obviousness, by gliding to the top of the stairs, assuring herself by listening to the heavy breathing of her maids that they were asleep, gliding down again, turning the handle of the door within which the young girl lay, and deliberately setting herself to do what, if she had anticipated any such undertaking at night and alone, would have horrified her, but which, when done, was not so dreadful as was the conclusive proof of her husband's conduct which came with knowing beyond doubt the last chapter of Fanny's story. Bathsheba's head sank upon her bosom, and the breath which had been bated in suspense, curiosity, and interest, was exhaled now in the form of a whispered wail: "Oh-h-h!" she said, and the silent room added length to her moan. Her tears fell fast beside the unconscious pair in the coffin: tears of a complicated origin, of a nature indescribable, almost indefinable except as other than those of simple sorrow. Assuredly their wonted fires must have lived in Fanny's ashes when events were so shaped as to chariot her hither in this natural, unobtrusive, yet effectual manner. The one feat alone--that of dying--by which a mean condition could be resolved into a grand one, Fanny had achieved. And to that had destiny subjoined this reencounter to-night, which had, in Bathsheba's wild imagining, turned her companion's failure to success, her humiliation to triumph, her lucklessness to ascendency; it had thrown over herself a garish light of mockery, and set upon all things about her an ironical smile. Fanny's face was framed in by that yellow hair of hers; and there was no longer much room for doubt as to the origin of the curl owned by Troy. In Bathsheba's heated fancy the innocent white countenance expressed a dim triumphant consciousness of the pain she was retaliating for her pain with all the merciless rigour of the Mosaic law: "Burning for burning; wound for wound: strife for strife." Bathsheba indulged in contemplations of escape from her position by immediate death, which, thought she, though it was an inconvenient and awful way, had limits to its inconvenience and awfulness that could not be overpassed; whilst the shames of life were measureless. Yet even this scheme of extinction by death was but tamely copying her rival's method without the reasons which had glorified it in her rival's case. She glided rapidly up and down the room, as was mostly her habit when excited, her hands hanging clasped in front of her, as she thought and in part expressed in broken words: "O, I hate her, yet I don't mean that I hate her, for it is grievous and wicked; and yet I hate her a little! Yes, my flesh insists upon hating her, whether my spirit is willing or no! ... If she had only lived, I could have been angry and cruel towards her with some justification; but to be vindictive towards a poor dead woman recoils upon myself. O God, have mercy! I am miserable at all this!" Bathsheba became at this moment so terrified at her own state of mind that she looked around for some sort of refuge from herself. The vision of Oak kneeling down that night recurred to her, and with the imitative instinct which animates women she seized upon the idea, resolved to kneel, and, if possible, pray. Gabriel had prayed; so would she. She knelt beside the coffin, covered her face with her hands, and for a time the room was silent as a tomb. Whether from a purely mechanical, or from any other cause, when Bathsheba arose it was with a quieted spirit, and a regret for the antagonistic instincts which had seized upon her just before. In her desire to make atonement she took flowers from a vase by the window, and began laying them around the dead girl's head. Bathsheba knew no other way of showing kindness to persons departed than by giving them flowers. She knew not how long she remained engaged thus. She forgot time, life, where she was, what she was doing. A slamming together of the coach-house doors in the yard brought her to herself again. An instant after, the front door opened and closed, steps crossed the hall, and her husband appeared at the entrance to the room, looking in upon her. He beheld it all by degrees, stared in stupefaction at the scene, as if he thought it an illusion raised by some fiendish incantation. Bathsheba, pallid as a corpse on end, gazed back at him in the same wild way. So little are instinctive guesses the fruit of a legitimate induction that, at this moment, as he stood with the door in his hand, Troy never once thought of Fanny in connection with what he saw. His first confused idea was that somebody in the house had died. "Well--what?" said Troy, blankly. "I must go! I must go!" said Bathsheba, to herself more than to him. She came with a dilated eye towards the door, to push past him. "What's the matter, in God's name? who's dead?" said Troy. "I cannot say; let me go out. I want air!" she continued. "But no; stay, I insist!" He seized her hand, and then volition seemed to leave her, and she went off into a state of passivity. He, still holding her, came up the room, and thus, hand in hand, Troy and Bathsheba approached the coffin's side. The candle was standing on a bureau close by them, and the light slanted down, distinctly enkindling the cold features of both mother and babe. Troy looked in, dropped his wife's hand, knowledge of it all came over him in a lurid sheen, and he stood still. So still he remained that he could be imagined to have left in him no motive power whatever. The clashes of feeling in all directions confounded one another, produced a neutrality, and there was motion in none. "Do you know her?" said Bathsheba, in a small enclosed echo, as from the interior of a cell. "I do," said Troy. "Is it she?" "It is." He had originally stood perfectly erect. And now, in the well-nigh congealed immobility of his frame could be discerned an incipient movement, as in the darkest night may be discerned light after a while. He was gradually sinking forwards. The lines of his features softened, and dismay modulated to illimitable sadness. Bathsheba was regarding him from the other side, still with parted lips and distracted eyes. Capacity for intense feeling is proportionate to the general intensity of the nature, and perhaps in all Fanny's sufferings, much greater relatively to her strength, there never was a time she suffered in an absolute sense what Bathsheba suffered now. What Troy did was to sink upon his knees with an indefinable union of remorse and reverence upon his face, and, bending over Fanny Robin, gently kissed her, as one would kiss an infant asleep to avoid awakening it. At the sight and sound of that, to her, unendurable act, Bathsheba sprang towards him. All the strong feelings which had been scattered over her existence since she knew what feeling was, seemed gathered together into one pulsation now. The revulsion from her indignant mood a little earlier, when she had meditated upon compromised honour, forestalment, eclipse in maternity by another, was violent and entire. All that was forgotten in the simple and still strong attachment of wife to husband. She had sighed for her self-completeness then, and now she cried aloud against the severance of the union she had deplored. She flung her arms round Troy's neck, exclaiming wildly from the deepest deep of her heart-- "Don't--don't kiss them! O, Frank, I can't bear it--I can't! I love you better than she did: kiss me too, Frank--kiss me! YOU WILL, FRANK, KISS ME TOO!" There was something so abnormal and startling in the childlike pain and simplicity of this appeal from a woman of Bathsheba's calibre and independence, that Troy, loosening her tightly clasped arms from his neck, looked at her in bewilderment. It was such an unexpected revelation of all women being alike at heart, even those so different in their accessories as Fanny and this one beside him, that Troy could hardly seem to believe her to be his proud wife Bathsheba. Fanny's own spirit seemed to be animating her frame. But this was the mood of a few instants only. When the momentary surprise had passed, his expression changed to a silencing imperious gaze. "I will not kiss you!" he said pushing her away. Had the wife now but gone no further. Yet, perhaps, under the harrowing circumstances, to speak out was the one wrong act which can be better understood, if not forgiven in her, than the right and politic one, her rival being now but a corpse. All the feeling she had been betrayed into showing she drew back to herself again by a strenuous effort of self-command. "What have you to say as your reason?" she asked, her bitter voice being strangely low--quite that of another woman now. "I have to say that I have been a bad, black-hearted man," he answered. "And that this woman is your victim; and I not less than she." "Ah! don't taunt me, madam. This woman is more to me, dead as she is, than ever you were, or are, or can be. If Satan had not tempted me with that face of yours, and those cursed coquetries, I should have married her. I never had another thought till you came in my way. Would to God that I had; but it is all too late!" He turned to Fanny then. "But never mind, darling," he said; "in the sight of Heaven you are my very, very wife!" At these words there arose from Bathsheba's lips a long, low cry of measureless despair and indignation, such a wail of anguish as had never before been heard within those old-inhabited walls. It was the "Tetelestai" [GREEK word meaning "it is finished"] of her union with Troy. "If she's--that,--what--am I?" she added, as a continuation of the same cry, and sobbing pitifully: and the rarity with her of such abandonment only made the condition more dire. "You are nothing to me--nothing," said Troy, heartlessly. "A ceremony before a priest doesn't make a marriage. I am not morally yours." A vehement impulse to flee from him, to run from this place, hide, and escape his words at any price, not stopping short of death itself, mastered Bathsheba now. She waited not an instant, but turned to the door and ran out. UNDER A TREE--REACTION Bathsheba went along the dark road, neither knowing nor caring about the direction or issue of her flight. The first time that she definitely noticed her position was when she reached a gate leading into a thicket overhung by some large oak and beech trees. On looking into the place, it occurred to her that she had seen it by daylight on some previous occasion, and that what appeared like an impassable thicket was in reality a brake of fern now withering fast. She could think of nothing better to do with her palpitating self than to go in here and hide; and entering, she lighted on a spot sheltered from the damp fog by a reclining trunk, where she sank down upon a tangled couch of fronds and stems. She mechanically pulled some armfuls round her to keep off the breezes, and closed her eyes. Whether she slept or not that night Bathsheba was not clearly aware. But it was with a freshened existence and a cooler brain that, a long time afterwards, she became conscious of some interesting proceedings which were going on in the trees above her head and around. A coarse-throated chatter was the first sound. It was a sparrow just waking. Next: "Chee-weeze-weeze-weeze!" from another retreat. It was a finch. Third: "Tink-tink-tink-tink-a-chink!" from the hedge. It was a robin. "Chuck-chuck-chuck!" overhead. A squirrel. Then, from the road, "With my ra-ta-ta, and my rum-tum-tum!" It was a ploughboy. Presently he came opposite, and she believed from his voice that he was one of the boys on her own farm. He was followed by a shambling tramp of heavy feet, and looking through the ferns Bathsheba could just discern in the wan light of daybreak a team of her own horses. They stopped to drink at a pond on the other side of the way. She watched them flouncing into the pool, drinking, tossing up their heads, drinking again, the water dribbling from their lips in silver threads. There was another flounce, and they came out of the pond, and turned back again towards the farm. She looked further around. Day was just dawning, and beside its cool air and colours her heated actions and resolves of the night stood out in lurid contrast. She perceived that in her lap, and clinging to her hair, were red and yellow leaves which had come down from the tree and settled silently upon her during her partial sleep. Bathsheba shook her dress to get rid of them, when multitudes of the same family lying round about her rose and fluttered away in the breeze thus created, "like ghosts from an enchanter fleeing." There was an opening towards the east, and the glow from the as yet unrisen sun attracted her eyes thither. From her feet, and between the beautiful yellowing ferns with their feathery arms, the ground sloped downwards to a hollow, in which was a species of swamp, dotted with fungi. A morning mist hung over it now--a fulsome yet magnificent silvery veil, full of light from the sun, yet semi-opaque--the hedge behind it being in some measure hidden by its hazy luminousness. Up the sides of this depression grew sheaves of the common rush, and here and there a peculiar species of flag, the blades of which glistened in the emerging sun, like scythes. But the general aspect of the swamp was malignant. From its moist and poisonous coat seemed to be exhaled the essences of evil things in the earth, and in the waters under the earth. The fungi grew in all manner of positions from rotting leaves and tree stumps, some exhibiting to her listless gaze their clammy tops, others their oozing gills. Some were marked with great splotches, red as arterial blood, others were saffron yellow, and others tall and attenuated, with stems like macaroni. Some were leathery and of richest browns. The hollow seemed a nursery of pestilences small and great, in the immediate neighbourhood of comfort and health, and Bathsheba arose with a tremor at the thought of having passed the night on the brink of so dismal a place. There were now other footsteps to be heard along the road. Bathsheba's nerves were still unstrung: she crouched down out of sight again, and the pedestrian came into view. He was a schoolboy, with a bag slung over his shoulder containing his dinner, and a book in his hand. He paused by the gate, and, without looking up, continued murmuring words in tones quite loud enough to reach her ears. "'O Lord, O Lord, O Lord, O Lord, O Lord':--that I know out o' book. 'Give us, give us, give us, give us, give us':--that I know. 'Grace that, grace that, grace that, grace that':--that I know." Other words followed to the same effect. The boy was of the dunce class apparently; the book was a psalter, and this was his way of learning the collect. In the worst attacks of trouble there appears to be always a superficial film of consciousness which is left disengaged and open to the notice of trifles, and Bathsheba was faintly amused at the boy's method, till he too passed on. By this time stupor had given place to anxiety, and anxiety began to make room for hunger and thirst. A form now appeared upon the rise on the other side of the swamp, half-hidden by the mist, and came towards Bathsheba. The woman--for it was a woman--approached with her face askance, as if looking earnestly on all sides of her. When she got a little further round to the left, and drew nearer, Bathsheba could see the newcomer's profile against the sunny sky, and knew the wavy sweep from forehead to chin, with neither angle nor decisive line anywhere about it, to be the familiar contour of Liddy Smallbury. Bathsheba's heart bounded with gratitude in the thought that she was not altogether deserted, and she jumped up. "Oh, Liddy!" she said, or attempted to say; but the words had only been framed by her lips; there came no sound. She had lost her voice by exposure to the clogged atmosphere all these hours of night. "Oh, ma'am! I am so glad I have found you," said the girl, as soon as she saw Bathsheba. "You can't come across," Bathsheba said in a whisper, which she vainly endeavoured to make loud enough to reach Liddy's ears. Liddy, not knowing this, stepped down upon the swamp, saying, as she did so, "It will bear me up, I think." Bathsheba never forgot that transient little picture of Liddy crossing the swamp to her there in the morning light. Iridescent bubbles of dank subterranean breath rose from the sweating sod beside the waiting-maid's feet as she trod, hissing as they burst and expanded away to join the vapoury firmament above. Liddy did not sink, as Bathsheba had anticipated. She landed safely on the other side, and looked up at the beautiful though pale and weary face of her young mistress. "Poor thing!" said Liddy, with tears in her eyes, "Do hearten yourself up a little, ma'am. However did--" "I can't speak above a whisper--my voice is gone for the present," said Bathsheba, hurriedly. "I suppose the damp air from that hollow has taken it away. Liddy, don't question me, mind. Who sent you--anybody?" "Nobody. I thought, when I found you were not at home, that something cruel had happened. I fancy I heard his voice late last night; and so, knowing something was wrong--" "Is he at home?" "No; he left just before I came out." "Is Fanny taken away?" "Not yet. She will soon be--at nine o'clock." "We won't go home at present, then. Suppose we walk about in this wood?" Liddy, without exactly understanding everything, or anything, in this episode, assented, and they walked together further among the trees. "But you had better come in, ma'am, and have something to eat. You will die of a chill!" "I shall not come indoors yet--perhaps never." "Shall I get you something to eat, and something else to put over your head besides that little shawl?" "If you will, Liddy." Liddy vanished, and at the end of twenty minutes returned with a cloak, hat, some slices of bread and butter, a tea-cup, and some hot tea in a little china jug. "Is Fanny gone?" said Bathsheba. "No," said her companion, pouring out the tea. Bathsheba wrapped herself up and ate and drank sparingly. Her voice was then a little clearer, and trifling colour returned to her face. "Now we'll walk about again," she said. They wandered about the wood for nearly two hours, Bathsheba replying in monosyllables to Liddy's prattle, for her mind ran on one subject, and one only. She interrupted with-- "I wonder if Fanny is gone by this time?" "I will go and see." She came back with the information that the men were just taking away the corpse; that Bathsheba had been inquired for; that she had replied to the effect that her mistress was unwell and could not be seen. "Then they think I am in my bedroom?" "Yes." Liddy then ventured to add: "You said when I first found you that you might never go home again--you didn't mean it, ma'am?" "No; I've altered my mind. It is only women with no pride in them who run away from their husbands. There is one position worse than that of being found dead in your husband's house from his ill usage, and that is, to be found alive through having gone away to the house of somebody else. I've thought of it all this morning, and I've chosen my course. A runaway wife is an encumbrance to everybody, a burden to herself and a byword--all of which make up a heap of misery greater than any that comes by staying at home--though this may include the trifling items of insult, beating, and starvation. Liddy, if ever you marry--God forbid that you ever should!--you'll find yourself in a fearful situation; but mind this, don't you flinch. Stand your ground, and be cut to pieces. That's what I'm going to do." "Oh, mistress, don't talk so!" said Liddy, taking her hand; "but I knew you had too much sense to bide away. May I ask what dreadful thing it is that has happened between you and him?" "You may ask; but I may not tell." In about ten minutes they returned to the house by a circuitous route, entering at the rear. Bathsheba glided up the back stairs to a disused attic, and her companion followed. "Liddy," she said, with a lighter heart, for youth and hope had begun to reassert themselves; "you are to be my confidante for the present--somebody must be--and I choose you. Well, I shall take up my abode here for a while. Will you get a fire lighted, put down a piece of carpet, and help me to make the place comfortable. Afterwards, I want you and Maryann to bring up that little stump bedstead in the small room, and the bed belonging to it, and a table, and some other things.... What shall I do to pass the heavy time away?" "Hemming handkerchiefs is a very good thing," said Liddy. "Oh no, no! I hate needlework--I always did." "Knitting?" "And that, too." "You might finish your sampler. Only the carnations and peacocks want filling in; and then it could be framed and glazed, and hung beside your aunt's ma'am." "Samplers are out of date--horribly countrified. No Liddy, I'll read. Bring up some books--not new ones. I haven't heart to read anything new." "Some of your uncle's old ones, ma'am?" "Yes. Some of those we stowed away in boxes." A faint gleam of humour passed over her face as she said: "Bring Beaumont and Fletcher's _Maid's Tragedy_, and the _Mourning Bride_, and--let me see--_Night Thoughts_, and the _Vanity of Human Wishes_." "And that story of the black man, who murdered his wife Desdemona? It is a nice dismal one that would suit you excellent just now." "Now, Liddy, you've been looking into my books without telling me; and I said you were not to! How do you know it would suit me? It wouldn't suit me at all." "But if the others do--" "No, they don't; and I won't read dismal books. Why should I read dismal books, indeed? Bring me _Love in a Village_, and _Maid of the Mill_, and _Doctor Syntax_, and some volumes of the _Spectator-_." All that day Bathsheba and Liddy lived in the attic in a state of barricade; a precaution which proved to be needless as against Troy, for he did not appear in the neighbourhood or trouble them at all. Bathsheba sat at the window till sunset, sometimes attempting to read, at other times watching every movement outside without much purpose, and listening without much interest to every sound. The sun went down almost blood-red that night, and a livid cloud received its rays in the east. Up against this dark background the west front of the church tower--the only part of the edifice visible from the farm-house windows--rose distinct and lustrous, the vane upon the summit bristling with rays. Hereabouts, at six o'clock, the young men of the village gathered, as was their custom, for a game of Prisoners' base. The spot had been consecrated to this ancient diversion from time immemorial, the old stocks conveniently forming a base facing the boundary of the churchyard, in front of which the ground was trodden hard and bare as a pavement by the players. She could see the brown and black heads of the young lads darting about right and left, their white shirt-sleeves gleaming in the sun; whilst occasionally a shout and a peal of hearty laughter varied the stillness of the evening air. They continued playing for a quarter of an hour or so, when the game concluded abruptly, and the players leapt over the wall and vanished round to the other side behind a yew-tree, which was also half behind a beech, now spreading in one mass of golden foliage, on which the branches traced black lines. "Why did the base-players finish their game so suddenly?" Bathsheba inquired, the next time that Liddy entered the room. "I think 'twas because two men came just then from Casterbridge and began putting up a grand carved tombstone," said Liddy. "The lads went to see whose it was." "Do you know?" Bathsheba asked. "I don't," said Liddy. TROY'S ROMANTICISM When Troy's wife had left the house at the previous midnight his first act was to cover the dead from sight. This done he ascended the stairs, and throwing himself down upon the bed dressed as he was, he waited miserably for the morning. Fate had dealt grimly with him through the last four-and-twenty hours. His day had been spent in a way which varied very materially from his intentions regarding it. There is always an inertia to be overcome in striking out a new line of conduct--not more in ourselves, it seems, than in circumscribing events, which appear as if leagued together to allow no novelties in the way of amelioration. Twenty pounds having been secured from Bathsheba, he had managed to add to the sum every farthing he could muster on his own account, which had been seven pounds ten. With this money, twenty-seven pounds ten in all, he had hastily driven from the gate that morning to keep his appointment with Fanny Robin. On reaching Casterbridge he left the horse and trap at an inn, and at five minutes before ten came back to the bridge at the lower end of the town, and sat himself upon the parapet. The clocks struck the hour, and no Fanny appeared. In fact, at that moment she was being robed in her grave-clothes by two attendants at the Union poorhouse--the first and last tiring-women the gentle creature had ever been honoured with. The quarter went, the half hour. A rush of recollection came upon Troy as he waited: this was the second time she had broken a serious engagement with him. In anger he vowed it should be the last, and at eleven o'clock, when he had lingered and watched the stone of the bridge till he knew every lichen upon their face and heard the chink of the ripples underneath till they oppressed him, he jumped from his seat, went to the inn for his gig, and in a bitter mood of indifference concerning the past, and recklessness about the future, drove on to Budmouth races. He reached the race-course at two o'clock, and remained either there or in the town till nine. But Fanny's image, as it had appeared to him in the sombre shadows of that Saturday evening, returned to his mind, backed up by Bathsheba's reproaches. He vowed he would not bet, and he kept his vow, for on leaving the town at nine o'clock in the evening he had diminished his cash only to the extent of a few shillings. He trotted slowly homeward, and it was now that he was struck for the first time with a thought that Fanny had been really prevented by illness from keeping her promise. This time she could have made no mistake. He regretted that he had not remained in Casterbridge and made inquiries. Reaching home he quietly unharnessed the horse and came indoors, as we have seen, to the fearful shock that awaited him. As soon as it grew light enough to distinguish objects, Troy arose from the coverlet of the bed, and in a mood of absolute indifference to Bathsheba's whereabouts, and almost oblivious of her existence, he stalked downstairs and left the house by the back door. His walk was towards the churchyard, entering which he searched around till he found a newly dug unoccupied grave--the grave dug the day before for Fanny. The position of this having been marked, he hastened on to Casterbridge, only pausing and musing for a while at the hill whereon he had last seen Fanny alive. Reaching the town, Troy descended into a side street and entered a pair of gates surmounted by a board bearing the words, "Lester, stone and marble mason." Within were lying about stones of all sizes and designs, inscribed as being sacred to the memory of unnamed persons who had not yet died. Troy was so unlike himself now in look, word, and deed, that the want of likeness was perceptible even to his own consciousness. His method of engaging himself in this business of purchasing a tomb was that of an absolutely unpractised man. He could not bring himself to consider, calculate, or economize. He waywardly wished for something, and he set about obtaining it like a child in a nursery. "I want a good tomb," he said to the man who stood in a little office within the yard. "I want as good a one as you can give me for twenty-seven pounds." It was all the money he possessed. "That sum to include everything?" "Everything. Cutting the name, carriage to Weatherbury, and erection. And I want it now, at once." "We could not get anything special worked this week." "I must have it now." "If you would like one of these in stock it could be got ready immediately." "Very well," said Troy, impatiently. "Let's see what you have." "The best I have in stock is this one," said the stone-cutter, going into a shed. "Here's a marble headstone beautifully crocketed, with medallions beneath of typical subjects; here's the footstone after the same pattern, and here's the coping to enclose the grave. The polishing alone of the set cost me eleven pounds--the slabs are the best of their kind, and I can warrant them to resist rain and frost for a hundred years without flying." "And how much?" "Well, I could add the name, and put it up at Weatherbury for the sum you mention." "Get it done to-day, and I'll pay the money now." The man agreed, and wondered at such a mood in a visitor who wore not a shred of mourning. Troy then wrote the words which were to form the inscription, settled the account and went away. In the afternoon he came back again, and found that the lettering was almost done. He waited in the yard till the tomb was packed, and saw it placed in the cart and starting on its way to Weatherbury, giving directions to the two men who were to accompany it to inquire of the sexton for the grave of the person named in the inscription. It was quite dark when Troy came out of Casterbridge. He carried rather a heavy basket upon his arm, with which he strode moodily along the road, resting occasionally at bridges and gates, whereon he deposited his burden for a time. Midway on his journey he met, returning in the darkness, the men and the waggon which had conveyed the tomb. He merely inquired if the work was done, and, on being assured that it was, passed on again. Troy entered Weatherbury churchyard about ten o'clock and went immediately to the corner where he had marked the vacant grave early in the morning. It was on the obscure side of the tower, screened to a great extent from the view of passers along the road--a spot which until lately had been abandoned to heaps of stones and bushes of alder, but now it was cleared and made orderly for interments, by reason of the rapid filling of the ground elsewhere. Here now stood the tomb as the men had stated, snow-white and shapely in the gloom, consisting of head and foot-stone, and enclosing border of marble-work uniting them. In the midst was mould, suitable for plants. Troy deposited his basket beside the tomb, and vanished for a few minutes. When he returned he carried a spade and a lantern, the light of which he directed for a few moments upon the marble, whilst he read the inscription. He hung his lantern on the lowest bough of the yew-tree, and took from his basket flower-roots of several varieties. There were bundles of snow-drop, hyacinth and crocus bulbs, violets and double daisies, which were to bloom in early spring, and of carnations, pinks, picotees, lilies of the valley, forget-me-not, summer's farewell, meadow-saffron and others, for the later seasons of the year. Troy laid these out upon the grass, and with an impassive face set to work to plant them. The snowdrops were arranged in a line on the outside of the coping, the remainder within the enclosure of the grave. The crocuses and hyacinths were to grow in rows; some of the summer flowers he placed over her head and feet, the lilies and forget-me-nots over her heart. The remainder were dispersed in the spaces between these. Troy, in his prostration at this time, had no perception that in the futility of these romantic doings, dictated by a remorseful reaction from previous indifference, there was any element of absurdity. Deriving his idiosyncrasies from both sides of the Channel, he showed at such junctures as the present the inelasticity of the Englishman, together with that blindness to the line where sentiment verges on mawkishness, characteristic of the French. It was a cloudy, muggy, and very dark night, and the rays from Troy's lantern spread into the two old yews with a strange illuminating power, flickering, as it seemed, up to the black ceiling of cloud above. He felt a large drop of rain upon the back of his hand, and presently one came and entered one of the holes of the lantern, whereupon the candle sputtered and went out. Troy was weary and it being now not far from midnight, and the rain threatening to increase, he resolved to leave the finishing touches of his labour until the day should break. He groped along the wall and over the graves in the dark till he found himself round at the north side. Here he entered the porch, and, reclining upon the bench within, fell asleep. THE GURGOYLE: ITS DOINGS The tower of Weatherbury Church was a square erection of fourteenth-century date, having two stone gurgoyles on each of the four faces of its parapet. Of these eight carved protuberances only two at this time continued to serve the purpose of their erection--that of spouting the water from the lead roof within. One mouth in each front had been closed by bygone church-wardens as superfluous, and two others were broken away and choked--a matter not of much consequence to the wellbeing of the tower, for the two mouths which still remained open and active were gaping enough to do all the work. It has been sometimes argued that there is no truer criterion of the vitality of any given art-period than the power of the master-spirits of that time in grotesque; and certainly in the instance of Gothic art there is no disputing the proposition. Weatherbury tower was a somewhat early instance of the use of an ornamental parapet in parish as distinct from cathedral churches, and the gurgoyles, which are the necessary correlatives of a parapet, were exceptionally prominent--of the boldest cut that the hand could shape, and of the most original design that a human brain could conceive. There was, so to speak, that symmetry in their distortion which is less the characteristic of British than of Continental grotesques of the period. All the eight were different from each other. A beholder was convinced that nothing on earth could be more hideous than those he saw on the north side until he went round to the south. Of the two on this latter face, only that at the south-eastern corner concerns the story. It was too human to be called like a dragon, too impish to be like a man, too animal to be like a fiend, and not enough like a bird to be called a griffin. This horrible stone entity was fashioned as if covered with a wrinkled hide; it had short, erect ears, eyes starting from their sockets, and its fingers and hands were seizing the corners of its mouth, which they thus seemed to pull open to give free passage to the water it vomited. The lower row of teeth was quite washed away, though the upper still remained. Here and thus, jutting a couple of feet from the wall against which its feet rested as a support, the creature had for four hundred years laughed at the surrounding landscape, voicelessly in dry weather, and in wet with a gurgling and snorting sound. Troy slept on in the porch, and the rain increased outside. Presently the gurgoyle spat. In due time a small stream began to trickle through the seventy feet of aerial space between its mouth and the ground, which the water-drops smote like duckshot in their accelerated velocity. The stream thickened in substance, and increased in power, gradually spouting further and yet further from the side of the tower. When the rain fell in a steady and ceaseless torrent the stream dashed downward in volumes. We follow its course to the ground at this point of time. The end of the liquid parabola has come forward from the wall, has advanced over the plinth mouldings, over a heap of stones, over the marble border, into the midst of Fanny Robin's grave. The force of the stream had, until very lately, been received upon some loose stones spread thereabout, which had acted as a shield to the soil under the onset. These during the summer had been cleared from the ground, and there was now nothing to resist the down-fall but the bare earth. For several years the stream had not spouted so far from the tower as it was doing on this night, and such a contingency had been over-looked. Sometimes this obscure corner received no inhabitant for the space of two or three years, and then it was usually but a pauper, a poacher, or other sinner of undignified sins. The persistent torrent from the gurgoyle's jaws directed all its vengeance into the grave. The rich tawny mould was stirred into motion, and boiled like chocolate. The water accumulated and washed deeper down, and the roar of the pool thus formed spread into the night as the head and chief among other noises of the kind created by the deluging rain. The flowers so carefully planted by Fanny's repentant lover began to move and writhe in their bed. The winter-violets turned slowly upside down, and became a mere mat of mud. Soon the snowdrop and other bulbs danced in the boiling mass like ingredients in a cauldron. Plants of the tufted species were loosened, rose to the surface, and floated off. Troy did not awake from his comfortless sleep till it was broad day. Not having been in bed for two nights his shoulders felt stiff, his feet tender, and his head heavy. He remembered his position, arose, shivered, took the spade, and again went out. The rain had quite ceased, and the sun was shining through the green, brown, and yellow leaves, now sparkling and varnished by the raindrops to the brightness of similar effects in the landscapes of Ruysdael and Hobbema, and full of all those infinite beauties that arise from the union of water and colour with high lights. The air was rendered so transparent by the heavy fall of rain that the autumn hues of the middle distance were as rich as those near at hand, and the remote fields intercepted by the angle of the tower appeared in the same plane as the tower itself. He entered the gravel path which would take him behind the tower. The path, instead of being stony as it had been the night before, was browned over with a thin coating of mud. At one place in the path he saw a tuft of stringy roots washed white and clean as a bundle of tendons. He picked it up--surely it could not be one of the primroses he had planted? He saw a bulb, another, and another as he advanced. Beyond doubt they were the crocuses. With a face of perplexed dismay Troy turned the corner and then beheld the wreck the stream had made. The pool upon the grave had soaked away into the ground, and in its place was a hollow. The disturbed earth was washed over the grass and pathway in the guise of the brown mud he had already seen, and it spotted the marble tombstone with the same stains. Nearly all the flowers were washed clean out of the ground, and they lay, roots upwards, on the spots whither they had been splashed by the stream. Troy's brow became heavily contracted. He set his teeth closely, and his compressed lips moved as those of one in great pain. This singular accident, by a strange confluence of emotions in him, was felt as the sharpest sting of all. Troy's face was very expressive, and any observer who had seen him now would hardly have believed him to be a man who had laughed, and sung, and poured love-trifles into a woman's ear. To curse his miserable lot was at first his impulse, but even that lowest stage of rebellion needed an activity whose absence was necessarily antecedent to the existence of the morbid misery which wrung him. The sight, coming as it did, superimposed upon the other dark scenery of the previous days, formed a sort of climax to the whole panorama, and it was more than he could endure. Sanguine by nature, Troy had a power of eluding grief by simply adjourning it. He could put off the consideration of any particular spectre till the matter had become old and softened by time. The planting of flowers on Fanny's grave had been perhaps but a species of elusion of the primary grief, and now it was as if his intention had been known and circumvented. Almost for the first time in his life, Troy, as he stood by this dismantled grave, wished himself another man. It is seldom that a person with much animal spirit does not feel that the fact of his life being his own is the one qualification which singles it out as a more hopeful life than that of others who may actually resemble him in every particular. Troy had felt, in his transient way, hundreds of times, that he could not envy other people their condition, because the possession of that condition would have necessitated a different personality, when he desired no other than his own. He had not minded the peculiarities of his birth, the vicissitudes of his life, the meteor-like uncertainty of all that related to him, because these appertained to the hero of his story, without whom there would have been no story at all for him; and it seemed to be only in the nature of things that matters would right themselves at some proper date and wind up well. This very morning the illusion completed its disappearance, and, as it were, all of a sudden, Troy hated himself. The suddenness was probably more apparent than real. A coral reef which just comes short of the ocean surface is no more to the horizon than if it had never been begun, and the mere finishing stroke is what often appears to create an event which has long been potentially an accomplished thing. He stood and meditated--a miserable man. Whither should he go? "He that is accursed, let him be accursed still," was the pitiless anathema written in this spoliated effort of his new-born solicitousness. A man who has spent his primal strength in journeying in one direction has not much spirit left for reversing his course. Troy had, since yesterday, faintly reversed his; but the merest opposition had disheartened him. To turn about would have been hard enough under the greatest providential encouragement; but to find that Providence, far from helping him into a new course, or showing any wish that he might adopt one, actually jeered his first trembling and critical attempt in that kind, was more than nature could bear. He slowly withdrew from the grave. He did not attempt to fill up the hole, replace the flowers, or do anything at all. He simply threw up his cards and forswore his game for that time and always. Going out of the churchyard silently and unobserved--none of the villagers having yet risen--he passed down some fields at the back, and emerged just as secretly upon the high road. Shortly afterwards he had gone from the village. Meanwhile, Bathsheba remained a voluntary prisoner in the attic. The door was kept locked, except during the entries and exits of Liddy, for whom a bed had been arranged in a small adjoining room. The light of Troy's lantern in the churchyard was noticed about ten o'clock by the maid-servant, who casually glanced from the window in that direction whilst taking her supper, and she called Bathsheba's attention to it. They looked curiously at the phenomenon for a time, until Liddy was sent to bed. Bathsheba did not sleep very heavily that night. When her attendant was unconscious and softly breathing in the next room, the mistress of the house was still looking out of the window at the faint gleam spreading from among the trees--not in a steady shine, but blinking like a revolving coast-light, though this appearance failed to suggest to her that a person was passing and repassing in front of it. Bathsheba sat here till it began to rain, and the light vanished, when she withdrew to lie restlessly in her bed and re-enact in a worn mind the lurid scene of yesternight. Almost before the first faint sign of dawn appeared she arose again, and opened the window to obtain a full breathing of the new morning air, the panes being now wet with trembling tears left by the night rain, each one rounded with a pale lustre caught from primrose-hued slashes through a cloud low down in the awakening sky. From the trees came the sound of steady dripping upon the drifted leaves under them, and from the direction of the church she could hear another noise--peculiar, and not intermittent like the rest, the purl of water falling into a pool. Liddy knocked at eight o'clock, and Bathsheba un-locked the door. "What a heavy rain we've had in the night, ma'am!" said Liddy, when her inquiries about breakfast had been made. "Yes, very heavy." "Did you hear the strange noise from the churchyard?" "I heard one strange noise. I've been thinking it must have been the water from the tower spouts." "Well, that's what the shepherd was saying, ma'am. He's now gone on to see." "Oh! Gabriel has been here this morning!" "Only just looked in in passing--quite in his old way, which I thought he had left off lately. But the tower spouts used to spatter on the stones, and we are puzzled, for this was like the boiling of a pot." Not being able to read, think, or work, Bathsheba asked Liddy to stay and breakfast with her. The tongue of the more childish woman still ran upon recent events. "Are you going across to the church, ma'am?" she asked. "Not that I know of," said Bathsheba. "I thought you might like to go and see where they have put Fanny. The trees hide the place from your window." Bathsheba had all sorts of dreads about meeting her husband. "Has Mr. Troy been in to-night?" she said. "No, ma'am; I think he's gone to Budmouth." Budmouth! The sound of the word carried with it a much diminished perspective of him and his deeds; there were thirteen miles interval betwixt them now. She hated questioning Liddy about her husband's movements, and indeed had hitherto sedulously avoided doing so; but now all the house knew that there had been some dreadful disagreement between them, and it was futile to attempt disguise. Bathsheba had reached a stage at which people cease to have any appreciative regard for public opinion. "What makes you think he has gone there?" she said. "Laban Tall saw him on the Budmouth road this morning before breakfast." Bathsheba was momentarily relieved of that wayward heaviness of the past twenty-four hours which had quenched the vitality of youth in her without substituting the philosophy of maturer years, and she resolved to go out and walk a little way. So when breakfast was over, she put on her bonnet, and took a direction towards the church. It was nine o'clock, and the men having returned to work again from their first meal, she was not likely to meet many of them in the road. Knowing that Fanny had been laid in the reprobates' quarter of the graveyard, called in the parish "behind church," which was invisible from the road, it was impossible to resist the impulse to enter and look upon a spot which, from nameless feelings, she at the same time dreaded to see. She had been unable to overcome an impression that some connection existed between her rival and the light through the trees. Bathsheba skirted the buttress, and beheld the hole and the tomb, its delicately veined surface splashed and stained just as Troy had seen it and left it two hours earlier. On the other side of the scene stood Gabriel. His eyes, too, were fixed on the tomb, and her arrival having been noiseless, she had not as yet attracted his attention. Bathsheba did not at once perceive that the grand tomb and the disturbed grave were Fanny's, and she looked on both sides and around for some humbler mound, earthed up and clodded in the usual way. Then her eye followed Oak's, and she read the words with which the inscription opened:-- ERECTED BY FRANCIS TROY IN BELOVED MEMORY OF FANNY ROBIN Oak saw her, and his first act was to gaze inquiringly and learn how she received this knowledge of the authorship of the work, which to himself had caused considerable astonishment. But such discoveries did not much affect her now. Emotional convulsions seemed to have become the commonplaces of her history, and she bade him good morning, and asked him to fill in the hole with the spade which was standing by. Whilst Oak was doing as she desired, Bathsheba collected the flowers, and began planting them with that sympathetic manipulation of roots and leaves which is so conspicuous in a woman's gardening, and which flowers seem to understand and thrive upon. She requested Oak to get the churchwardens to turn the leadwork at the mouth of the gurgoyle that hung gaping down upon them, that by this means the stream might be directed sideways, and a repetition of the accident prevented. Finally, with the superfluous magnanimity of a woman whose narrower instincts have brought down bitterness upon her instead of love, she wiped the mud spots from the tomb as if she rather liked its words than otherwise, and went again home. [2] [Footnote 2: The local tower and churchyard do not answer precisely to the foregoing description.] ADVENTURES BY THE SHORE Troy wandered along towards the south. A composite feeling, made up of disgust with the, to him, humdrum tediousness of a farmer's life, gloomy images of her who lay in the churchyard, remorse, and a general averseness to his wife's society, impelled him to seek a home in any place on earth save Weatherbury. The sad accessories of Fanny's end confronted him as vivid pictures which threatened to be indelible, and made life in Bathsheba's house intolerable. At three in the afternoon he found himself at the foot of a slope more than a mile in length, which ran to the ridge of a range of hills lying parallel with the shore, and forming a monotonous barrier between the basin of cultivated country inland and the wilder scenery of the coast. Up the hill stretched a road nearly straight and perfectly white, the two sides approaching each other in a gradual taper till they met the sky at the top about two miles off. Throughout the length of this narrow and irksome inclined plane not a sign of life was visible on this garish afternoon. Troy toiled up the road with a languor and depression greater than any he had experienced for many a day and year before. The air was warm and muggy, and the top seemed to recede as he approached. At last he reached the summit, and a wide and novel prospect burst upon him with an effect almost like that of the Pacific upon Balboa's gaze. The broad steely sea, marked only by faint lines, which had a semblance of being etched thereon to a degree not deep enough to disturb its general evenness, stretched the whole width of his front and round to the right, where, near the town and port of Budmouth, the sun bristled down upon it, and banished all colour, to substitute in its place a clear oily polish. Nothing moved in sky, land, or sea, except a frill of milkwhite foam along the nearer angles of the shore, shreds of which licked the contiguous stones like tongues. He descended and came to a small basin of sea enclosed by the cliffs. Troy's nature freshened within him; he thought he would rest and bathe here before going farther. He undressed and plunged in. Inside the cove the water was uninteresting to a swimmer, being smooth as a pond, and to get a little of the ocean swell, Troy presently swam between the two projecting spurs of rock which formed the pillars of Hercules to this miniature Mediterranean. Unfortunately for Troy a current unknown to him existed outside, which, unimportant to craft of any burden, was awkward for a swimmer who might be taken in it unawares. Troy found himself carried to the left and then round in a swoop out to sea. He now recollected the place and its sinister character. Many bathers had there prayed for a dry death from time to time, and, like Gonzalo also, had been unanswered; and Troy began to deem it possible that he might be added to their number. Not a boat of any kind was at present within sight, but far in the distance Budmouth lay upon the sea, as it were quietly regarding his efforts, and beside the town the harbour showed its position by a dim meshwork of ropes and spars. After well-nigh exhausting himself in attempts to get back to the mouth of the cove, in his weakness swimming several inches deeper than was his wont, keeping up his breathing entirely by his nostrils, turning upon his back a dozen times over, swimming _en papillon_, and so on, Troy resolved as a last resource to tread water at a slight incline, and so endeavour to reach the shore at any point, merely giving himself a gentle impetus inwards whilst carried on in the general direction of the tide. This, necessarily a slow process, he found to be not altogether so difficult, and though there was no choice of a landing-place--the objects on shore passing by him in a sad and slow procession--he perceptibly approached the extremity of a spit of land yet further to the right, now well defined against the sunny portion of the horizon. While the swimmer's eyes were fixed upon the spit as his only means of salvation on this side of the Unknown, a moving object broke the outline of the extremity, and immediately a ship's boat appeared manned with several sailor lads, her bows towards the sea. All Troy's vigour spasmodically revived to prolong the struggle yet a little further. Swimming with his right arm, he held up his left to hail them, splashing upon the waves, and shouting with all his might. From the position of the setting sun his white form was distinctly visible upon the now deep-hued bosom of the sea to the east of the boat, and the men saw him at once. Backing their oars and putting the boat about, they pulled towards him with a will, and in five or six minutes from the time of his first halloo, two of the sailors hauled him in over the stern. They formed part of a brig's crew, and had come ashore for sand. Lending him what little clothing they could spare among them as a slight protection against the rapidly cooling air, they agreed to land him in the morning; and without further delay, for it was growing late, they made again towards the roadstead where their vessel lay. And now night drooped slowly upon the wide watery levels in front; and at no great distance from them, where the shoreline curved round, and formed a long riband of shade upon the horizon, a series of points of yellow light began to start into existence, denoting the spot to be the site of Budmouth, where the lamps were being lighted along the parade. The cluck of their oars was the only sound of any distinctness upon the sea, and as they laboured amid the thickening shades the lamp-lights grew larger, each appearing to send a flaming sword deep down into the waves before it, until there arose, among other dim shapes of the kind, the form of the vessel for which they were bound. DOUBTS ARISE--DOUBTS LINGER Bathsheba underwent the enlargement of her husband's absence from hours to days with a slight feeling of surprise, and a slight feeling of relief; yet neither sensation rose at any time far above the level commonly designated as indifference. She belonged to him: the certainties of that position were so well defined, and the reasonable probabilities of its issue so bounded that she could not speculate on contingencies. Taking no further interest in herself as a splendid woman, she acquired the indifferent feelings of an outsider in contemplating her probable fate as a singular wretch; for Bathsheba drew herself and her future in colours that no reality could exceed for darkness. Her original vigorous pride of youth had sickened, and with it had declined all her anxieties about coming years, since anxiety recognizes a better and a worse alternative, and Bathsheba had made up her mind that alternatives on any noteworthy scale had ceased for her. Soon, or later--and that not very late--her husband would be home again. And then the days of their tenancy of the Upper Farm would be numbered. There had originally been shown by the agent to the estate some distrust of Bathsheba's tenure as James Everdene's successor, on the score of her sex, and her youth, and her beauty; but the peculiar nature of her uncle's will, his own frequent testimony before his death to her cleverness in such a pursuit, and her vigorous marshalling of the numerous flocks and herds which came suddenly into her hands before negotiations were concluded, had won confidence in her powers, and no further objections had been raised. She had latterly been in great doubt as to what the legal effects of her marriage would be upon her position; but no notice had been taken as yet of her change of name, and only one point was clear--that in the event of her own or her husband's inability to meet the agent at the forthcoming January rent-day, very little consideration would be shown, and, for that matter, very little would be deserved. Once out of the farm, the approach of poverty would be sure. Hence Bathsheba lived in a perception that her purposes were broken off. She was not a woman who could hope on without good materials for the process, differing thus from the less far-sighted and energetic, though more petted ones of the sex, with whom hope goes on as a sort of clockwork which the merest food and shelter are sufficient to wind up; and perceiving clearly that her mistake had been a fatal one, she accepted her position, and waited coldly for the end. The first Saturday after Troy's departure she went to Casterbridge alone, a journey she had not before taken since her marriage. On this Saturday Bathsheba was passing slowly on foot through the crowd of rural business-men gathered as usual in front of the market-house, who were as usual gazed upon by the burghers with feelings that those healthy lives were dearly paid for by exclusion from possible aldermanship, when a man, who had apparently been following her, said some words to another on her left hand. Bathsheba's ears were keen as those of any wild animal, and she distinctly heard what the speaker said, though her back was towards him. "I am looking for Mrs. Troy. Is that she there?" "Yes; that's the young lady, I believe," said the the person addressed. "I have some awkward news to break to her. Her husband is drowned." As if endowed with the spirit of prophecy, Bathsheba gasped out, "No, it is not true; it cannot be true!" Then she said and heard no more. The ice of self-command which had latterly gathered over her was broken, and the currents burst forth again, and overwhelmed her. A darkness came into her eyes, and she fell. But not to the ground. A gloomy man, who had been observing her from under the portico of the old corn-exchange when she passed through the group without, stepped quickly to her side at the moment of her exclamation, and caught her in his arms as she sank down. "What is it?" said Boldwood, looking up at the bringer of the big news, as he supported her. "Her husband was drowned this week while bathing in Lulwind Cove. A coastguardsman found his clothes, and brought them into Budmouth yesterday." Thereupon a strange fire lighted up Boldwood's eye, and his face flushed with the suppressed excitement of an unutterable thought. Everybody's glance was now centred upon him and the unconscious Bathsheba. He lifted her bodily off the ground, and smoothed down the folds of her dress as a child might have taken a storm-beaten bird and arranged its ruffled plumes, and bore her along the pavement to the King's Arms Inn. Here he passed with her under the archway into a private room; and by the time he had deposited--so lothly--the precious burden upon a sofa, Bathsheba had opened her eyes. Remembering all that had occurred, she murmured, "I want to go home!" Boldwood left the room. He stood for a moment in the passage to recover his senses. The experience had been too much for his consciousness to keep up with, and now that he had grasped it it had gone again. For those few heavenly, golden moments she had been in his arms. What did it matter about her not knowing it? She had been close to his breast; he had been close to hers. He started onward again, and sending a woman to her, went out to ascertain all the facts of the case. These appeared to be limited to what he had already heard. He then ordered her horse to be put into the gig, and when all was ready returned to inform her. He found that, though still pale and unwell, she had in the meantime sent for the Budmouth man who brought the tidings, and learnt from him all there was to know. Being hardly in a condition to drive home as she had driven to town, Boldwood, with every delicacy of manner and feeling, offered to get her a driver, or to give her a seat in his phaeton, which was more comfortable than her own conveyance. These proposals Bathsheba gently declined, and the farmer at once departed. About half-an-hour later she invigorated herself by an effort, and took her seat and the reins as usual--in external appearance much as if nothing had happened. She went out of the town by a tortuous back street, and drove slowly along, unconscious of the road and the scene. The first shades of evening were showing themselves when Bathsheba reached home, where, silently alighting and leaving the horse in the hands of the boy, she proceeded at once upstairs. Liddy met her on the landing. The news had preceded Bathsheba to Weatherbury by half-an-hour, and Liddy looked inquiringly into her mistress's face. Bathsheba had nothing to say. She entered her bedroom and sat by the window, and thought and thought till night enveloped her, and the extreme lines only of her shape were visible. Somebody came to the door, knocked, and opened it. "Well, what is it, Liddy?" she said. "I was thinking there must be something got for you to wear," said Liddy, with hesitation. "What do you mean?" "Mourning." "No, no, no," said Bathsheba, hurriedly. "But I suppose there must be something done for poor--" "Not at present, I think. It is not necessary." "Why not, ma'am?" "Because he's still alive." "How do you know that?" said Liddy, amazed. "I don't know it. But wouldn't it have been different, or shouldn't I have heard more, or wouldn't they have found him, Liddy?--or--I don't know how it is, but death would have been different from how this is. I am perfectly convinced that he is still alive!" Bathsheba remained firm in this opinion till Monday, when two circumstances conjoined to shake it. The first was a short paragraph in the local newspaper, which, beyond making by a methodizing pen formidable presumptive evidence of Troy's death by drowning, contained the important testimony of a young Mr. Barker, M.D., of Budmouth, who spoke to being an eyewitness of the accident, in a letter to the editor. In this he stated that he was passing over the cliff on the remoter side of the cove just as the sun was setting. At that time he saw a bather carried along in the current outside the mouth of the cove, and guessed in an instant that there was but a poor chance for him unless he should be possessed of unusual muscular powers. He drifted behind a projection of the coast, and Mr. Barker followed along the shore in the same direction. But by the time that he could reach an elevation sufficiently great to command a view of the sea beyond, dusk had set in, and nothing further was to be seen. The other circumstance was the arrival of his clothes, when it became necessary for her to examine and identify them--though this had virtually been done long before by those who inspected the letters in his pockets. It was so evident to her in the midst of her agitation that Troy had undressed in the full conviction of dressing again almost immediately, that the notion that anything but death could have prevented him was a perverse one to entertain. Then Bathsheba said to herself that others were assured in their opinion; strange that she should not be. A strange reflection occurred to her, causing her face to flush. Suppose that Troy had followed Fanny into another world. Had he done this intentionally, yet contrived to make his death appear like an accident? Nevertheless, this thought of how the apparent might differ from the real--made vivid by her bygone jealousy of Fanny, and the remorse he had shown that night--did not blind her to the perception of a likelier difference, less tragic, but to herself far more disastrous. When alone late that evening beside a small fire, and much calmed down, Bathsheba took Troy's watch into her hand, which had been restored to her with the rest of the articles belonging to him. She opened the case as he had opened it before her a week ago. There was the little coil of pale hair which had been as the fuze to this great explosion. "He was hers and she was his; they should be gone together," she said. "I am nothing to either of them, and why should I keep her hair?" She took it in her hand, and held it over the fire. "No--I'll not burn it--I'll keep it in memory of her, poor thing!" she added, snatching back her hand.

https://web.archive.org/web/20210225000853/https://www.sparknotes.com/lit/maddingcrowd/section9/

Liddy offers to sit up and watch over Fanny's coffin with Bathsheba until Troy gets home. Bathsheba refuses, asks Liddy if she has heard anything strange, and bursts into tears. Liddy leaves the room and returns, saying that a laborer's wife, Maryann Money, has heard that Fanny has had a baby . Bathsheba does not want to believe it. Alone, her first instinct is to seek Gabriel's advice. He has hidden the truth from her, not knowing that she has seen Fanny on the way back from Casterbridge. Bathsheba goes to Gabriel's cottage and looks in the window. She sees him praying and is too nervous to knock. When she returns, obsessed by the uncertainty of whether the coffin contains a baby or not, Bathsheba finally takes a screwdriver and opens the lid of the coffin. Inside lies Fanny, with hair the same color as the curl in Troy's watch, and a baby in her arms. In a stupor, Bathsheba puts flowers around her in the coffin and waits for her husband to return. When Troy enters the house, not yet having heard of Fanny's death, his first instinct is to wonder who in the house has died. When he approaches the coffin and sees Fanny, he leans down to kiss her; he tells Bathsheba he has been a bad, black-hearted man. He declares that Fanny is his wife in the eyes of Heaven, and tells Bathsheba, "I am not morally yours." Bathsheba leaves the room and runs out of the house. Bathsheba stays outside all night, and when Liddy comes looking for her in the morning, she has lost her voice. Liddy tells her that Troy has left, and Bathsheba barricades herself and Liddy in the attic to avoid Troy when he returns. Troy never returns, however, and later that day there is news that two men from Casterbridge are putting up a tombstone in Weatherbury. Chapter 45 backs up and tells us what has happened from Troy's point of view. He has gone on Monday morning to meet Fanny and, not finding her at the appointed place, gets angry and goes to the Budmouth races instead. While there, he reflects and regrets not having made more inquiries in Casterbridge. He comes home to find Bathsheba in the room with Fanny's open coffin and a dead baby by Fanny's side. Troy spends his last 27 pounds buying a gravestone for Fanny in Casterbridge. It is installed and he spends the evening planting an absurd number of flowers around her grave. Exhausted, he goes to sleep in the church overlooking Fanny's grave. Overnight, a strong rain comes. Through a twist of fate, the gargoyle on the church has a spout that, in heavy rain, pours directly onto Fanny's grave, displacing all the flowers and spattering the white gravestone with mud. When Troy awakes, he finds his hard work ruined. Discouraged, he does not attempt to fix it but leaves town. In the morning, Bathsheba learns that Troy has been seen leaving town, and she emerges from the attic. She visits Fanny's grave and sees the damage the rain has done. With Gabriel's help, Bathsheba replants the flowers, has the gargoyle spout altered, and cleans off the gravestone. The inscription reads, "Erected by Francis Troy in Beloved Memory of Fanny Robin. " Chapter 47 shows Troy wandering around the countryside. When he reaches the coast, he goes swimming, leaving his clothes and watch on the bank. As he swims a current pulls him from shore, and he nearly drowns. At the last minute, a boat of sailors picks him up and saves him. In the meantime, Bathsheba feels certain that Troy is coming back, and she worries distractedly about the farm. Despite Troy's heartlessness, she still feels bound to him. When she goes to the market a stranger tells her that he saw Troy drown, but Bathsheba cannot believe this is true. It is only when Troy's clothes arrive, with the watch still containing a curl of Fanny's hair, that Bathsheba begins to accept that he is dead.

Commentary This is a dramatic section, covering a great deal of action in a small space. Chapter 43 focuses on the intense emotional anxiety that leads Bathsheba first to open Fanny's coffin, then to confront Troy when he returns home. It is crucial that this whole section is told from Bathsheba's point of view, making us aware of her jealousy as it wars with her generosity. Bathsheba turns to Gabriel in the height of her trouble and gradually begins to realize Gabriel's selflessness, his intelligence and goodness. Hardy further builds the drama by waiting to disclose Troy's experiences on this fateful day. Troy has resolved to make amends to Fanny, but his decision comes too late, and in his self-reproach he behaves callously toward Bathsheba. Although Bathsheba resents Fanny, her sympathy toward her shows her to be far more sensitive than she has previously appeared; her dependence on Troy has brought her humility. The gargoyle's destruction of Fanny's carefully attended grave seems like a ridiculous contrivance on the part of Hardy, and it is one of the least credible coincidences in the novel. At the same time, there is significance to the fact that Bathsheba succeeds in tending Fanny's grave while Troy does not: Bathsheba has learned generosity and sympathy through her own weakness for Troy, a trait she did not possess at the beginning of the novel. Troy's regret does not benefit Fanny, serving only to hurt Bathsheba. Thus, he is not worthy to decorate Fanny's grave.

gradesaver

all_chapterized_books/1232-chapters/16.txt

finished_summaries/gradesaver/The Prince/section_5_part_2.txt

The Prince.chapter xvi

chapter xvi

{"name": "Chapter XVI", "url": "https://web.archive.org/web/20210417004655/https://www.gradesaver.com/the-prince/study-guide/summary-section-6-chapters-xv-xix", "summary": "\"On Liberality and Stinginess,\" Machiavelli complicates what initially seems like a relatively unfettered apologia for unscrupulous politics. His underlying point seems to be that virtue in office is often just a sham; true virtue is not seen and has no ulterior motive, whereas visible virtue is often exhibited only so that the prince may be loved and maintain a virtuous reputation. For example, the ostentatiously generous prince, in order to keep his \"generosity\" up, will have to burden the people with \"exorbitant taxes and squeeze money out of them in every way he can\" once he has used up his own revenue. This will in turn make him hated, so that his generosity will have backfired. What Machiavelli seems to object to is careless spending; better for a prince to be thought a \"miser,\" for his parsimony will enable him to live on his income, not raise taxes, and defend against enemies, all of which will in turn earn him greater respect in the long run. Hence a prince who prefers not to rob his subjects,\" Machiavelli writes, \"who wants to be able to defend himself, who wants to avoid poverty and contempt, and who doesn't want to become a plunderer, should not mind in the least if people consider him a miser; this is simply one of the vices that enable him to reign. Machiavelli concludes that when a citizen is trying to rise to princedom, generosity is important; thereafter, it is harmful", "analysis": "If The Prince is often characterized as a treatise on unscrupulous politics and a manual of ruthless power games, Chapter XV, \"On the Reasons Why Men Are Praised or Blamed - Especially Princes,\" is a particularly crucial chapter. It is here that Machiavelli directly addresses the question that has been bubbling underneath the surface of his book thus far - namely, to what extent does being good matter? Machiavelli's answer: as long as it contributes to holding onto power. The key notion here is that good is a relative concept; surface virtuosity, of the kind often showcased by rulers, is often but a disguise, and the greatest good lies in the end - the all-inclusive goal of maintaining the state and securing the reins of power. In other words, good is good insofar as it is politically expedient. The categorical crumbles in the face of efficiency, for the latter is the only true barometer. The ends justify the means, and utilitarianism is the dominant mode of reasoning. If a prince needs to indulge a vice to save his state, so be it. \"For if you look at matters carefully,\" Machiavelli writes, \"you will see that something resembling virtue, if you follow it, may be your ruin, while something resembling vice will lead, if you follow it, to your security and well-being.\" One might compare this argument to the thrust of Chapter XIII, \"On Those Who Have Become Princes By Crime,\" which measures when and to what extent a prince's cruelty can be justified. Machiavelli is arguing something far more complex than a call to disregard morality. His example of the generous prince begins as a seemingly hard-lined argument and emerges as a humanist consideration of the faults of man. A prince should not be miserly just for the sake of it; miserliness, by resulting in the safeguarding of funds and greater financial security, winds up helping the people in quite direct ways. It is up to the prince to see beyond short-run desires and superficial appearances and to not give away money he cannot afford to spend just to put on a lovable face and to curry favor, but instead to weather the occasional criticism and plan for the future. It is all about the greater good. Machiavelli sublimates the individualistic treatment of the prince as solitary agent into a larger view of society as contingent on long-term planning and sacrifice. The Prince reads here as less a how-to for the aspiring prince than a social manifesto; Machiavelli puts faith in the people's judgment, arguing that they will come around to loving the miserly prince who saves money out of necessity. As in his earlier distinctions between the common people and the nobles, he emerges as more of a populist and democrat than popular conceptions of The Prince tend to allow for. That said, Chapter XVII, \"On Cruelty and Clemency,\" presents a thoroughly pessimistic view of humanity. Men are inherently \"rotten,\" Machiavelli argues, explaining that they are \"ungrateful, fickle, liars and deceivers, fearful of danger and greedy for gain.\" For this reason, it is safer for a prince to be feared than to be loved: \"love is link of obligation which men, because they are rotten, will break any time they think doing so serves their advantage.\" Fear, on the other hand, \"involves dread of punishment, from which they can never escape.\" As always, Machiavelli tempers what seems at first like a thoroughly cynical position, noting that moderation is the key, and that a prince should try to make himself feared in a way that does not make him hated. More specifically, he should only shed blood when he has good reason to, he should not confiscate property, and he should keep his hands off his subjects' women. Certain lines cannot be crossed. As Machiavelli writes a few pages later, a prince \"should be ready to enter on evil if he has to,\" but he must have to. In any case, virtues are often difficult to define; they are only virtuous insofar as they help people. Virtue for its own sake can be harmful, and for a prince to possess and exercise all virtues at all times is a mistake. Appearances are a different matter: the masses are impressed by the superficial appearance of things so long as the prince's ends are achieved. It matters little, therefore, who the prince really is. Machiavelli closes Chapter XVIII with a reference that deserves mention. \"A certain prince of our own time,\" he writes, \"whom it's just as well not to name, preaches nothing but peace and mutual trust, yet he is the determined enemy of both.\" This seems to be a condemnation, but Machiavelli continues: \"if on several different occasions he had observed either, he would have lost both his reputation and his throne.\" The prince in question is Ferdinand of Spain, and the passage is something of a swipe at him. The first line suggests untempered scorn, while the second modifies this position and recasts Ferdinand as an example of how hypocrisy can be useful. These last few words are perhaps the veil Machiavelli uses to hide a more acute criticism of Ferdinand, who secured his power through often bloodthirsty tactics, expelling the Muslims and Jews from Spain, waging war, and persecuting the masses. These repellent maneuvers, Machiavelli is forced to admit, did work. We can sense here the writer having reached a sort of theoretical impasse: how to both condemn and praise? How to reconcile a need for human goodness with the demands of power and the vicissitudes of international relations? Ferdinand provides a particularly difficult case, since Machiavelli, writing of him as a \"determined enemy\" of peace and trust, seems to disapprove of him, while his own writings provide a framework whereby Ferdinand's actions are thoroughly justifiable. What is perhaps most important is that Machiavelli faces Ferdinand head-on. Contradictions may abound as Machiavelli maps out his philosophy, but he seems to implicitly acknowledge this. The Prince is more than a simplistic argument for cold-heartedness in politics, and these chapters reflect Machiavelli's efforts to grapple with the various problems his more cynical positions engender."}

Commencing then with the first of the above-named characteristics, I say that it would be well to be reputed liberal. Nevertheless, liberality exercised in a way that does not bring you the reputation for it, injures you; for if one exercises it honestly and as it should be exercised, it may not become known, and you will not avoid the reproach of its opposite. Therefore, any one wishing to maintain among men the name of liberal is obliged to avoid no attribute of magnificence; so that a prince thus inclined will consume in such acts all his property, and will be compelled in the end, if he wish to maintain the name of liberal, to unduly weigh down his people, and tax them, and do everything he can to get money. This will soon make him odious to his subjects, and becoming poor he will be little valued by any one; thus, with his liberality, having offended many and rewarded few, he is affected by the very first trouble and imperilled by whatever may be the first danger; recognizing this himself, and wishing to draw back from it, he runs at once into the reproach of being miserly. Therefore, a prince, not being able to exercise this virtue of liberality in such a way that it is recognized, except to his cost, if he is wise he ought not to fear the reputation of being mean, for in time he will come to be more considered than if liberal, seeing that with his economy his revenues are enough, that he can defend himself against all attacks, and is able to engage in enterprises without burdening his people; thus it comes to pass that he exercises liberality towards all from whom he does not take, who are numberless, and meanness towards those to whom he does not give, who are few. We have not seen great things done in our time except by those who have been considered mean; the rest have failed. Pope Julius the Second was assisted in reaching the papacy by a reputation for liberality, yet he did not strive afterwards to keep it up, when he made war on the King of France; and he made many wars without imposing any extraordinary tax on his subjects, for he supplied his additional expenses out of his long thriftiness. The present King of Spain would not have undertaken or conquered in so many enterprises if he had been reputed liberal. A prince, therefore, provided that he has not to rob his subjects, that he can defend himself, that he does not become poor and abject, that he is not forced to become rapacious, ought to hold of little account a reputation for being mean, for it is one of those vices which will enable him to govern. And if any one should say: Caesar obtained empire by liberality, and many others have reached the highest positions by having been liberal, and by being considered so, I answer: Either you are a prince in fact, or in a way to become one. In the first case this liberality is dangerous, in the second it is very necessary to be considered liberal; and Caesar was one of those who wished to become pre-eminent in Rome; but if he had survived after becoming so, and had not moderated his expenses, he would have destroyed his government. And if any one should reply: Many have been princes, and have done great things with armies, who have been considered very liberal, I reply: Either a prince spends that which is his own or his subjects' or else that of others. In the first case he ought to be sparing, in the second he ought not to neglect any opportunity for liberality. And to the prince who goes forth with his army, supporting it by pillage, sack, and extortion, handling that which belongs to others, this liberality is necessary, otherwise he would not be followed by soldiers. And of that which is neither yours nor your subjects' you can be a ready giver, as were Cyrus, Caesar, and Alexander; because it does not take away your reputation if you squander that of others, but adds to it; it is only squandering your own that injures you. And there is nothing wastes so rapidly as liberality, for even whilst you exercise it you lose the power to do so, and so become either poor or despised, or else, in avoiding poverty, rapacious and hated. And a prince should guard himself, above all things, against being despised and hated; and liberality leads you to both. Therefore it is wiser to have a reputation for meanness which brings reproach without hatred, than to be compelled through seeking a reputation for liberality to incur a name for rapacity which begets reproach with hatred.

Chapter XVI

https://web.archive.org/web/20210417004655/https://www.gradesaver.com/the-prince/study-guide/summary-section-6-chapters-xv-xix

"On Liberality and Stinginess," Machiavelli complicates what initially seems like a relatively unfettered apologia for unscrupulous politics. His underlying point seems to be that virtue in office is often just a sham; true virtue is not seen and has no ulterior motive, whereas visible virtue is often exhibited only so that the prince may be loved and maintain a virtuous reputation. For example, the ostentatiously generous prince, in order to keep his "generosity" up, will have to burden the people with "exorbitant taxes and squeeze money out of them in every way he can" once he has used up his own revenue. This will in turn make him hated, so that his generosity will have backfired. What Machiavelli seems to object to is careless spending; better for a prince to be thought a "miser," for his parsimony will enable him to live on his income, not raise taxes, and defend against enemies, all of which will in turn earn him greater respect in the long run. Hence a prince who prefers not to rob his subjects," Machiavelli writes, "who wants to be able to defend himself, who wants to avoid poverty and contempt, and who doesn't want to become a plunderer, should not mind in the least if people consider him a miser; this is simply one of the vices that enable him to reign. Machiavelli concludes that when a citizen is trying to rise to princedom, generosity is important; thereafter, it is harmful

If The Prince is often characterized as a treatise on unscrupulous politics and a manual of ruthless power games, Chapter XV, "On the Reasons Why Men Are Praised or Blamed - Especially Princes," is a particularly crucial chapter. It is here that Machiavelli directly addresses the question that has been bubbling underneath the surface of his book thus far - namely, to what extent does being good matter? Machiavelli's answer: as long as it contributes to holding onto power. The key notion here is that good is a relative concept; surface virtuosity, of the kind often showcased by rulers, is often but a disguise, and the greatest good lies in the end - the all-inclusive goal of maintaining the state and securing the reins of power. In other words, good is good insofar as it is politically expedient. The categorical crumbles in the face of efficiency, for the latter is the only true barometer. The ends justify the means, and utilitarianism is the dominant mode of reasoning. If a prince needs to indulge a vice to save his state, so be it. "For if you look at matters carefully," Machiavelli writes, "you will see that something resembling virtue, if you follow it, may be your ruin, while something resembling vice will lead, if you follow it, to your security and well-being." One might compare this argument to the thrust of Chapter XIII, "On Those Who Have Become Princes By Crime," which measures when and to what extent a prince's cruelty can be justified. Machiavelli is arguing something far more complex than a call to disregard morality. His example of the generous prince begins as a seemingly hard-lined argument and emerges as a humanist consideration of the faults of man. A prince should not be miserly just for the sake of it; miserliness, by resulting in the safeguarding of funds and greater financial security, winds up helping the people in quite direct ways. It is up to the prince to see beyond short-run desires and superficial appearances and to not give away money he cannot afford to spend just to put on a lovable face and to curry favor, but instead to weather the occasional criticism and plan for the future. It is all about the greater good. Machiavelli sublimates the individualistic treatment of the prince as solitary agent into a larger view of society as contingent on long-term planning and sacrifice. The Prince reads here as less a how-to for the aspiring prince than a social manifesto; Machiavelli puts faith in the people's judgment, arguing that they will come around to loving the miserly prince who saves money out of necessity. As in his earlier distinctions between the common people and the nobles, he emerges as more of a populist and democrat than popular conceptions of The Prince tend to allow for. That said, Chapter XVII, "On Cruelty and Clemency," presents a thoroughly pessimistic view of humanity. Men are inherently "rotten," Machiavelli argues, explaining that they are "ungrateful, fickle, liars and deceivers, fearful of danger and greedy for gain." For this reason, it is safer for a prince to be feared than to be loved: "love is link of obligation which men, because they are rotten, will break any time they think doing so serves their advantage." Fear, on the other hand, "involves dread of punishment, from which they can never escape." As always, Machiavelli tempers what seems at first like a thoroughly cynical position, noting that moderation is the key, and that a prince should try to make himself feared in a way that does not make him hated. More specifically, he should only shed blood when he has good reason to, he should not confiscate property, and he should keep his hands off his subjects' women. Certain lines cannot be crossed. As Machiavelli writes a few pages later, a prince "should be ready to enter on evil if he has to," but he must have to. In any case, virtues are often difficult to define; they are only virtuous insofar as they help people. Virtue for its own sake can be harmful, and for a prince to possess and exercise all virtues at all times is a mistake. Appearances are a different matter: the masses are impressed by the superficial appearance of things so long as the prince's ends are achieved. It matters little, therefore, who the prince really is. Machiavelli closes Chapter XVIII with a reference that deserves mention. "A certain prince of our own time," he writes, "whom it's just as well not to name, preaches nothing but peace and mutual trust, yet he is the determined enemy of both." This seems to be a condemnation, but Machiavelli continues: "if on several different occasions he had observed either, he would have lost both his reputation and his throne." The prince in question is Ferdinand of Spain, and the passage is something of a swipe at him. The first line suggests untempered scorn, while the second modifies this position and recasts Ferdinand as an example of how hypocrisy can be useful. These last few words are perhaps the veil Machiavelli uses to hide a more acute criticism of Ferdinand, who secured his power through often bloodthirsty tactics, expelling the Muslims and Jews from Spain, waging war, and persecuting the masses. These repellent maneuvers, Machiavelli is forced to admit, did work. We can sense here the writer having reached a sort of theoretical impasse: how to both condemn and praise? How to reconcile a need for human goodness with the demands of power and the vicissitudes of international relations? Ferdinand provides a particularly difficult case, since Machiavelli, writing of him as a "determined enemy" of peace and trust, seems to disapprove of him, while his own writings provide a framework whereby Ferdinand's actions are thoroughly justifiable. What is perhaps most important is that Machiavelli faces Ferdinand head-on. Contradictions may abound as Machiavelli maps out his philosophy, but he seems to implicitly acknowledge this. The Prince is more than a simplistic argument for cold-heartedness in politics, and these chapters reflect Machiavelli's efforts to grapple with the various problems his more cynical positions engender.

sparknotes

all_chapterized_books/23046-chapters/11.txt

finished_summaries/sparknotes/The Comedy of Errors/section_5_part_0.txt

The Comedy of Errors.act v.scene i

act v, scene i

{"name": "Act V, scene i", "url": "https://web.archive.org/web/20210224233119/https://www.sparknotes.com/shakespeare/errors/section6/", "summary": "Angelo the goldsmith and the Second Merchant are discussing how Antipholus of Ephesus claimed to have never received the gold chain from Angelo, when they encounter Antipholus of Syracuse and Dromio of Syracuse. Angelo sees the gold chain hanging from Antipholus' neck, and they exchange harsh words that lead to drawn swords. Just then Adriana, Luciana, and the Courtesan come in, and Antipholus and Dromio flee into a nearby abbey. The Abbess comes out and demands to know what is going on. Adriana describes her husband's madness, but after hearing the story, the Abbess blames Adriana's jealousy for driving Antipholus mad and denies everyone entry into her house, saying that she will cure the man herself. It is now five o'clock, and Duke Solinus appears, leading Egeon to his execution. Adriana, seeing the Duke, appeals to him for aid in removing her husband from the abbey, describing his madness and their attempts to control him. The Duke, remembering promises that he made to Adriana when she married Antipholus, agrees to mediate--but just then a messenger comes in, with news that Antipholus and Dromio have escaped from Pinch's clutches. Adriana calls him a liar, saying that her husband is in the abbey, but then Antipholus himself rushes in, accompanied by his slave and demanding that the Duke grant him justice against his wife, who has locked him out of the house, allowed him to be arrested, and then placed him in the hands of Pinch. There is a flurry of charges and countercharges, and the Duke summons the Abbess, hoping that she can untangle the mess. Egeon, meanwhile, goes up to Antipholus of Ephesus and, mistaking him for the son he brought up, and greets him happily. Antipholus E. is confused and says that he never saw his father in his life, and that he has always been a citizen of Ephesus. Then, mercifully, the Abbess enters, bringing with her Antipholus and Dromio of Syracuse, which causes general consternation. The Abbess greets Egeon and declares that she is his wife, Emilia, long separated from him, and that the identical Antipholi are their twin sons. The rest of the tangle is quickly explained: The ring is returned to the Courtesan, the gold chain is paid for, and the Duke refuses an offer of payment for Egeon's life, declaring that the old man is pardoned. Then, the entire company retires inside the Abbey for a celebratory feast, with the two Dromios going last, hand in hand, \"like brother and brother .", "analysis": "\" Commentary The final act consists of a mounting confusion that is finally ended by the intervention of the Abbess, Emilia. Her character appears for the first time here and acts as a kind of deus ex machina to untangle the web of errors in which the other characters are trapped. Her social status within the city, however, is a matter of debate: some critics see her as a priestess of Diana, the pagan protectress of Ephesus, while others see her as a Catholic nun. Making her a Catholic would be an interesting choice for a playwright surrounded by the fervent Protestantism of Elizabethan England; there are other references to Catholic practices in the text, especially from the two Dromios, who repeatedly refer to their \"beads\" and cross themselves--both of which would have been immediately recognized as Catholic behavior by the religiously aware audience of Shakespeare's time. Regardless of her religious affiliation, Emilia's appearance and explanation erases what was quickly turning into an ugly scene, as even the sensible Duke had begun to lean toward witchcraft as an explanation. \"I think you have all drunk of Circe's cup ,\" he says, referring to a mythological Greek sorceress; and when the two pairs of twins are on stage together for the first time, he demands to know \"of these, which is the natural man, and which the spirit? Who deciphers them?\". The decipherer, of course, is Emilia, and her quick explanation is such a relief that the audience may gloss over the peculiar question of why she spent 20 years in Ephesus without ever revealing herself to the son who was living there, let alone telling him about the missing half of his family. This is a farce, so we accept a little improbability--after all, the fact that both Antipholus brothers are wearing the same clothes on the day that they meet in Ephesus is coincidence enough to make all others pale in comparison. So all ends happily, and even the Duke, previously a model of legalism, is willing to waive the requirements of his city's law in the face of such general happiness. It is worth noting, however, that the Antipholus brothers seem less than enthusiastic to finally meet one another. The Ephesian twin is anxious to get back to his wife and his role as a solid citizen and tradesman, while the Syracusan seems to have overcome his earlier angst and spiritual incompleteness and wants to get down to the important business of pursuing Luciana. Significantly, it is their slaves, the comic centers of a comic play, who are most affected by the reunion. \"I see by you I am a sweet-faced youth ,\" Dromio of Ephesus says, and then they walk offstage arm in arm, as two happy clowns should."}

ACT V. SCENE I. A street before a Priory. _Enter _Second Merchant_ and ANGELO._ _Ang._ I am sorry, sir, that I have hinder'd you; But, I protest, he had the chain of me, Though most dishonestly he doth deny it. _Sec. Mer._ How is the man esteem'd here in the city? _Ang._ Of very reverent reputation, sir, 5 Of credit infinite, highly beloved, Second to none that lives here in the city: His word might bear my wealth at any time. _Sec. Mer._ Speak softly: yonder, as I think, he walks. _Enter _ANTIPHOLUS of Syracuse_ and _DROMIO of Syracuse_._ _Ang._ 'Tis so; and that self chain about his neck, 10 Which he forswore most monstrously to have. Good sir, draw near to me, I'll speak to him; Signior Antipholus, I wonder much That you would put me to this shame and trouble; And, not without some scandal to yourself, 15 With circumstance and oaths so to deny This chain which now you wear so openly: Beside the charge, the shame, imprisonment, You have done wrong to this my honest friend; Who, but for staying on our controversy, 20 Had hoisted sail and put to sea to-day: This chain you had of me; can you deny it? _Ant. S._ I think I had; I never did deny it. _Sec. Mer._ Yes, that you did, sir, and forswore it too. _Ant. S._ Who heard me to deny it or forswear it? 25 _Sec. Mer._ These ears of mine, thou know'st, did hear thee. Fie on thee, wretch! 'tis pity that thou livest To walk where any honest men resort. _Ant. S._ Thou art a villain to impeach me thus: I'll prove mine honour and mine honesty 30 Against thee presently, if thou darest stand. _Sec. Mer._ I dare, and do defy thee for a villain. [_They draw._ _Enter ADRIANA, LUCIANA, the _Courtezan_, and others._ _Adr._ Hold, hurt him not, for God's sake! he is mad. Some get within him, take his sword away: Bind Dromio too, and bear them to my house. 35 _Dro. S._ Run, master, run; for God's sake, take a house! This is some priory.--In, or we are spoil'd! [_Exeunt Ant. S. and Dro. S. to the Priory._ _Enter the _Lady Abbess_._ _Abb._ Be quiet, people. Wherefore throng you hither? _Adr._ To fetch my poor distracted husband hence. Let us come in, that we may bind him fast, 40 And bear him home for his recovery. _Ang._ I knew he was not in his perfect wits. _Sec. Mer._ I am sorry now that I did draw on him. _Abb._ How long hath this possession held the man? _Adr._ This week he hath been heavy, sour, sad, 45 And much different from the man he was; But till this afternoon his passion Ne'er brake into extremity of rage. _Abb._ Hath he not lost much wealth by wreck of sea? Buried some dear friend? Hath not else his eye 50 Stray'd his affection in unlawful love? A sin prevailing much in youthful men, Who give their eyes the liberty of gazing. Which of these sorrows is he subject to? _Adr._ To none of these, except it be the last; 55 Namely, some love that drew him oft from home. _Abb._ You should for that have reprehended him. _Adr._ Why, so I did. _Abb._ Ay, but not rough enough. _Adr._ As roughly as my modesty would let me. _Abb._ Haply, in private. _Adr._ And in assemblies too. 60 _Abb._ Ay, but not enough. _Adr._ It was the copy of our conference: In bed, he slept not for my urging it; At board, he fed not for my urging it; Alone, it was the subject of my theme; 65 In company I often glanced it; Still did I tell him it was vile and bad. _Abb._ And thereof came it that the man was mad:-- The venom clamours of a jealous woman, Poisons more deadly than a mad dog's tooth. 70 It seems his sleeps were hinder'd by thy railing: And thereof comes it that his head is light. Thou say'st his meat was sauced with thy upbraidings: Unquiet meals make ill digestions; Thereof the raging fire of fever bred; 75 And what's a fever but a fit of madness? Thou say'st his sports were hinder'd by thy brawls: Sweet recreation barr'd, what doth ensue But moody and dull melancholy, Kinsman to grim and comfortless despair; 80 And at her heels a huge infectious troop Of pale distemperatures and foes to life? In food, in sport, and life-preserving rest To be disturb'd, would mad or man or beast: The consequence is, then, thy jealous fits 85 Have scared thy husband from the use of wits. _Luc._ She never reprehended him but mildly, When he demean'd himself rough, rude, and wildly. Why bear you these rebukes, and answer not? _Adr._ She did betray me to my own reproof. 90 Good people, enter, and lay hold on him. _Abb._ No, not a creature enters in my house. _Adr._ Then let your servants bring my husband forth. _Abb._ Neither: he took this place for sanctuary, And it shall privilege him from your hands 95 Till I have brought him to his wits again, Or lose my labour in assaying it. _Adr._ I will attend my husband, be his nurse, Diet his sickness, for it is my office, And will have no attorney but myself; 100 And therefore let me have him home with me. _Abb._ Be patient; for I will not let him stir Till I have used the approved means I have, With wholesome syrups, drugs and holy prayers, To make of him a formal man again: 105 It is a branch and parcel of mine oath, A charitable duty of my order. Therefore depart, and leave him here with me. _Adr._ I will not hence, and leave my husband here: And ill it doth beseem your holiness 110 To separate the husband and the wife. _Abb._ Be quiet, and depart: thou shalt not have him. [_Exit._ _Luc._ Complain unto the Duke of this indignity. _Adr._ Come, go: I will fall prostrate at his feet, And never rise until my tears and prayers 115 Have won his Grace to come in person hither, And take perforce my husband from the abbess. _Sec. Mer._ By this, I think, the dial points at five: Anon, I'm sure, the Duke himself in person Comes this way to the melancholy vale, 120 The place of death and sorry execution, Behind the ditches of the abbey here. _Ang._ Upon what cause? _Sec. Mer._ To see a reverend Syracusian merchant, Who put unluckily into this bay 125 Against the laws and statutes of this town, Beheaded publicly for his offence. _Ang._ See where they come: we will behold his death. _Luc._ Kneel to the Duke before he pass the abbey. _Enter DUKE, attended; AEGEON bareheaded; with the _Headsman_ and other _Officers_._ _Duke._ Yet once again proclaim it publicly, 130 If any friend will pay the sum for him, He shall not die; so much we tender him. _Adr._ Justice, most sacred Duke, against the abbess! _Duke._ She is a virtuous and a reverend lady: It cannot be that she hath done thee wrong. 135 _Adr._ May it please your Grace, Antipholus my husband,-- Whom I made lord of me and all I had, At your important letters,--this ill day A most outrageous fit of madness took him; That desperately he hurried through the street,-- 140 With him his bondman, all as mad as he,-- Doing displeasure to the citizens By rushing in their houses, bearing thence Rings, jewels, any thing his rage did like. Once did I get him bound, and sent him home, 145 Whilst to take order for the wrongs I went, That here and there his fury had committed. Anon, I wot not by what strong escape, He broke from those that had the guard of him; And with his mad attendant and himself, 150 Each one with ireful passion, with drawn swords, Met us again, and, madly bent on us, Chased us away; till, raising of more aid, We came again to bind them. Then they fled Into this abbey, whither we pursued them; 155 And here the abbess shuts the gates on us, And will not suffer us to fetch him out, Nor send him forth, that we may bear him hence. Therefore, most gracious Duke, with thy command Let him be brought forth, and borne hence for help. 160 _Duke._ Long since thy husband served me in my wars; And I to thee engaged a prince's word, When thou didst make him master of thy bed, To do him all the grace and good I could. Go, some of you, knock at the abbey-gate, 165 And bid the lady abbess come to me. I will determine this before I stir. _Enter a _Servant_._ _Serv._ O mistress, mistress, shift and save yourself! My master and his man are both broke loose, Beaten the maids a-row, and bound the doctor, 170 Whose beard they have singed off with brands of fire; And ever, as it blazed, they threw on him Great pails of puddled mire to quench the hair: My master preaches patience to him, and the while His man with scissors nicks him like a fool; 175 And sure, unless you send some present help, Between them they will kill the conjurer. _Adr._ Peace, fool! thy master and his man are here; And that is false thou dost report to us. _Serv._ Mistress, upon my life, I tell you true; 180 I have not breathed almost since I did see it. He cries for you, and vows, if he can take you, To scorch your face and to disfigure you. [_Cry within._ Hark, hark! I hear him, mistress: fly, be gone! _Duke._ Come, stand by me; fear nothing. Guard with halberds! 185 _Adr._ Ay me, it is my husband! Witness you, That he is borne about invisible: Even now we housed him in the abbey here; And now he's there, past thought of human reason. _Enter _ANTIPHOLUS of Ephesus_ and _DROMIO of Ephesus_._ _Ant. E._ Justice, most gracious Duke, O, grant me justice! 190 Even for the service that long since I did thee, When I bestrid thee in the wars, and took Deep scars to save thy life; even for the blood That then I lost for thee, now grant me justice. _Aege._ Unless the fear of death doth make me dote, 195 I see my son Antipholus, and Dromio. _Ant. E._ Justice, sweet prince, against that woman there! She whom thou gavest to me to be my wife, That hath abused and dishonour'd me Even in the strength and height of injury: 200 Beyond imagination is the wrong That she this day hath shameless thrown on me. _Duke._ Discover how, and thou shalt find me just. _Ant. E._ This day, great Duke, she shut the doors upon me, While she with harlots feasted in my house. 205 _Duke._ A grievous fault! Say, woman, didst thou so? _Adr._ No, my good lord: myself, he and my sister To-day did dine together. So befal my soul As this is false he burdens me withal! _Luc._ Ne'er may I look on day, nor sleep on night, 210 But she tells to your Highness simple truth! _Ang._ O perjured woman! They are both forsworn: In this the madman justly chargeth them. _Ant. E._ My liege, I am advised what I say; Neither disturbed with the effect of wine, 215 Nor heady-rash, provoked with raging ire, Albeit my wrongs might make one wiser mad. This woman lock'd me out this day from dinner: That goldsmith there, were he not pack'd with her, Could witness it, for he was with me then; 220 Who parted with me to go fetch a chain, Promising to bring it to the Porpentine, Where Balthazar and I did dine together. Our dinner done, and he not coming thither, I went to seek him: in the street I met him, 225 And in his company that gentleman. There did this perjured goldsmith swear me down That I this day of him received the chain, Which, God he knows, I saw not: for the which He did arrest me with an officer. 230 I did obey; and sent my peasant home For certain ducats: he with none return'd. Then fairly I bespoke the officer To go in person with me to my house. By the way we met my wife, her sister, and a rabble more 235 Of vile confederates. Along with them They brought one Pinch, a hungry lean-faced villain, A mere anatomy, a mountebank, A threadbare juggler, and a fortune-teller, A needy, hollow-eyed, sharp-looking wretch, 240 A living-dead man: this pernicious slave, Forsooth, took on him as a conjurer; And, gazing in mine eyes, feeling my pulse, And with no face, as 'twere, outfacing me, Cries out, I was possess'd. Then all together 245 They fell upon me, bound me, bore me thence, And in a dark and dankish vault at home There left me and my man, both bound together; Till, gnawing with my teeth my bonds in sunder, I gain'd my freedom, and immediately 250 Ran hither to your Grace; whom I beseech To give me ample satisfaction For these deep shames and great indignities. _Ang._ My lord, in truth, thus far I witness with him, That he dined not at home, but was lock'd out. 255 _Duke._ But had he such a chain of thee or no? _Ang._ He had, my lord: and when he ran in here, These people saw the chain about his neck. _Sec. Mer._ Besides, I will be sworn these ears of mine Heard you confess you had the chain of him, 260 After you first forswore it on the mart: And thereupon I drew my sword on you; And then you fled into this abbey here, From whence, I think, you are come by miracle. _Ant. E._ I never came within these abbey-walls; 265 Nor ever didst thou draw thy sword on me: I never saw the chain, so help me Heaven: And this is false you burden me withal! _Duke._ Why, what an intricate impeach is this! I think you all have drunk of Circe's cup. 270 If here you housed him, here he would have been; If he were mad, he would not plead so coldly: You say he dined at home; the goldsmith here Denies that saying. Sirrah, what say you? _Dro. E._ Sir, he dined with her there, at the Porpentine. 275 _Cour._ He did; and from my finger snatch'd that ring. _Ant. E._ 'Tis true, my liege; this ring I had of her. _Duke._ Saw'st thou him enter at the abbey here? _Cour._ As sure, my liege, as I do see your Grace. _Duke._ Why, this is strange. Go call the abbess hither. 280 I think you are all mated, or stark mad. [_Exit one to the Abbess._ _Aege._ Most mighty Duke, vouchsafe me speak a word: Haply I see a friend will save my life, And pay the sum that may deliver me. _Duke._ Speak freely, Syracusian, what thou wilt. 285 _Aege._ Is not your name, sir, call'd Antipholus? And is not that your bondman, Dromio? _Dro. E._ Within this hour I was his bondman, sir, But he, I thank him, gnaw'd in two my cords: Now am I Dromio, and his man unbound. 290 _Aege._ I am sure you both of you remember me. _Dro. E._ Ourselves we do remember, sir, by you; For lately we were bound, as you are now. You are not Pinch's patient, are you, sir? _Aege._ Why look you strange on me? you know me well. 295 _Ant. E._ I never saw you in my life till now. _Aege._ O, grief hath changed me since you saw me last, And careful hours with time's deformed hand Have written strange defeatures in my face: But tell me yet, dost thou not know my voice? 300 _Ant. E._ Neither. _Aege._ Dromio, nor thou? _Dro. E._ No, trust me, sir, nor I. _Aege._ I am sure thou dost. _Dro. E._ Ay, sir, but I am sure I do not; and whatsoever a man denies, you are now bound to believe him. 305 _Aege._ Not know my voice! O time's extremity, Hast thou so crack'd and splitted my poor tongue In seven short years, that here my only son Knows not my feeble key of untuned cares? Though now this grained face of mine be hid 310 In sap-consuming winter's drizzled snow, And all the conduits of my blood froze up, Yet hath my night of life some memory, My wasting lamps some fading glimmer left, My dull deaf ears a little use to hear: 315 All these old witnesses--I cannot err-- Tell me thou art my son Antipholus. _Ant. E._ I never saw my father in my life. _Aege._ But seven years since, in Syracusa, boy, Thou know'st we parted: but perhaps, my son, 320 Thou shamest to acknowledge me in misery. _Ant. E._ The Duke and all that know me in the city Can witness with me that it is not so: I ne'er saw Syracusa in my life. _Duke._ I tell thee, Syracusian, twenty years 325 Have I been patron to Antipholus, During which time he ne'er saw Syracusa: I see thy age and dangers make thee dote. _Re-enter _Abbess_, with _ANTIPHOLUS of Syracuse_ and _DROMIO of Syracuse_._ _Abb._ Most mighty Duke, behold a man much wrong'd. [_All gather to see them._ _Adr._ I see two husbands, or mine eyes deceive me. 330 _Duke._ One of these men is Genius to the other; And so of these. Which is the natural man, And which the spirit? who deciphers them? _Dro. S._ I, sir, am Dromio: command him away. _Dro. E._ I, sir, am Dromio: pray, let me stay. 335 _Ant. S._ Aegeon art thou not? or else his ghost? _Dro. S._ O, my old master! who hath bound him here? _Abb._ Whoever bound him, I will loose his bonds, And gain a husband by his liberty. Speak, old Aegeon, if thou be'st the man 340 That hadst a wife once call'd Aemilia, That bore thee at a burden two fair sons: O, if thou be'st the same Aegeon, speak, And speak unto the same Aemilia! _Aege._ If I dream not, thou art Aemilia: 345 If thou art she, tell me where is that son That floated with thee on the fatal raft? _Abb._ By men of Epidamnum he and I And the twin Dromio, all were taken up; But by and by rude fishermen of Corinth 350 By force took Dromio and my son from them, And me they left with those of Epidamnum. What then became of them I cannot tell; I to this fortune that you see me in. _Duke._ Why, here begins his morning story right: 355 These two Antipholuses, these two so like, And these two Dromios, one in semblance,-- Besides her urging of her wreck at sea,-- These are the parents to these children, Which accidentally are met together. 360 Antipholus, thou camest from Corinth first? _Ant. S._ No, sir, not I; I came from Syracuse. _Duke._ Stay, stand apart; I know not which is which. _Ant. E._ I came from Corinth, my most gracious lord,-- _Dro. E._ And I with him. 365 _Ant. E._ Brought to this town by that most famous warrior. Duke Menaphon, your most renowned uncle. _Adr._ Which of you two did dine with me to-day? _Ant. S._ I, gentle mistress. _Adr._ And are not you my husband? _Ant. E._ No; I say nay to that. 370 _Ant. S._ And so do I; yet did she call me so: And this fair gentlewoman, her sister here, Did call me brother. [_To Lucia._] What I told you then, I hope I shall have leisure to make good; If this be not a dream I see and hear. 375 _Ang._ That is the chain, sir, which you had of me. _Ant. S._ I think it be, sir; I deny it not. _Ant. E._ And you, sir, for this chain arrested me. _Ang._ I think I did, sir; I deny it not. _Adr._ I sent you money, sir, to be your bail, 380 By Dromio; but I think he brought it not. _Dro. E._ No, none by me. _Ant. S._ This purse of ducats I received from you, And Dromio my man did bring them me. I see we still did meet each other's man; 385 And I was ta'en for him, and he for me; And thereupon these ERRORS are arose. _Ant. E._ These ducats pawn I for my father here. _Duke._ It shall not need; thy father hath his life. _Cour._ Sir, I must have that diamond from you. 390 _Ant. E._ There, take it; and much thanks for my good cheer. _Abb._ Renowned Duke, vouchsafe to take the pains To go with us into the abbey here, And hear at large discoursed all our fortunes;-- And all that are assembled in this place, 395 That by this sympathized one day's error Have suffer'd wrong, go keep us company, And we shall make full satisfaction.-- Thirty-three years have I but gone in travail Of you, my sons; and till this present hour 400 My heavy burthen ne'er delivered. The Duke, my husband, and my children both, And you the calendars of their nativity, Go to a gossips' feast, and go with me; After so long grief, such nativity! 405 _Duke._ With all my heart, I'll gossip at this feast. [_Exeunt all but Ant. S., Ant. E., Dro. S., and Dro. E._ _Dro. S._ Master, shall I fetch your stuff from ship-board? _Ant. E._ Dromio, what stuff of mine hast thou embark'd? _Dro. S._ Your goods that lay at host, sir, in the Centaur. _Ant. S._ He speaks to me. --I am your master, Dromio: 410 Come, go with us; we'll look to that anon: Embrace thy brother there; rejoice with him. [_Exeunt Ant. S. and Ant. E._ _Dro. S._ There is a fat friend at your master's house, That kitchen'd me for you to-day at dinner: She now shall be my sister, not my wife. 415 _Dro. E._ Methinks you are my glass, and not my brother: I see by you I am a sweet-faced youth. Will you walk in to see their gossiping? _Dro. S._ Not I, sir; you are my elder. _Dro. E._ That's a question: how shall we try it? 420 _Dro. S._ We'll draw cuts for the senior: till then lead thou first. _Dro. E._ Nay, then, thus:-- We came into the world like brother and brother; And now let's go hand in hand, not one before another. [_Exeunt._ NOTES: V, 1. SCENE I. A street ... Priory] Pope. See note (VIII). 3: _doth_] F1. _did_ F2 F3 F4. 9: Enter ...] Enter Antipholis and Dromio againe. Ff. 12: _to me_] _with me_ Collier MS. 18: _Beside_] Ff. _Besides_ Pope. 26: _know'st ... thee._] Ff. _knowest ... thee._ Pope. _knowest well ... thee._ Hanmer. _know'st ... thee, sir._ Capell. _know'st ... thee swear_ Grant White conj. 30: _mine honesty_] F1 F2 F3. _my honesty_ F4. 33: SCENE II. Pope. 33, 36: _God's ... God's_] F3 F4. _God ... God's_ F1 F2. 38: _quiet, people._] Theobald. _quiet people._ Ff. 45: _sour_] Rowe. _sower_ Ff. 46: _much_] F1 F4. _much, much_ F2 F3. 49: _of sea_] F1. _at sea_ F2 F3 F4. 50: _Hath not else his eye_] _Hath nought else his eye?_ Anon. conj. 51: _his ... in_] _in ... and_ Anon. conj. 61: _Ay_] _Ay, ay_ Hanmer. 66: _it_] _at it_ Pope. 69: _venom_] _venome_ F1 F2. _venomous_ F3 F4. _venom'd_ Pope. _woman,_] _woman_ Pope. 69, 70: _clamours ... Poisons_] _clamours ... Poison_ Pope. _clamour ... Poisons_ Capell. 72, 75: _thereof_] _therefore_ Johnson. 74: _make_] F1. _makes_ F2 F3 F4. 77: _by_] _with_ Pope. 79: _moody_] F1. _muddy_ F2 F3 F4.] _moody, moping_ Hanmer. _moody sadness_ Singer conj. _melancholy_] _melancholia_ Anon. conj. 80: _Kinsman_] _kins-woman_ Capell. ending line 79 at _kins-_. _A'kin_ Hanmer. Warburton marks this line as spurious. 81: _her_] _their_ Malone (Heath conj.). 86: _Have_] F2 F3 F4. _Hath_ F1. 88: _wildly_] _wild_ Capell. 89: _these_] F1 F2. _those_ F3 F4. 112: [Exit.] Theobald. 117: [Exeunt. Enter Merchant and Goldsmith. F2. 121: _death_] F3 F4. _depth_ F1 F2. _sorry_] _solemn_ Collier MS. 124: _reverend_ F3 F4. _reverent_ F1 F2. 128: Enter Adriana and Lucia. F2. 130: SCENE III. Pope. attended] Theobald. 132: Enter Adriana. F2. 134: _reverend_] Ff. 137: _Whom_] F2 F3 F4. _Who_ F1. 138: _important_] F1. _impoteant_ F2. _impotent_ F3 F4. _all-potent_ Rowe. _letters_] F1 F2 F3. _letter_ F4. 148: _strong_] _strange_ Malone conj. 150: _with_] _here_ Capell. _then_ Ritson conj. _and himself_] mad himself Warburton. 158: _hence_] F1 F2. _thence_ F3 F4. 168: SCENE IV. Pope. Enter a servant.] Capell. Enter a Messenger. Ff. 174: _to him_] om. Capell. _and_] om. Hanmer. _and the_ om. Steevens. 176: _some_] F1 _some other_ F2 F3 F4. 179: _to_] F1 F3 F4. _of_ F2. 183: _scorch_] _scotch_ Warburton. 205: _While_] F1 _Whilst_ F2 F3 F4. 208: _To-day_] om. Hanmer. _So befal_] _So fall_ Capell. 212, 213: [To Mer. Capell. 228: _of_] F1. _from_ F2 F3 F4. 235: _By the way_] _To which he yielded: by the way_ Capell, making two verses of 235. See note (IX). 235, 236: Pope ends these lines _and ... confederates_. 236: _Along with them_] om. Pope. 247: _And in_] _Into_ Lettsom conj. 248: _There_] _They_ Collier MS. 249: _in sunder_] F1. _asunder_ F2 F3 F4. 267, 268: _chain, so ... Heaven: And_] _chain. So ... heaven As_ Dyce. 281: _mad_] _made_ F2. [Exit ...] F1 F2. [Enter ... F3 F4. 291: _you both_] F1. _both_ F2 F3 F4. 298: _deformed_] _deforming_ Capell. 304: _Ay, sir,_] Capell. _I sir,_ Ff. _I, sir?_ Pope. _Ay, sir?_ Malone. 304, 305: Printed as verse by Capell: _But ... whatsoever A ... him_. 307: _crack'd and splitted_] _crack'd my voice, split_ Collier MS. 309: _of untuned cares_] _untuned of cares_ Anon. conj. _cares_] _ears_ Anon. conj. 314: _lamps_] _lamp_ Pope. 316: _All_] _And all_ Rowe. _old_] _hold_ Warburton. _witnesses--I cannot err--_] _witnesses, I cannot erre._ Ff. 319: _Syracusa, boy_] Capell. _Syracusa boy_ Ff. _Syracusa bay_ Rowe. _Syracusa's bay_ Hanmer. 329: SCENE VII. Pope. [All ... them.] [All ... him. Warburton. 332: _these. Which_] _these, which_ Ff. 355-360: _Why ... together_] Ff insert this speech after 344. The alteration is due to Capell. 355: _his_] F1 F2. _this_ F3 F4. _the_ Pope. _story right_] _story's light_ Capell. 356: _Antipholuses, these_] _Antipholus, these_ F1. _Antipholis, these_ F2 F3 F4. _Antipholis's_ Hanmer. See note (I). 357: _these_] F1 F4. _those_ F2 F3. _semblance_] _semblance prove_ Capell. 358: _Besides her urging of her_] _Both sides emerging from their_ Hanmer. _Besides his urging of his_ Collier MS. _Besides his urging of her_ Dyce conj. Malone supposes a line, beginning with _These_, lost after 358. _wreck at sea,--_] _wreck,--all say,_ Jackson conj. 359: _These are_] _These plainly are_ Pope. 361: Ff prefix 'Duke.' 372: _her sister_] F1. om. F2 F3 F4. 373: [To Lucia.] [Aside to Lucia. Staunton conj. 387: _are arose_] Ff. _all arose_ Rowe. _rare arose_ Staunton. _here arose_ Anon. conj. 394: _hear_] _here_ Johnson. 398: _we shall make_] _ye shalt have_ Pope. 399: _Thirty-three_] Ff. _Twenty-five_ Theobald. _Twenty-three_ Capell. See note (X). _but_] F1. _been_ F2 F3 F4. om. Hanmer. 400: _and till_] _nor till_ Theobald. _until_ Malone (Boaden conj.). _and at_ Collier MS. 401: _burthen ne'er_] Dyce. _burthen are_ F1. _burthens are_ F2 F3 F4. _burden not_ Capell. _burden undelivered_ Collier. _burden here_ Grant White. _burden has_ Anon. conj. (ap. Halliwell). 404: _Go ... and go_] _Hence ... along_ Lettsom conj. _So ... all go_ Edd. conj. _and go_] F1 F3 F4. _and goe_ F2. _and gaud_ Warburton. _and joy_ Heath conj. _and gout_ Jackson conj. _and see_ Anon. conj. 405: _nativity_] Ff. _felicity_ Hanmer. _festivity_ Dyce (Johnson conj.). _such nativity!_] _suits festivity._ Anon. conj. 406: [Exeunt ...] [Exeunt omnes. Manet the two Dromio's and two brothers. Ff. 407: SCENE VIII. Pope. _fetch_] _go fetch_ S. Walker conj. _ship-board_] _shipboard for you_ Capell conj. 412: [Exeunt ...] [Exit. Ff. 420: _we try it?_] _we trie it._ F1 _I try it._ F2 F3 F4. _we try it, brother?_ Capell. 421: _We'll_] _We will_ Capell, ending lines 419-421 at _question ... draw ... first._ _senior_] Pope. _signior_ F1 F2. _signiority_ F3 F4. 422: [embracing. Rowe. NOTES. NOTE I. In the spelling of the name of 'Solinus' we have followed the first Folio. In the subsequent Folios it was altered, most probably by an accident in F2 to 'Salinus.' The name occurs only once in the copies, and that in the first line of the text. The name which we have given as 'Antipholus' is spelt indifferently thus, and 'Antipholis' in the Folios. It will hardly be doubted that the lines in the rhyming passage, III. 2. 2, 4, where the Folios read 'Antipholus,' are correctly amended by Capell, and prove that 'Antipholus' is the spelling of Shakespeare. Either word is evidently corrupted from 'Antiphilus.' These names are merely arbitrary, but the surnames, 'Erotes' and 'Sereptus,' are most probably errors for 'Errans,' or 'Erraticus' and 'Surreptus,' of which the latter is plainly derived from Plautus' _Menaechmus Surreptus_, a well-known character in Shakespeare's day: see Brian Melbancke's _Philotimus_ (1582), p. 160: 'Thou art like Menechmus Subreptus his wife ... whose "husband shall not neede to be justice of peace" for she "will have a charter to make her justice of coram."' See _Merry Wives_, I. 1. 4, 5. In spelling 'Syracusian' instead of 'Syracusan' we follow the practice of the Folios in an indifferent matter. 'Epidamnum' not 'Epidamium' is found in the English translation of the _Menaechmi_, 1595, so the latter form in F1 is probably a printer's error. NOTE II. I. 2. 1. That this scene is laid at the Mart appears from Antipholus's allusion to this place in II. 2. 5, 6: 'I could not speak with Dromio since at first I sent him from the mart.' As this play is derived from a classical prototype, Capell has supposed no change of scene, but lays the whole action in 'a Publick Place;' evidently with much inconvenience to the Persons. NOTE III. II. 1. 30. Johnson's ingenious conjecture may have been suggested to him by a passage in _As you like it_, IV. 3. 17: 'Her love is not the hare that I do hunt.' But the received reading of the Folios is perhaps confirmed by a line in the present play, III. 2. 7: 'Or if you like elsewhere, do it by stealth.' NOTE IV. II. 1. 108 sqq. The only correction of this passage which we believe to be quite free from doubt is that in line 112, 'Wear' for 'Where.' Accordingly, with this exception, we have retained the precise words of the first Folio. NOTE V. IV. 2. 38. Grey's conjecture of 'lanes' for 'lands' is made somewhat more probable by the existence of copies of F1 in which the word appears 'lans.' A corrector would naturally change this rather to 'lands' than to 'lanes,' because of the rhyme. NOTE VI. IV. 2. 46. The Folios have 'send him Mistris redemption,' and Rowe, by his punctuation and capital R, made Dromio call Luciana 'Redemption.' Pope and Theobald seem to have followed him, though they give the small r. The Folios cannot be made chargeable with this error, for the comma does not regularly follow vocatives in these editions where we expect it. There is no comma, for instance, following the word 'Mistress' in IV. 3. 75 or in IV. 4. 39. NOTE VII. IV. 4. 29. The word 'ears' might probably be better printed ''ears' for 'years;' for a pun--hitherto, however, unnoticed--seems to be indicated by the following words. A very farfetched explanation has been offered by Steevens, and accepted by Delius and, we believe, by all the modern editors, namely, that Antipholus has wrung Dromio's ears so often that they have attained a length like an ass's. NOTE VIII. V. 1. 1. Shakespeare uses the words 'Priory' and 'Abbey' as synonymous. Compare V. 1. 37 and V. 1. 122. NOTE IX. V. 1. 235. It might possibly be better to print this line as two lines, the first being broken: 'By the way we met My wife....' But the place is probably corrupt. NOTE X. V. 1. 399. The number Thirty-three has been altered by editors to bring the figures into harmony with other periods named in the play. From I. 1. 126, 133 the age of Antipholus has been computed at twenty-three; from I. 1. 126 and V. 1. 308 we derive twenty-five. The Duke says he has been patron to Antipholus for twenty years, V. 1. 325; but three or five seems too small an age to assign for the commencement of this patronage. Antipholus saved the Duke's life in the wars 'long since,' V. 1. 161, 191. His 'long experience' of his wife's 'wisdom' and her 'years' are mentioned, III. 1. 89, 90. But Shakespeare probably did not compute the result of his own figures with any great care or accuracy. * * * * * * * * * * * * * * Sources: The editors' Preface (e-text 23041) discusses the 17th- and 18th-century editions in detail; the newer (19th-century) editions are simply listed by name. The following editions may appear in the Notes. All inset text is quoted from the Preface. Folios: F1 1623; F2 (no date given); F3 1663; F4 1685. "The five plays contained in this volume occur in the first Folio in the same order, and ... were there printed for the first time." Early editions: Rowe 1709 Pope 1715 "Pope was the first to indicate the _place_ of each new scene; as, for instance, _Tempest_, I. 1. 'On a ship at sea.' He also subdivided the scenes as given by the Folios and Rowe, making a fresh scene whenever a new character entered--an arrangement followed by Hanmer, Warburton, and Johnson. For convenience of reference to these editions, we have always recorded the commencement of Pope's scenes." Theobald 1733 Hanmer ("Oxford edition") 1744 Warburton 1747 Johnson 1765 Capell 1768; _also Capell's annotated copy of F2_ Steevens 1773 Malone 1790 Reed 1803 Later editions: Singer, Knight, Cornwall, Collier, Phelps, Halliwell, Dyce, Staunton * * * * * * * * * * * * * * Errata IV. 2. 17 note: ... Anon. [Aonn.] Note IV. ... line 112, 'Wear' for 'Where.' [line 111] Note VI. ... the word 'Mistress' in / IV. 3. 75 ... [IV. 3. 74]

Act V, scene i

https://web.archive.org/web/20210224233119/https://www.sparknotes.com/shakespeare/errors/section6/

Angelo the goldsmith and the Second Merchant are discussing how Antipholus of Ephesus claimed to have never received the gold chain from Angelo, when they encounter Antipholus of Syracuse and Dromio of Syracuse. Angelo sees the gold chain hanging from Antipholus' neck, and they exchange harsh words that lead to drawn swords. Just then Adriana, Luciana, and the Courtesan come in, and Antipholus and Dromio flee into a nearby abbey. The Abbess comes out and demands to know what is going on. Adriana describes her husband's madness, but after hearing the story, the Abbess blames Adriana's jealousy for driving Antipholus mad and denies everyone entry into her house, saying that she will cure the man herself. It is now five o'clock, and Duke Solinus appears, leading Egeon to his execution. Adriana, seeing the Duke, appeals to him for aid in removing her husband from the abbey, describing his madness and their attempts to control him. The Duke, remembering promises that he made to Adriana when she married Antipholus, agrees to mediate--but just then a messenger comes in, with news that Antipholus and Dromio have escaped from Pinch's clutches. Adriana calls him a liar, saying that her husband is in the abbey, but then Antipholus himself rushes in, accompanied by his slave and demanding that the Duke grant him justice against his wife, who has locked him out of the house, allowed him to be arrested, and then placed him in the hands of Pinch. There is a flurry of charges and countercharges, and the Duke summons the Abbess, hoping that she can untangle the mess. Egeon, meanwhile, goes up to Antipholus of Ephesus and, mistaking him for the son he brought up, and greets him happily. Antipholus E. is confused and says that he never saw his father in his life, and that he has always been a citizen of Ephesus. Then, mercifully, the Abbess enters, bringing with her Antipholus and Dromio of Syracuse, which causes general consternation. The Abbess greets Egeon and declares that she is his wife, Emilia, long separated from him, and that the identical Antipholi are their twin sons. The rest of the tangle is quickly explained: The ring is returned to the Courtesan, the gold chain is paid for, and the Duke refuses an offer of payment for Egeon's life, declaring that the old man is pardoned. Then, the entire company retires inside the Abbey for a celebratory feast, with the two Dromios going last, hand in hand, "like brother and brother .

" Commentary The final act consists of a mounting confusion that is finally ended by the intervention of the Abbess, Emilia. Her character appears for the first time here and acts as a kind of deus ex machina to untangle the web of errors in which the other characters are trapped. Her social status within the city, however, is a matter of debate: some critics see her as a priestess of Diana, the pagan protectress of Ephesus, while others see her as a Catholic nun. Making her a Catholic would be an interesting choice for a playwright surrounded by the fervent Protestantism of Elizabethan England; there are other references to Catholic practices in the text, especially from the two Dromios, who repeatedly refer to their "beads" and cross themselves--both of which would have been immediately recognized as Catholic behavior by the religiously aware audience of Shakespeare's time. Regardless of her religious affiliation, Emilia's appearance and explanation erases what was quickly turning into an ugly scene, as even the sensible Duke had begun to lean toward witchcraft as an explanation. "I think you have all drunk of Circe's cup ," he says, referring to a mythological Greek sorceress; and when the two pairs of twins are on stage together for the first time, he demands to know "of these, which is the natural man, and which the spirit? Who deciphers them?". The decipherer, of course, is Emilia, and her quick explanation is such a relief that the audience may gloss over the peculiar question of why she spent 20 years in Ephesus without ever revealing herself to the son who was living there, let alone telling him about the missing half of his family. This is a farce, so we accept a little improbability--after all, the fact that both Antipholus brothers are wearing the same clothes on the day that they meet in Ephesus is coincidence enough to make all others pale in comparison. So all ends happily, and even the Duke, previously a model of legalism, is willing to waive the requirements of his city's law in the face of such general happiness. It is worth noting, however, that the Antipholus brothers seem less than enthusiastic to finally meet one another. The Ephesian twin is anxious to get back to his wife and his role as a solid citizen and tradesman, while the Syracusan seems to have overcome his earlier angst and spiritual incompleteness and wants to get down to the important business of pursuing Luciana. Significantly, it is their slaves, the comic centers of a comic play, who are most affected by the reunion. "I see by you I am a sweet-faced youth ," Dromio of Ephesus says, and then they walk offstage arm in arm, as two happy clowns should.

gradesaver

all_chapterized_books/174-chapters/14.txt

finished_summaries/gradesaver/The Picture of Dorian Gray/section_9_part_0.txt

The Picture of Dorian Gray.chapter 14

chapter 14

{"name": "Chapter 14", "url": "https://web.archive.org/web/20210421171214/https://www.gradesaver.com/the-picture-of-dorian-gray/study-guide/summary-chapter-14", "summary": "Dorian awakes from a dreamless sleep and gradually remembers the terrible events of the previous night. He writes a letter summoning Alan Campbell, and sends his servant to deliver it. While he is waiting, he distracts himself from his guilt by reading poetry from a book given to him by a man named Adrian Singleton, and reflects on the course of his friendship with Alan Campbell. The two men first met at a party. Alan was a man of science, a chemist, but the two initially bonded over their shared love of music. Alan \"was an extremely clever young man,\" but \"whatever little sense of the beauty of poetry he possessed he had gained entirely from Dorian.\" For a while the two were inseparable, but for unspecified reasons Alan began leaving parties whenever Dorian showed up and refusing to speak with him or interact with him in any way. Alan withdrew from society almost entirely, immersing himself in his experiments. The long wait nags at Dorian, but Alan eventually arrives. Dorian speaks cordially, but his guest is cold, curt, and suspicious of his host's motives. Cutting to the chase, Dorian tells him that he needs him to get rid of a dead body, the result of a suicide. Alan refuses and wants nothing to do with the situation - or with Dorian at all, for that matter. Dorian, hoping to win Alan's sympathy, confesses that it was murder, and says that he only needs Alan to pretend to carry out an experiment. It becomes clear that Alan is determined to resist all of Dorian's tactics. Reluctantly, Dorian turns to blackmail, showing him a letter that he promises to send unless the scientist agrees to help. Alan succumbs to \"the disgrace with which he was threatened,\" and writes a letter for his assistant, detailing the tools to be brought at once to Dorian's house. The tools are delivered, and Dorian dismisses his servant for the evening so that he does not become suspicious. The two men haul the heavy trunk of tools upstairs. Dorian realizes that for the first time he has forgotten to cover the painting before leaving the attic. He rushes to throw the curtain over it, but before he does so he notices the sickening gleam of red blood on the hands of his doppelganger. Alan arrives with the trunk, locks himself in the attic, and goes to work. Around seven in the evening, the deed is done. Basil's body has been incinerated, and Alan leaves with the words \"Let us never see each other again.\"", "analysis": "Until now, we have heard the names Alan Campbell and Adrian Singleton mentioned on the list of names of those Dorian has corrupted, but this chapter contains the first instance of a face-to-face interaction with one of them. Aside from Sibyl, these two are the only people whose lives Dorian has ruined who actually appear in the book. Once again, the narrator refuses to state the reasons for the bitterness Alan displays towards Dorian, or the content of Dorian's blackmail letter, but these omissions only heighten our sense of how allegedly unspeakable their transgressions must have been. We learn that Alan no longer wishes to show his face in public, and we have learned in earlier chapters that Adrian is likewise ostracized. The likeliest causes for this shame - homosexual encounters - are, however, only tacitly present. When Wilde himself stood trial for accusations of sodomy in the years following this book's publication, he wrote of \"the note of doom that...runs through...Dorian Gray\"; it was instances such as these that Wilde was referring to. Wilde revised later editions of the book in an effort to reduce the prominence of the homosexual undertones, but they were too integral an aspect of the interactions between the main characters to be eliminated entirely. Dorian's cordiality towards Alan when his guest first arrives is a facade. His seeming reluctance to blackmail the man is insincere, an indication that Dorian actually takes pleasure from the manipulative power he holds over Alan. Alan is not fooled by Dorian's pretense of kindness, but has no choice but to comply with his wishes. In this interaction, we witness how refined Dorian's capacity for social persuasion has become during the 18 years glossed over in chapter 11. He has been a good student of Lord Henry, now equalling, or parhaps surpassing, the older man's powers of manipulation. The poem that Dorian reads while waiting for Alan is significant for several reasons. First, it is from a book given to him by Adrian Singleton. Dorian relies on the gift of a man that he has somehow betrayed for comfort. The lines that he repeats over and over to himself, \"Devant une facade rose/ Sur le marbre d'un escalier,\" are translated as \"Upon a red-faced town/ On the marble of a stairway.\" These lines seem to encapsulate Venice for Dorian, who has visited the city with Basil. Remembering the painter, however, only leads him to remark \"Poor Basil! What a horrible way to die!\" Dorian is unwilling to openly admit that he is directly responsibile for Basil's death. In fact, Dorian instead blames Basil for the suffering caused by the painting. This is, of course, highly delusional behavior. It would make more sense to blame Lord Henry, his corruptor, but even this would be inaccurate. Dorian himself is responsible for wishing the enchantment into existence. However, the genuine acceptance of responsibility for his misdeeds is well beyond Dorian's ethical capacities at this point."}

At nine o'clock the next morning his servant came in with a cup of chocolate on a tray and opened the shutters. Dorian was sleeping quite peacefully, lying on his right side, with one hand underneath his cheek. He looked like a boy who had been tired out with play, or study. The man had to touch him twice on the shoulder before he woke, and as he opened his eyes a faint smile passed across his lips, as though he had been lost in some delightful dream. Yet he had not dreamed at all. His night had been untroubled by any images of pleasure or of pain. But youth smiles without any reason. It is one of its chiefest charms. He turned round, and leaning upon his elbow, began to sip his chocolate. The mellow November sun came streaming into the room. The sky was bright, and there was a genial warmth in the air. It was almost like a morning in May. Gradually the events of the preceding night crept with silent, blood-stained feet into his brain and reconstructed themselves there with terrible distinctness. He winced at the memory of all that he had suffered, and for a moment the same curious feeling of loathing for Basil Hallward that had made him kill him as he sat in the chair came back to him, and he grew cold with passion. The dead man was still sitting there, too, and in the sunlight now. How horrible that was! Such hideous things were for the darkness, not for the day. He felt that if he brooded on what he had gone through he would sicken or grow mad. There were sins whose fascination was more in the memory than in the doing of them, strange triumphs that gratified the pride more than the passions, and gave to the intellect a quickened sense of joy, greater than any joy they brought, or could ever bring, to the senses. But this was not one of them. It was a thing to be driven out of the mind, to be drugged with poppies, to be strangled lest it might strangle one itself. When the half-hour struck, he passed his hand across his forehead, and then got up hastily and dressed himself with even more than his usual care, giving a good deal of attention to the choice of his necktie and scarf-pin and changing his rings more than once. He spent a long time also over breakfast, tasting the various dishes, talking to his valet about some new liveries that he was thinking of getting made for the servants at Selby, and going through his correspondence. At some of the letters, he smiled. Three of them bored him. One he read several times over and then tore up with a slight look of annoyance in his face. "That awful thing, a woman's memory!" as Lord Henry had once said. After he had drunk his cup of black coffee, he wiped his lips slowly with a napkin, motioned to his servant to wait, and going over to the table, sat down and wrote two letters. One he put in his pocket, the other he handed to the valet. "Take this round to 152, Hertford Street, Francis, and if Mr. Campbell is out of town, get his address." As soon as he was alone, he lit a cigarette and began sketching upon a piece of paper, drawing first flowers and bits of architecture, and then human faces. Suddenly he remarked that every face that he drew seemed to have a fantastic likeness to Basil Hallward. He frowned, and getting up, went over to the book-case and took out a volume at hazard. He was determined that he would not think about what had happened until it became absolutely necessary that he should do so. When he had stretched himself on the sofa, he looked at the title-page of the book. It was Gautier's Emaux et Camees, Charpentier's Japanese-paper edition, with the Jacquemart etching. The binding was of citron-green leather, with a design of gilt trellis-work and dotted pomegranates. It had been given to him by Adrian Singleton. As he turned over the pages, his eye fell on the poem about the hand of Lacenaire, the cold yellow hand "_du supplice encore mal lavee_," with its downy red hairs and its "_doigts de faune_." He glanced at his own white taper fingers, shuddering slightly in spite of himself, and passed on, till he came to those lovely stanzas upon Venice: Sur une gamme chromatique, Le sein de perles ruisselant, La Venus de l'Adriatique Sort de l'eau son corps rose et blanc. Les domes, sur l'azur des ondes Suivant la phrase au pur contour, S'enflent comme des gorges rondes Que souleve un soupir d'amour. L'esquif aborde et me depose, Jetant son amarre au pilier, Devant une facade rose, Sur le marbre d'un escalier. How exquisite they were! As one read them, one seemed to be floating down the green water-ways of the pink and pearl city, seated in a black gondola with silver prow and trailing curtains. The mere lines looked to him like those straight lines of turquoise-blue that follow one as one pushes out to the Lido. The sudden flashes of colour reminded him of the gleam of the opal-and-iris-throated birds that flutter round the tall honeycombed Campanile, or stalk, with such stately grace, through the dim, dust-stained arcades. Leaning back with half-closed eyes, he kept saying over and over to himself: "Devant une facade rose, Sur le marbre d'un escalier." The whole of Venice was in those two lines. He remembered the autumn that he had passed there, and a wonderful love that had stirred him to mad delightful follies. There was romance in every place. But Venice, like Oxford, had kept the background for romance, and, to the true romantic, background was everything, or almost everything. Basil had been with him part of the time, and had gone wild over Tintoret. Poor Basil! What a horrible way for a man to die! He sighed, and took up the volume again, and tried to forget. He read of the swallows that fly in and out of the little _cafe_ at Smyrna where the Hadjis sit counting their amber beads and the turbaned merchants smoke their long tasselled pipes and talk gravely to each other; he read of the Obelisk in the Place de la Concorde that weeps tears of granite in its lonely sunless exile and longs to be back by the hot, lotus-covered Nile, where there are Sphinxes, and rose-red ibises, and white vultures with gilded claws, and crocodiles with small beryl eyes that crawl over the green steaming mud; he began to brood over those verses which, drawing music from kiss-stained marble, tell of that curious statue that Gautier compares to a contralto voice, the "_monstre charmant_" that couches in the porphyry-room of the Louvre. But after a time the book fell from his hand. He grew nervous, and a horrible fit of terror came over him. What if Alan Campbell should be out of England? Days would elapse before he could come back. Perhaps he might refuse to come. What could he do then? Every moment was of vital importance. They had been great friends once, five years before--almost inseparable, indeed. Then the intimacy had come suddenly to an end. When they met in society now, it was only Dorian Gray who smiled: Alan Campbell never did. He was an extremely clever young man, though he had no real appreciation of the visible arts, and whatever little sense of the beauty of poetry he possessed he had gained entirely from Dorian. His dominant intellectual passion was for science. At Cambridge he had spent a great deal of his time working in the laboratory, and had taken a good class in the Natural Science Tripos of his year. Indeed, he was still devoted to the study of chemistry, and had a laboratory of his own in which he used to shut himself up all day long, greatly to the annoyance of his mother, who had set her heart on his standing for Parliament and had a vague idea that a chemist was a person who made up prescriptions. He was an excellent musician, however, as well, and played both the violin and the piano better than most amateurs. In fact, it was music that had first brought him and Dorian Gray together--music and that indefinable attraction that Dorian seemed to be able to exercise whenever he wished--and, indeed, exercised often without being conscious of it. They had met at Lady Berkshire's the night that Rubinstein played there, and after that used to be always seen together at the opera and wherever good music was going on. For eighteen months their intimacy lasted. Campbell was always either at Selby Royal or in Grosvenor Square. To him, as to many others, Dorian Gray was the type of everything that is wonderful and fascinating in life. Whether or not a quarrel had taken place between them no one ever knew. But suddenly people remarked that they scarcely spoke when they met and that Campbell seemed always to go away early from any party at which Dorian Gray was present. He had changed, too--was strangely melancholy at times, appeared almost to dislike hearing music, and would never himself play, giving as his excuse, when he was called upon, that he was so absorbed in science that he had no time left in which to practise. And this was certainly true. Every day he seemed to become more interested in biology, and his name appeared once or twice in some of the scientific reviews in connection with certain curious experiments. This was the man Dorian Gray was waiting for. Every second he kept glancing at the clock. As the minutes went by he became horribly agitated. At last he got up and began to pace up and down the room, looking like a beautiful caged thing. He took long stealthy strides. His hands were curiously cold. The suspense became unbearable. Time seemed to him to be crawling with feet of lead, while he by monstrous winds was being swept towards the jagged edge of some black cleft of precipice. He knew what was waiting for him there; saw it, indeed, and, shuddering, crushed with dank hands his burning lids as though he would have robbed the very brain of sight and driven the eyeballs back into their cave. It was useless. The brain had its own food on which it battened, and the imagination, made grotesque by terror, twisted and distorted as a living thing by pain, danced like some foul puppet on a stand and grinned through moving masks. Then, suddenly, time stopped for him. Yes: that blind, slow-breathing thing crawled no more, and horrible thoughts, time being dead, raced nimbly on in front, and dragged a hideous future from its grave, and showed it to him. He stared at it. Its very horror made him stone. At last the door opened and his servant entered. He turned glazed eyes upon him. "Mr. Campbell, sir," said the man. A sigh of relief broke from his parched lips, and the colour came back to his cheeks. "Ask him to come in at once, Francis." He felt that he was himself again. His mood of cowardice had passed away. The man bowed and retired. In a few moments, Alan Campbell walked in, looking very stern and rather pale, his pallor being intensified by his coal-black hair and dark eyebrows. "Alan! This is kind of you. I thank you for coming." "I had intended never to enter your house again, Gray. But you said it was a matter of life and death." His voice was hard and cold. He spoke with slow deliberation. There was a look of contempt in the steady searching gaze that he turned on Dorian. He kept his hands in the pockets of his Astrakhan coat, and seemed not to have noticed the gesture with which he had been greeted. "Yes: it is a matter of life and death, Alan, and to more than one person. Sit down." Campbell took a chair by the table, and Dorian sat opposite to him. The two men's eyes met. In Dorian's there was infinite pity. He knew that what he was going to do was dreadful. After a strained moment of silence, he leaned across and said, very quietly, but watching the effect of each word upon the face of him he had sent for, "Alan, in a locked room at the top of this house, a room to which nobody but myself has access, a dead man is seated at a table. He has been dead ten hours now. Don't stir, and don't look at me like that. Who the man is, why he died, how he died, are matters that do not concern you. What you have to do is this--" "Stop, Gray. I don't want to know anything further. Whether what you have told me is true or not true doesn't concern me. I entirely decline to be mixed up in your life. Keep your horrible secrets to yourself. They don't interest me any more." "Alan, they will have to interest you. This one will have to interest you. I am awfully sorry for you, Alan. But I can't help myself. You are the one man who is able to save me. I am forced to bring you into the matter. I have no option. Alan, you are scientific. You know about chemistry and things of that kind. You have made experiments. What you have got to do is to destroy the thing that is upstairs--to destroy it so that not a vestige of it will be left. Nobody saw this person come into the house. Indeed, at the present moment he is supposed to be in Paris. He will not be missed for months. When he is missed, there must be no trace of him found here. You, Alan, you must change him, and everything that belongs to him, into a handful of ashes that I may scatter in the air." "You are mad, Dorian." "Ah! I was waiting for you to call me Dorian." "You are mad, I tell you--mad to imagine that I would raise a finger to help you, mad to make this monstrous confession. I will have nothing to do with this matter, whatever it is. Do you think I am going to peril my reputation for you? What is it to me what devil's work you are up to?" "It was suicide, Alan." "I am glad of that. But who drove him to it? You, I should fancy." "Do you still refuse to do this for me?" "Of course I refuse. I will have absolutely nothing to do with it. I don't care what shame comes on you. You deserve it all. I should not be sorry to see you disgraced, publicly disgraced. How dare you ask me, of all men in the world, to mix myself up in this horror? I should have thought you knew more about people's characters. Your friend Lord Henry Wotton can't have taught you much about psychology, whatever else he has taught you. Nothing will induce me to stir a step to help you. You have come to the wrong man. Go to some of your friends. Don't come to me." "Alan, it was murder. I killed him. You don't know what he had made me suffer. Whatever my life is, he had more to do with the making or the marring of it than poor Harry has had. He may not have intended it, the result was the same." "Murder! Good God, Dorian, is that what you have come to? I shall not inform upon you. It is not my business. Besides, without my stirring in the matter, you are certain to be arrested. Nobody ever commits a crime without doing something stupid. But I will have nothing to do with it." "You must have something to do with it. Wait, wait a moment; listen to me. Only listen, Alan. All I ask of you is to perform a certain scientific experiment. You go to hospitals and dead-houses, and the horrors that you do there don't affect you. If in some hideous dissecting-room or fetid laboratory you found this man lying on a leaden table with red gutters scooped out in it for the blood to flow through, you would simply look upon him as an admirable subject. You would not turn a hair. You would not believe that you were doing anything wrong. On the contrary, you would probably feel that you were benefiting the human race, or increasing the sum of knowledge in the world, or gratifying intellectual curiosity, or something of that kind. What I want you to do is merely what you have often done before. Indeed, to destroy a body must be far less horrible than what you are accustomed to work at. And, remember, it is the only piece of evidence against me. If it is discovered, I am lost; and it is sure to be discovered unless you help me." "I have no desire to help you. You forget that. I am simply indifferent to the whole thing. It has nothing to do with me." "Alan, I entreat you. Think of the position I am in. Just before you came I almost fainted with terror. You may know terror yourself some day. No! don't think of that. Look at the matter purely from the scientific point of view. You don't inquire where the dead things on which you experiment come from. Don't inquire now. I have told you too much as it is. But I beg of you to do this. We were friends once, Alan." "Don't speak about those days, Dorian--they are dead." "The dead linger sometimes. The man upstairs will not go away. He is sitting at the table with bowed head and outstretched arms. Alan! Alan! If you don't come to my assistance, I am ruined. Why, they will hang me, Alan! Don't you understand? They will hang me for what I have done." "There is no good in prolonging this scene. I absolutely refuse to do anything in the matter. It is insane of you to ask me." "You refuse?" "Yes." "I entreat you, Alan." "It is useless." The same look of pity came into Dorian Gray's eyes. Then he stretched out his hand, took a piece of paper, and wrote something on it. He read it over twice, folded it carefully, and pushed it across the table. Having done this, he got up and went over to the window. Campbell looked at him in surprise, and then took up the paper, and opened it. As he read it, his face became ghastly pale and he fell back in his chair. A horrible sense of sickness came over him. He felt as if his heart was beating itself to death in some empty hollow. After two or three minutes of terrible silence, Dorian turned round and came and stood behind him, putting his hand upon his shoulder. "I am so sorry for you, Alan," he murmured, "but you leave me no alternative. I have a letter written already. Here it is. You see the address. If you don't help me, I must send it. If you don't help me, I will send it. You know what the result will be. But you are going to help me. It is impossible for you to refuse now. I tried to spare you. You will do me the justice to admit that. You were stern, harsh, offensive. You treated me as no man has ever dared to treat me--no living man, at any rate. I bore it all. Now it is for me to dictate terms." Campbell buried his face in his hands, and a shudder passed through him. "Yes, it is my turn to dictate terms, Alan. You know what they are. The thing is quite simple. Come, don't work yourself into this fever. The thing has to be done. Face it, and do it." A groan broke from Campbell's lips and he shivered all over. The ticking of the clock on the mantelpiece seemed to him to be dividing time into separate atoms of agony, each of which was too terrible to be borne. He felt as if an iron ring was being slowly tightened round his forehead, as if the disgrace with which he was threatened had already come upon him. The hand upon his shoulder weighed like a hand of lead. It was intolerable. It seemed to crush him. "Come, Alan, you must decide at once." "I cannot do it," he said, mechanically, as though words could alter things. "You must. You have no choice. Don't delay." He hesitated a moment. "Is there a fire in the room upstairs?" "Yes, there is a gas-fire with asbestos." "I shall have to go home and get some things from the laboratory." "No, Alan, you must not leave the house. Write out on a sheet of notepaper what you want and my servant will take a cab and bring the things back to you." Campbell scrawled a few lines, blotted them, and addressed an envelope to his assistant. Dorian took the note up and read it carefully. Then he rang the bell and gave it to his valet, with orders to return as soon as possible and to bring the things with him. As the hall door shut, Campbell started nervously, and having got up from the chair, went over to the chimney-piece. He was shivering with a kind of ague. For nearly twenty minutes, neither of the men spoke. A fly buzzed noisily about the room, and the ticking of the clock was like the beat of a hammer. As the chime struck one, Campbell turned round, and looking at Dorian Gray, saw that his eyes were filled with tears. There was something in the purity and refinement of that sad face that seemed to enrage him. "You are infamous, absolutely infamous!" he muttered. "Hush, Alan. You have saved my life," said Dorian. "Your life? Good heavens! what a life that is! You have gone from corruption to corruption, and now you have culminated in crime. In doing what I am going to do--what you force me to do--it is not of your life that I am thinking." "Ah, Alan," murmured Dorian with a sigh, "I wish you had a thousandth part of the pity for me that I have for you." He turned away as he spoke and stood looking out at the garden. Campbell made no answer. After about ten minutes a knock came to the door, and the servant entered, carrying a large mahogany chest of chemicals, with a long coil of steel and platinum wire and two rather curiously shaped iron clamps. "Shall I leave the things here, sir?" he asked Campbell. "Yes," said Dorian. "And I am afraid, Francis, that I have another errand for you. What is the name of the man at Richmond who supplies Selby with orchids?" "Harden, sir." "Yes--Harden. You must go down to Richmond at once, see Harden personally, and tell him to send twice as many orchids as I ordered, and to have as few white ones as possible. In fact, I don't want any white ones. It is a lovely day, Francis, and Richmond is a very pretty place--otherwise I wouldn't bother you about it." "No trouble, sir. At what time shall I be back?" Dorian looked at Campbell. "How long will your experiment take, Alan?" he said in a calm indifferent voice. The presence of a third person in the room seemed to give him extraordinary courage. Campbell frowned and bit his lip. "It will take about five hours," he answered. "It will be time enough, then, if you are back at half-past seven, Francis. Or stay: just leave my things out for dressing. You can have the evening to yourself. I am not dining at home, so I shall not want you." "Thank you, sir," said the man, leaving the room. "Now, Alan, there is not a moment to be lost. How heavy this chest is! I'll take it for you. You bring the other things." He spoke rapidly and in an authoritative manner. Campbell felt dominated by him. They left the room together. When they reached the top landing, Dorian took out the key and turned it in the lock. Then he stopped, and a troubled look came into his eyes. He shuddered. "I don't think I can go in, Alan," he murmured. "It is nothing to me. I don't require you," said Campbell coldly. Dorian half opened the door. As he did so, he saw the face of his portrait leering in the sunlight. On the floor in front of it the torn curtain was lying. He remembered that the night before he had forgotten, for the first time in his life, to hide the fatal canvas, and was about to rush forward, when he drew back with a shudder. What was that loathsome red dew that gleamed, wet and glistening, on one of the hands, as though the canvas had sweated blood? How horrible it was!--more horrible, it seemed to him for the moment, than the silent thing that he knew was stretched across the table, the thing whose grotesque misshapen shadow on the spotted carpet showed him that it had not stirred, but was still there, as he had left it. He heaved a deep breath, opened the door a little wider, and with half-closed eyes and averted head, walked quickly in, determined that he would not look even once upon the dead man. Then, stooping down and taking up the gold-and-purple hanging, he flung it right over the picture. There he stopped, feeling afraid to turn round, and his eyes fixed themselves on the intricacies of the pattern before him. He heard Campbell bringing in the heavy chest, and the irons, and the other things that he had required for his dreadful work. He began to wonder if he and Basil Hallward had ever met, and, if so, what they had thought of each other. "Leave me now," said a stern voice behind him. He turned and hurried out, just conscious that the dead man had been thrust back into the chair and that Campbell was gazing into a glistening yellow face. As he was going downstairs, he heard the key being turned in the lock. It was long after seven when Campbell came back into the library. He was pale, but absolutely calm. "I have done what you asked me to do," he muttered. "And now, good-bye. Let us never see each other again." "You have saved me from ruin, Alan. I cannot forget that," said Dorian simply. As soon as Campbell had left, he went upstairs. There was a horrible smell of nitric acid in the room. But the thing that had been sitting at the table was gone.

Chapter 14

https://web.archive.org/web/20210421171214/https://www.gradesaver.com/the-picture-of-dorian-gray/study-guide/summary-chapter-14

Dorian awakes from a dreamless sleep and gradually remembers the terrible events of the previous night. He writes a letter summoning Alan Campbell, and sends his servant to deliver it. While he is waiting, he distracts himself from his guilt by reading poetry from a book given to him by a man named Adrian Singleton, and reflects on the course of his friendship with Alan Campbell. The two men first met at a party. Alan was a man of science, a chemist, but the two initially bonded over their shared love of music. Alan "was an extremely clever young man," but "whatever little sense of the beauty of poetry he possessed he had gained entirely from Dorian." For a while the two were inseparable, but for unspecified reasons Alan began leaving parties whenever Dorian showed up and refusing to speak with him or interact with him in any way. Alan withdrew from society almost entirely, immersing himself in his experiments. The long wait nags at Dorian, but Alan eventually arrives. Dorian speaks cordially, but his guest is cold, curt, and suspicious of his host's motives. Cutting to the chase, Dorian tells him that he needs him to get rid of a dead body, the result of a suicide. Alan refuses and wants nothing to do with the situation - or with Dorian at all, for that matter. Dorian, hoping to win Alan's sympathy, confesses that it was murder, and says that he only needs Alan to pretend to carry out an experiment. It becomes clear that Alan is determined to resist all of Dorian's tactics. Reluctantly, Dorian turns to blackmail, showing him a letter that he promises to send unless the scientist agrees to help. Alan succumbs to "the disgrace with which he was threatened," and writes a letter for his assistant, detailing the tools to be brought at once to Dorian's house. The tools are delivered, and Dorian dismisses his servant for the evening so that he does not become suspicious. The two men haul the heavy trunk of tools upstairs. Dorian realizes that for the first time he has forgotten to cover the painting before leaving the attic. He rushes to throw the curtain over it, but before he does so he notices the sickening gleam of red blood on the hands of his doppelganger. Alan arrives with the trunk, locks himself in the attic, and goes to work. Around seven in the evening, the deed is done. Basil's body has been incinerated, and Alan leaves with the words "Let us never see each other again."

Until now, we have heard the names Alan Campbell and Adrian Singleton mentioned on the list of names of those Dorian has corrupted, but this chapter contains the first instance of a face-to-face interaction with one of them. Aside from Sibyl, these two are the only people whose lives Dorian has ruined who actually appear in the book. Once again, the narrator refuses to state the reasons for the bitterness Alan displays towards Dorian, or the content of Dorian's blackmail letter, but these omissions only heighten our sense of how allegedly unspeakable their transgressions must have been. We learn that Alan no longer wishes to show his face in public, and we have learned in earlier chapters that Adrian is likewise ostracized. The likeliest causes for this shame - homosexual encounters - are, however, only tacitly present. When Wilde himself stood trial for accusations of sodomy in the years following this book's publication, he wrote of "the note of doom that...runs through...Dorian Gray"; it was instances such as these that Wilde was referring to. Wilde revised later editions of the book in an effort to reduce the prominence of the homosexual undertones, but they were too integral an aspect of the interactions between the main characters to be eliminated entirely. Dorian's cordiality towards Alan when his guest first arrives is a facade. His seeming reluctance to blackmail the man is insincere, an indication that Dorian actually takes pleasure from the manipulative power he holds over Alan. Alan is not fooled by Dorian's pretense of kindness, but has no choice but to comply with his wishes. In this interaction, we witness how refined Dorian's capacity for social persuasion has become during the 18 years glossed over in chapter 11. He has been a good student of Lord Henry, now equalling, or parhaps surpassing, the older man's powers of manipulation. The poem that Dorian reads while waiting for Alan is significant for several reasons. First, it is from a book given to him by Adrian Singleton. Dorian relies on the gift of a man that he has somehow betrayed for comfort. The lines that he repeats over and over to himself, "Devant une facade rose/ Sur le marbre d'un escalier," are translated as "Upon a red-faced town/ On the marble of a stairway." These lines seem to encapsulate Venice for Dorian, who has visited the city with Basil. Remembering the painter, however, only leads him to remark "Poor Basil! What a horrible way to die!" Dorian is unwilling to openly admit that he is directly responsibile for Basil's death. In fact, Dorian instead blames Basil for the suffering caused by the painting. This is, of course, highly delusional behavior. It would make more sense to blame Lord Henry, his corruptor, but even this would be inaccurate. Dorian himself is responsible for wishing the enchantment into existence. However, the genuine acceptance of responsibility for his misdeeds is well beyond Dorian's ethical capacities at this point.

shmoop

all_chapterized_books/1756-chapters/act_3.txt

finished_summaries/shmoop/Uncle Vanya/section_2_part_0.txt

Uncle Vanya.act 3

act 3

{"name": "Act 3", "url": "https://web.archive.org/web/20200714032621/https://www.shmoop.com/study-guides/literature/uncle-vanya/summary/act-3", "summary": "In the daytime, Vanya, Sonya, and Yelena are gathered in the drawing room, waiting for Serebryakov, who has an announcement for them. Yelena says she's bored, and Sonya insists that she just needs something to keep herself busy because she's infecting everyone with her laziness. Vanya leaves and Sonya tells Yelena that she's dying of love for Astrov. Yelena promises to talk to him and find out if he feels the same way. Yelena says that it will be better to be certain, though Sonya isn't sure. She thinks that with uncertainty she at least still has hope. When Yelena approaches Astrov about Sonya, however, he just starts talking about the decay of society and civilization. Yelena finally gets her chance to ask Astrov about Sonya, and when he confirms that he doesn't love her, Yelena asks him to stop coming around so that he won't torture the poor girl anymore. Astrov misunderstands Yelena's intentions and thinks that she is the one who has a crush on him. He tries to kiss her, and just then Vanya walks in with a bouquet of flowers and sees Yelena struggling. The plot thickens. Yelena asks Vanya to help her get out of the country house. She wants to leave that very day. Finally, Serebryakov shows up to make his announcement. As his speech begins, Sonya can tell by Yelena's actions that Astrov doesn't love her. Serebryakov reveals that he's in financial doo doo. He doesn't have enough money to live in the city, but he hates living in the country. So he's going to sell the estate and move to Finland. Vanya is pretty ticked off at this proposal since he, his mother, and his niece, Sonya, won't have anywhere to go. He explains that the estate had belonged to his sister, and that he gave up his own inheritance to buy it for her. Now that he's worked for years keeping it running, his former brother-in-law wants to sell it out from under him. The family meeting turns into a shouting match, with Vanya and Yelena as the main maniacs. Sonya begs her father to have mercy on Vanya, reminding him that she, her uncle, and her grandmother worked their whole lives for him without asking for anything in return. Serebryakov goes offstage and a shot is fired. He comes back in, and Vanya shoots at him one more time. He misses both times, and gives up on his mission.", "analysis": ""}

ACT III The drawing-room of SEREBRAKOFF'S house. There are three doors: one to the right, one to the left, and one in the centre of the room. VOITSKI and SONIA are sitting down. HELENA is walking up and down, absorbed in thought. VOITSKI. We were asked by the professor to be here at one o'clock. [Looks at his watch] It is now a quarter to one. It seems he has some communication to make to the world. HELENA. Probably a matter of business. VOITSKI. He never had any business. He writes twaddle, grumbles, and eats his heart out with jealousy; that's all he does. SONIA. [Reproachfully] Uncle! VOITSKI. All right. I beg your pardon. [He points to HELENA] Look at her. Wandering up and down from sheer idleness. A sweet picture, really. HELENA. I wonder you are not bored, droning on in the same key from morning till night. [Despairingly] I am dying of this tedium. What shall I do? SONIA. [Shrugging her shoulders] There is plenty to do if you would. HELENA. For instance? SONIA. You could help run this place, teach the children, care for the sick--isn't that enough? Before you and papa came, Uncle Vanya and I used to go to market ourselves to deal in flour. HELENA. I don't know anything about such things, and besides, they don't interest me. It is only in novels that women go out and teach and heal the peasants; how can I suddenly begin to do it? SONIA. How can you live here and not do it? Wait awhile, you will get used to it all. [Embraces her] Don't be sad, dearest. [Laughing] You feel miserable and restless, and can't seem to fit into this life, and your restlessness is catching. Look at Uncle Vanya, he does nothing now but haunt you like a shadow, and I have left my work to-day to come here and talk with you. I am getting lazy, and don't want to go on with it. Dr. Astroff hardly ever used to come here; it was all we could do to persuade him to visit us once a month, and now he has abandoned his forestry and his practice, and comes every day. You must be a witch. VOITSKI. Why should you languish here? Come, my dearest, my beauty, be sensible! The blood of a Nixey runs in your veins. Oh, won't you let yourself be one? Give your nature the reins for once in your life; fall head over ears in love with some other water sprite and plunge down head first into a deep pool, so that the Herr Professor and all of us may have our hands free again. HELENA. [Angrily] Leave me alone! How cruel you are! [She tries to go out.] VOITSKI. [Preventing her] There, there, my beauty, I apologise. [He kisses her hand] Forgive me. HELENA. Confess that you would try the patience of an angel. VOITSKI. As a peace offering I am going to fetch some flowers which I picked for you this morning: some autumn roses, beautiful, sorrowful roses. [He goes out.] SONIA. Autumn roses, beautiful, sorrowful roses! [She and HELENA stand looking out of the window.] HELENA. September already! How shall we live through the long winter here? [A pause] Where is the doctor? SONIA. He is writing in Uncle Vanya's room. I am glad Uncle Vanya has gone out, I want to talk to you about something. HELENA. About what? SONIA. About what? [She lays her head on HELENA'S breast.] HELENA. [Stroking her hair] There, there, that will do. Don't, Sonia. SONIA. I am ugly! HELENA. You have lovely hair. SONIA. Don't say that! [She turns to look at herself in the glass] No, when a woman is ugly they always say she has beautiful hair or eyes. I have loved him now for six years, I have loved him more than one loves one's mother. I seem to hear him beside me every moment of the day. I feel the pressure of his hand on mine. If I look up, I seem to see him coming, and as you see, I run to you to talk of him. He is here every day now, but he never looks at me, he does not notice my presence. It is agony. I have absolutely no hope, no, no hope. Oh, my God! Give me strength to endure. I prayed all last night. I often go up to him and speak to him and look into his eyes. My pride is gone. I am not mistress of myself. Yesterday I told Uncle Vanya I couldn't control myself, and all the servants know it. Every one knows that I love him. HELENA. Does he? SONIA. No, he never notices me. HELENA. [Thoughtfully] He is a strange man. Listen, Sonia, will you allow me to speak to him? I shall be careful, only hint. [A pause] Really, to be in uncertainty all these years! Let me do it! SONIA nods an affirmative. HELENA. Splendid! It will be easy to find out whether he loves you or not. Don't be ashamed, sweetheart, don't worry. I shall be careful; he will not notice a thing. We only want to find out whether it is yes or no, don't we? [A pause] And if it is no, then he must keep away from here, is that so? SONIA nods. HELENA. It will be easier not to see him any more. We won't put off the examination an instant. He said he had a sketch to show me. Go and tell him at once that I want to see him. SONIA. [In great excitement] Will you tell me the whole truth? HELENA. Of course I will. I am sure that no matter what it is, it will be easier for you to bear than this uncertainty. Trust to me, dearest. SONIA. Yes, yes. I shall say that you want to see his sketch. [She starts out, but stops near the door and looks back] No, it is better not to know--and yet--there may be hope. HELENA. What do you say? SONIA. Nothing. [She goes out.] HELENA. [Alone] There is no greater sorrow than to know another's secret when you cannot help them. [In deep thought] He is obviously not in love with her, but why shouldn't he marry her? She is not pretty, but she is so clever and pure and good, she would make a splendid wife for a country doctor of his years. [A pause] I can understand how the poor child feels. She lives here in this desperate loneliness with no one around her except these colourless shadows that go mooning about talking nonsense and knowing nothing except that they eat, drink, and sleep. Among them appears from time to time this Dr. Astroff, so different, so handsome, so interesting, so charming. It is like seeing the moon rise on a dark night. Oh, to surrender oneself to his embrace! To lose oneself in his arms! I am a little in love with him myself! Yes, I am lonely without him, and when I think of him I smile. That Uncle Vanya says I have the blood of a Nixey in my veins: "Give rein to your nature for once in your life!" Perhaps it is right that I should. Oh, to be free as a bird, to fly away from all your sleepy faces and your talk and forget that you have existed at all! But I am a coward, I am afraid; my conscience torments me. He comes here every day now. I can guess why, and feel guilty already; I should like to fall on my knees at Sonia's feet and beg her forgiveness, and weep. ASTROFF comes in carrying a portfolio. ASTROFF. How do you do? [Shakes hands with her] Do you want to see my sketch? HELENA. Yes, you promised to show me what you had been doing. Have you time now? ASTROFF. Of course I have! He lays the portfolio on the table, takes out the sketch and fastens it to the table with thumb-tacks. ASTROFF. Where were you born? HELENA. [Helping him] In St. Petersburg. ASTROFF. And educated? HELENA. At the Conservatory there. ASTROFF. You don't find this life very interesting, I dare say? HELENA. Oh, why not? It is true I don't know the country very well, but I have read a great deal about it. ASTROFF. I have my own desk there in Ivan's room. When I am absolutely too exhausted to go on I drop everything and rush over here to forget myself in this work for an hour or two. Ivan and Miss Sonia sit rattling at their counting-boards, the cricket chirps, and I sit beside them and paint, feeling warm and peaceful. But I don't permit myself this luxury very often, only once a month. [Pointing to the picture] Look there! That is a map of our country as it was fifty years ago. The green tints, both dark and light, represent forests. Half the map, as you see, is covered with it. Where the green is striped with red the forests were inhabited by elk and wild goats. Here on this lake, lived great flocks of swans and geese and ducks; as the old men say, there was a power of birds of every kind. Now they have vanished like a cloud. Beside the hamlets and villages, you see, I have dotted down here and there the various settlements, farms, hermit's caves, and water-mills. This country carried a great many cattle and horses, as you can see by the quantity of blue paint. For instance, see how thickly it lies in this part; there were great herds of them here, an average of three horses to every house. [A pause] Now, look lower down. This is the country as it was twenty-five years ago. Only a third of the map is green now with forests. There are no goats left and no elk. The blue paint is lighter, and so on, and so on. Now we come to the third part; our country as it appears to-day. We still see spots of green, but not much. The elk, the swans, the black-cock have disappeared. It is, on the whole, the picture of a regular and slow decline which it will evidently only take about ten or fifteen more years to complete. You may perhaps object that it is the march of progress, that the old order must give place to the new, and you might be right if roads had been run through these ruined woods, or if factories and schools had taken their place. The people then would have become better educated and healthier and richer, but as it is, we have nothing of the sort. We have the same swamps and mosquitoes; the same disease and want; the typhoid, the diphtheria, the burning villages. We are confronted by the degradation of our country, brought on by the fierce struggle for existence of the human race. It is the consequence of the ignorance and unconsciousness of starving, shivering, sick humanity that, to save its children, instinctively snatches at everything that can warm it and still its hunger. So it destroys everything it can lay its hands on, without a thought for the morrow. And almost everything has gone, and nothing has been created to take its place. [Coldly] But I see by your face that I am not interesting you. HELENA. I know so little about such things! ASTROFF. There is nothing to know. It simply isn't interesting, that's all. HELENA. Frankly, my thoughts were elsewhere. Forgive me! I want to submit you to a little examination, but I am embarrassed and don't know how to begin. ASTROFF. An examination? HELENA. Yes, but quite an innocent one. Sit down. [They sit down] It is about a certain young girl I know. Let us discuss it like honest people, like friends, and then forget what has passed between us, shall we? ASTROFF. Very well. HELENA. It is about my step-daughter, Sonia. Do you like her? ASTROFF. Yes, I respect her. HELENA. Do you like her--as a woman? ASTROFF. [Slowly] No. HELENA. One more word, and that will be the last. You have not noticed anything? ASTROFF. No, nothing. HELENA. [Taking his hand] You do not love her. I see that in your eyes. She is suffering. You must realise that, and not come here any more. ASTROFF. My sun has set, yes, and then I haven't the time. [Shrugging his shoulders] Where shall I find time for such things? [He is embarrassed.] HELENA. Bah! What an unpleasant conversation! I am as out of breath as if I had been running three miles uphill. Thank heaven, that is over! Now let us forget everything as if nothing had been said. You are sensible. You understand. [A pause] I am actually blushing. ASTROFF. If you had spoken a month ago I might perhaps have considered it, but now--[He shrugs his shoulders] Of course, if she is suffering--but I cannot understand why you had to put me through this examination. [He searches her face with his eyes, and shakes his finger at her] Oho, you are wily! HELENA. What does this mean? ASTROFF. [Laughing] You are a wily one! I admit that Sonia is suffering, but what does this examination of yours mean? [He prevents her from retorting, and goes on quickly] Please don't put on such a look of surprise; you know perfectly well why I come here every day. Yes, you know perfectly why and for whose sake I come! Oh, my sweet tigress! don't look at me in that way; I am an old bird! HELENA. [Perplexed] A tigress? I don't understand you. ASTROFF. Beautiful, sleek tigress, you must have your victims! For a whole month I have done nothing but seek you eagerly. I have thrown over everything for you, and you love to see it. Now then, I am sure you knew all this without putting me through your examination. [Crossing his arms and bowing his head] I surrender. Here you have me--now, eat me. HELENA. You have gone mad! ASTROFF. You are afraid! HELENA. I am a better and stronger woman than you think me. Good-bye. [She tries to leave the room.] ASTROFF. Why good-bye? Don't say good-bye, don't waste words. Oh, how lovely you are--what hands! [He kisses her hands.] HELENA. Enough of this! [She frees her hands] Leave the room! You have forgotten yourself. ASTROFF. Tell me, tell me, where can we meet to-morrow? [He puts his arm around her] Don't you see that we must meet, that it is inevitable? He kisses her. VOITSKI comes in carrying a bunch of roses, and stops in the doorway. HELENA. [Without seeing VOITSKI] Have pity! Leave me, [lays her head on ASTROFF'S shoulder] Don't! [She tries to break away from him.] ASTROFF. [Holding her by the waist] Be in the forest tomorrow at two o'clock. Will you? Will you? HELENA. [Sees VOITSKI] Let me go! [Goes to the window deeply embarrassed] This is appalling! VOITSKI. [Throws the flowers on a chair, and speaks in great excitement, wiping his face with his handkerchief] Nothing--yes, yes, nothing. ASTROFF. The weather is fine to-day, my dear Ivan; the morning was overcast and looked like rain, but now the sun is shining again. Honestly, we have had a very fine autumn, and the wheat is looking fairly well. [Puts his map back into the portfolio] But the days are growing short. HELENA. [Goes quickly up to VOITSKI] You must do your best; you must use all your power to get my husband and myself away from here to-day! Do you hear? I say, this very day! VOITSKI. [Wiping his face] Oh! Ah! Oh! All right! I--Helena, I saw everything! HELENA. [In great agitation] Do you hear me? I must leave here this very day! SEREBRAKOFF, SONIA, MARINA, and TELEGIN come in. TELEGIN. I am not very well myself, your Excellency. I have been limping for two days, and my head-- SEREBRAKOFF. Where are the others? I hate this house. It is a regular labyrinth. Every one is always scattered through the twenty-six enormous rooms; one never can find a soul. [Rings] Ask my wife and Madame Voitskaya to come here! HELENA. I am here already. SEREBRAKOFF. Please, all of you, sit down. SONIA. [Goes up to HELENA and asks anxiously] What did he say? HELENA. I'll tell you later. SONIA. You are moved. [looking quickly and inquiringly into her face] I understand; he said he would not come here any more. [A pause] Tell me, did he? HELENA nods. SEREBRAKOFF. [To TELEGIN] One can, after all, become reconciled to being an invalid, but not to this country life. The ways of it stick in my throat and I feel exactly as if I had been whirled off the earth and landed on a strange planet. Please be seated, ladies and gentlemen. Sonia! [SONIA does not hear. She is standing with her head bowed sadly forward on her breast] Sonia! [A pause] She does not hear me. [To MARINA] Sit down too, nurse. [MARINA sits down and begins to knit her stocking] I crave your indulgence, ladies and gentlemen; hang your ears, if I may say so, on the peg of attention. [He laughs.] VOITSKI. [Agitated] Perhaps you do not need me--may I be excused? SEREBRAKOFF. No, you are needed now more than any one. VOITSKI. What is it you want of me? SEREBRAKOFF. You--but what are you angry about? If it is anything I have done, I ask you to forgive me. VOITSKI. Oh, drop that and come to business; what do you want? MME. VOITSKAYA comes in. SEREBRAKOFF. Here is mother. Ladies and gentlemen, I shall begin. I have asked you to assemble here, my friends, in order to discuss a very important matter. I want to ask you for your assistance and advice, and knowing your unfailing amiability I think I can count on both. I am a book-worm and a scholar, and am unfamiliar with practical affairs. I cannot, I find, dispense with the help of well-informed people such as you, Ivan, and you, Telegin, and you, mother. The truth is, _manet omnes una nox,_ that is to say, our lives are in the hands of God, and as I am old and ill, I realise that the time has come for me to dispose of my property in regard to the interests of my family. My life is nearly over, and I am not thinking of myself, but I have a young wife and daughter. [A pause] I cannot continue to live in the country; we were not made for country life, and yet we cannot afford to live in town on the income derived from this estate. We might sell the woods, but that would be an expedient we could not resort to every year. We must find some means of guaranteeing to ourselves a certain more or less fixed yearly income. With this object in view, a plan has occurred to me which I now have the honour of presenting to you for your consideration. I shall only give you a rough outline, avoiding all details. Our estate does not pay on an average more than two per cent on the money invested in it. I propose to sell it. If we then invest our capital in bonds, it will earn us four to five per cent, and we should probably have a surplus over of several thousand roubles, with which we could buy a summer cottage in Finland-- VOITSKI. Hold on! Repeat what you just said; I don't think I heard you quite right. SEREBRAKOFF. I said we would invest the money in bonds and buy a cottage in Finland with the surplus. VOITSKI. No, not Finland--you said something else. SEREBRAKOFF. I propose to sell this place. VOITSKI. Aha! That was it! So you are going to sell the place? Splendid. The idea is a rich one. And what do you propose to do with my old mother and me and with Sonia here? SEREBRAKOFF. That will be decided in due time. We can't do everything at once. VOITSKI. Wait! It is clear that until this moment I have never had a grain of sense in my head. I have always been stupid enough to think that the estate belonged to Sonia. My father bought it as a wedding present for my sister, and I foolishly imagined that as our laws were made for Russians and not Turks, my sister's estate would come down to her child. SEREBRAKOFF. Of course it is Sonia's. Has any one denied it? I don't want to sell it without Sonia's consent; on the contrary, what I am doing is for Sonia's good. VOITSKI. This is absolutely incomprehensible. Either I have gone mad or--or-- MME. VOITSKAYA. Jean, don't contradict Alexander. Trust to him; he knows better than we do what is right and what is wrong. VOITSKI. I shan't. Give me some water. [He drinks] Go ahead! Say anything you please--anything! SEREBRAKOFF. I can't imagine why you are so upset. I don't pretend that my scheme is an ideal one, and if you all object to it I shall not insist. [A pause.] TELEGIN. [With embarrassment] I not only nourish feelings of respect toward learning, your Excellency, but I am also drawn to it by family ties. My brother Gregory's wife's brother, whom you may know; his name is Constantine Lakedemonoff, and he used to be a magistrate-- VOITSKI. Stop, Waffles. This is business; wait a bit, we will talk of that later. [To SEREBRAKOFF] There now, ask him what he thinks; this estate was bought from his uncle. SEREBRAKOFF. Ah! Why should I ask questions? What good would it do? VOITSKI. The price was ninety-five thousand roubles. My father paid seventy and left a debt of twenty-five. Now listen! This place could never have been bought had I not renounced my inheritance in favour of my sister, whom I deeply loved--and what is more, I worked for ten years like an ox, and paid off the debt. SEREBRAKOFF. I regret ever having started this conversation. VOITSKI. Thanks entirely to my own personal efforts, the place is entirely clear of debts, and now, when I have grown old, you want to throw me out, neck and crop! SEREBRAKOFF. I can't imagine what you are driving at. VOITSKI. For twenty-five years I have managed this place, and have sent you the returns from it like the most honest of servants, and you have never given me one single word of thanks for my work, not one--neither in my youth nor now. You allowed me a meagre salary of five hundred roubles a year, a beggar's pittance, and have never even thought of adding a rouble to it. SEREBRAKOFF. What did I know about such things, Ivan? I am not a practical man and don't understand them. You might have helped yourself to all you wanted. VOITSKI. Yes, why did I not steal? Don't you all despise me for not stealing, when it would have been only justice? And I should not now have been a beggar! MME. VOITSKAYA. [Sternly] Jean! TELEGIN. [Agitated] Vanya, old man, don't talk in that way. Why spoil such pleasant relations? [He embraces him] Do stop! VOITSKI. For twenty-five years I have been sitting here with my mother like a mole in a burrow. Our every thought and hope was yours and yours only. By day we talked with pride of you and your work, and spoke your name with veneration; our nights we wasted reading the books and papers which my soul now loathes. TELEGIN. Don't, Vanya, don't. I can't stand it. SEREBRAKOFF. [Wrathfully] What under heaven do you want, anyway? VOITSKI. We used to think of you as almost superhuman, but now the scales have fallen from my eyes and I see you as you are! You write on art without knowing anything about it. Those books of yours which I used to admire are not worth one copper kopeck. You are a hoax! SEREBRAKOFF. Can't any one make him stop? I am going! HELENA. Ivan, I command you to stop this instant! Do you hear me? VOITSKI. I refuse! [SEREBRAKOFF tries to get out of the room, but VOITSKI bars the door] Wait! I have not done yet! You have wrecked my life. I have never lived. My best years have gone for nothing, have been ruined, thanks to you. You are my most bitter enemy! TELEGIN. I can't stand it; I can't stand it. I am going. [He goes out in great excitement.] SEREBRAKOFF. But what do you want? What earthly right have you to use such language to me? Ruination! If this estate is yours, then take it, and let me be ruined! HELENA. I am going away out of this hell this minute. [Shrieks] This is too much! VOITSKI. My life has been a failure. I am clever and brave and strong. If I had lived a normal life I might have become another Schopenhauer or Dostoieffski. I am losing my head! I am going crazy! Mother, I am in despair! Oh, mother! MME. VOITSKAYA. [Sternly] Listen, Alexander! SONIA falls on her knees beside the nurse and nestles against her. SONIA. Oh, nurse, nurse! VOITSKI. Mother! What shall I do? But no, don't speak! I know what to do. [To SEREBRAKOFF] And you will understand me! He goes out through the door in the centre of the room and MME. VOITSKAYA follows him. SEREBRAKOFF. Tell me, what on earth is the matter? Take this lunatic out of my sight! I cannot possibly live under the same roof with him. His room [He points to the centre door] is almost next door to mine. Let him take himself off into the village or into the wing of the house, or I shall leave here at once. I cannot stay in the same house with him. HELENA. [To her husband] We are leaving to-day; we must get ready at once for our departure. SEREBRAKOFF. What a perfectly dreadful man! SONIA. [On her knees beside the nurse and turning to her father. She speaks with emotion] You must be kind to us, papa. Uncle Vanya and I are so unhappy! [Controlling her despair] Have pity on us. Remember how Uncle Vanya and Granny used to copy and translate your books for you every night--every, every night. Uncle Vanya has toiled without rest; he would never spend a penny on us, we sent it all to you. We have not eaten the bread of idleness. I am not saying this as I should like to, but you must understand us, papa, you must be merciful to us. HELENA. [Very excited, to her husband] For heaven's sake, Alexander, go and have a talk with him--explain! SEREBRAKOFF. Very well, I shall have a talk with him, but I won't apologise for a thing. I am not angry with him, but you must confess that his behaviour has been strange, to say the least. Excuse me, I shall go to him. [He goes out through the centre door.] HELENA. Be gentle with him; try to quiet him. [She follows him out.] SONIA. [Nestling nearer to MARINA] Nurse, oh, nurse! MARINA. It's all right, my baby. When the geese have cackled they will be still again. First they cackle and then they stop. SONIA. Nurse! MARINA. You are trembling all over, as if you were freezing. There, there, little orphan baby, God is merciful. A little linden-tea, and it will all pass away. Don't cry, my sweetest. [Looking angrily at the door in the centre of the room] See, the geese have all gone now. The devil take them! A shot is heard. HELENA screams behind the scenes. SONIA shudders. MARINA. Bang! What's that? SEREBRAKOFF. [Comes in reeling with terror] Hold him! hold him! He has gone mad! HELENA and VOITSKI are seen struggling in the doorway. HELENA. [Trying to wrest the revolver from him] Give it to me; give it to me, I tell you! VOITSKI. Let me go, Helena, let me go! [He frees himself and rushes in, looking everywhere for SEREBRAKOFF] Where is he? Ah, there he is! [He shoots at him. A pause] I didn't get him? I missed again? [Furiously] Damnation! Damnation! To hell with him! He flings the revolver on the floor, and drops helpless into a chair. SEREBRAKOFF stands as if stupefied. HELENA leans against the wall, almost fainting. HELENA. Take me away! Take me away! I can't stay here--I can't! VOITSKI. [In despair] Oh, what shall I do? What shall I do? SONIA. [Softly] Oh, nurse, nurse! The curtain falls.

Act 3

https://web.archive.org/web/20200714032621/https://www.shmoop.com/study-guides/literature/uncle-vanya/summary/act-3

In the daytime, Vanya, Sonya, and Yelena are gathered in the drawing room, waiting for Serebryakov, who has an announcement for them. Yelena says she's bored, and Sonya insists that she just needs something to keep herself busy because she's infecting everyone with her laziness. Vanya leaves and Sonya tells Yelena that she's dying of love for Astrov. Yelena promises to talk to him and find out if he feels the same way. Yelena says that it will be better to be certain, though Sonya isn't sure. She thinks that with uncertainty she at least still has hope. When Yelena approaches Astrov about Sonya, however, he just starts talking about the decay of society and civilization. Yelena finally gets her chance to ask Astrov about Sonya, and when he confirms that he doesn't love her, Yelena asks him to stop coming around so that he won't torture the poor girl anymore. Astrov misunderstands Yelena's intentions and thinks that she is the one who has a crush on him. He tries to kiss her, and just then Vanya walks in with a bouquet of flowers and sees Yelena struggling. The plot thickens. Yelena asks Vanya to help her get out of the country house. She wants to leave that very day. Finally, Serebryakov shows up to make his announcement. As his speech begins, Sonya can tell by Yelena's actions that Astrov doesn't love her. Serebryakov reveals that he's in financial doo doo. He doesn't have enough money to live in the city, but he hates living in the country. So he's going to sell the estate and move to Finland. Vanya is pretty ticked off at this proposal since he, his mother, and his niece, Sonya, won't have anywhere to go. He explains that the estate had belonged to his sister, and that he gave up his own inheritance to buy it for her. Now that he's worked for years keeping it running, his former brother-in-law wants to sell it out from under him. The family meeting turns into a shouting match, with Vanya and Yelena as the main maniacs. Sonya begs her father to have mercy on Vanya, reminding him that she, her uncle, and her grandmother worked their whole lives for him without asking for anything in return. Serebryakov goes offstage and a shot is fired. He comes back in, and Vanya shoots at him one more time. He misses both times, and gives up on his mission.

gradesaver

all_chapterized_books/1232-chapters/chapters_12_to_14.txt

finished_summaries/gradesaver/The Prince/section_4_part_0.txt

The Prince.chapters 12-14

section 5: chapters 12-14

{"name": "Section 5: Chapters XII-XIV", "url": "https://web.archive.org/web/20210417004655/https://www.gradesaver.com/the-prince/study-guide/summary-section-5-chapters-xii-xiv", "summary": "A prince must lay strong foundations, Machiavelli argues in Chapter XII, \"On Different Kinds of Troops, Especially Mercenaries.\" Such foundations consist primarily of good laws and good arms. Because these are inextricably bound, Machiavelli explains that he will focus on arms rather than laws. Armies are either composed of mercenaries, composed of auxiliaries, mixed, or the state's own. The first two types are \"useless and dangerous\": mercenaries, in particular, \"will protect you from ruin only as long as nobody assaults you; in peace you are at their mercy, and in war at the mercy of your enemies.\" The only incentive mercenaries have is money, and the weakness of Italy can be blamed on their kind. Machiavelli proceeds to list examples of secure republics with large armies of their own people and contrasts these with the Carthaginians, whose mercenary armies turned on their masters and almost overthrew them. The next chapter, \"On Auxiliary Troops, Mixed Troops, and Your Own Troops,\" defines auxiliaries as foreign armies who help a prince upon request. They are also useless, but even more dangerous than mercenaries. \"You get your ruin ready-made,\" Machiavelli writes. While mercenaries are undisciplined, disunited, and disloyal, auxiliary troops \"come to you as a compact body, all trained to obey somebody else.\" Mixed armies are, of course, composed of both auxiliary troops and mercenaries. The ideal is for a prince to use his own troops. Cesare Borgia started out relying on auxiliaries , and then switched to mercenaries before resorting to troops of his own. Steadily, his reputation increased. In Chapter XIV, \"Military Duties of the Prince,\" Machiavelli concludes that a prince must constantly study the art of war. He should think even more about war during times of peace than during times of conflict. He should read history and \"reflect on the actions of great men.\" After all, Alexander the Great imitated Achilles; Caesar imitated Alexander; and Scorpio imitated Cyrus. Reiterating one of the principal themes of The Prince, Machiavelli stresses the importance of learning from the past in order to carve out a better - and more politically successful - future.", "analysis": "In these three chapters, Machiavelli puts forth an explanation for the decline of three great states or territories: the Roman Empire, France, and Italy. Machiavelli, holding forth the hope for a unified Italy, refers to it as a single entity - albeit divided. More importantly, he wields history as a weapon, spinning powerful rhetoric out of the flaws and foibles of men from the past. The fall of the Roman Empire began with the hiring of Goths as soldiers. Charles VII of France, after having freed his kingdom from the English, immediately saw how necessary it was for France to have her own armies. He subsequently passed laws to train cavalry and infantry. Unfortunately, his son Louis XI gave up on this initiative and began to hire Swiss troops. Hence France's current weakness: \"the kingdom of France would be invincible if the laws of Charles had been kept in force or strengthened.\" Relying on the Swiss, Machiavelli argues, was shortsighted expediency. As a judge of human behavior, Machiavelli has little tolerance for lack of foresight. Purely short-term policies are often acts of cowardice, ways of avoiding the festering problems that come back with a vengeance years later. A good prince must look ahead and recognize evils the minute they are born. History is the best demonstration of this point; Machiavelli follows his France and Rome narratives with an admonition for princes to read about the past, to study war as if it were an art, and to continually exercise their minds and strive to emulate the great ancients. \"Above all,\" Machiavelli writes, a prince \"should do as great men have done before him, and take as a model for his conduct some great historical figure who achieved the highest praise and glory by constantly holding before himself the deeds and achievements of a predecessor.\" And what of Italy? Machiavelli's analysis of the country/territory's ills comes earlier, in Chapter XII, \"On Different Kinds of Troops, Especially Mercenaries.\" When the Roman Empire began to fade and the Pope started to gain power, Italy split into several states, which soon saw a flurry of uprisings. Cities took up arms against nobles who had reigned over them with the help of the Empire; the Pope, meanwhile, favored these developments, as they helped increase his own power. Private citizens became princes, and Italy, out of this chaos, morphed into a jumble of republics surrounding and scattered among the Church's holdings. Neither the Church nor the private citizens knew much about war, so foreigners were hired to constitute their armies. The reliance on mercenaries began here, and has persisted since. As a result, Machiavelli argues, Italy is in \"a state of slavery and contempt.\" The Prince places much emphasis on sovereignty, on standing on one's own feet. It is fitting that the newer title of the book be a singular noun, reflecting a solitary character who, on his own, makes something of himself. In its own strange way, The Prince is a celebration of individuality; the better state is the one that uses its own troops, and that resists too much outside influence; the better prince is the one who rises by his own force, rather than by the help of friends or by good luck. No wonder this manual of monarchy has found such a wide audience in the democracies of the 20th and 21st centuries."}

Having discoursed particularly on the characteristics of such principalities as in the beginning I proposed to discuss, and having considered in some degree the causes of there being good or bad, and having shown the methods by which many have sought to acquire them and to hold them, it now remains for me to discuss generally the means of offence and defence which belong to each of them. We have seen above how necessary it is for a prince to have his foundations well laid, otherwise it follows of necessity he will go to ruin. The chief foundations of all states, new as well as old or composite, are good laws and good arms; and as there cannot be good laws where the state is not well armed, it follows that where they are well armed they have good laws. I shall leave the laws out of the discussion and shall speak of the arms. I say, therefore, that the arms with which a prince defends his state are either his own, or they are mercenaries, auxiliaries, or mixed. Mercenaries and auxiliaries are useless and dangerous; and if one holds his state based on these arms, he will stand neither firm nor safe; for they are disunited, ambitious, and without discipline, unfaithful, valiant before friends, cowardly before enemies; they have neither the fear of God nor fidelity to men, and destruction is deferred only so long as the attack is; for in peace one is robbed by them, and in war by the enemy. The fact is, they have no other attraction or reason for keeping the field than a trifle of stipend, which is not sufficient to make them willing to die for you. They are ready enough to be your soldiers whilst you do not make war, but if war comes they take themselves off or run from the foe; which I should have little trouble to prove, for the ruin of Italy has been caused by nothing else than by resting all her hopes for many years on mercenaries, and although they formerly made some display and appeared valiant amongst themselves, yet when the foreigners came they showed what they were. Thus it was that Charles, King of France, was allowed to seize Italy with chalk in hand;(*) and he who told us that our sins were the cause of it told the truth, but they were not the sins he imagined, but those which I have related. And as they were the sins of princes, it is the princes who have also suffered the penalty. (*) "With chalk in hand," "col gesso." This is one of the _bons mots_ of Alexander VI, and refers to the ease with which Charles VIII seized Italy, implying that it was only necessary for him to send his quartermasters to chalk up the billets for his soldiers to conquer the country. Cf. "The History of Henry VII," by Lord Bacon: "King Charles had conquered the realm of Naples, and lost it again, in a kind of a felicity of a dream. He passed the whole length of Italy without resistance: so that it was true what Pope Alexander was wont to say: That the Frenchmen came into Italy with chalk in their hands, to mark up their lodgings, rather than with swords to fight." I wish to demonstrate further the infelicity of these arms. The mercenary captains are either capable men or they are not; if they are, you cannot trust them, because they always aspire to their own greatness, either by oppressing you, who are their master, or others contrary to your intentions; but if the captain is not skilful, you are ruined in the usual way. And if it be urged that whoever is armed will act in the same way, whether mercenary or not, I reply that when arms have to be resorted to, either by a prince or a republic, then the prince ought to go in person and perform the duty of a captain; the republic has to send its citizens, and when one is sent who does not turn out satisfactorily, it ought to recall him, and when one is worthy, to hold him by the laws so that he does not leave the command. And experience has shown princes and republics, single-handed, making the greatest progress, and mercenaries doing nothing except damage; and it is more difficult to bring a republic, armed with its own arms, under the sway of one of its citizens than it is to bring one armed with foreign arms. Rome and Sparta stood for many ages armed and free. The Switzers are completely armed and quite free. Of ancient mercenaries, for example, there are the Carthaginians, who were oppressed by their mercenary soldiers after the first war with the Romans, although the Carthaginians had their own citizens for captains. After the death of Epaminondas, Philip of Macedon was made captain of their soldiers by the Thebans, and after victory he took away their liberty. Duke Filippo being dead, the Milanese enlisted Francesco Sforza against the Venetians, and he, having overcome the enemy at Caravaggio,(*) allied himself with them to crush the Milanese, his masters. His father, Sforza, having been engaged by Queen Johanna(+) of Naples, left her unprotected, so that she was forced to throw herself into the arms of the King of Aragon, in order to save her kingdom. And if the Venetians and Florentines formerly extended their dominions by these arms, and yet their captains did not make themselves princes, but have defended them, I reply that the Florentines in this case have been favoured by chance, for of the able captains, of whom they might have stood in fear, some have not conquered, some have been opposed, and others have turned their ambitions elsewhere. One who did not conquer was Giovanni Acuto,(%) and since he did not conquer his fidelity cannot be proved; but every one will acknowledge that, had he conquered, the Florentines would have stood at his discretion. Sforza had the Bracceschi always against him, so they watched each other. Francesco turned his ambition to Lombardy; Braccio against the Church and the kingdom of Naples. But let us come to that which happened a short while ago. The Florentines appointed as their captain Pagolo Vitelli, a most prudent man, who from a private position had risen to the greatest renown. If this man had taken Pisa, nobody can deny that it would have been proper for the Florentines to keep in with him, for if he became the soldier of their enemies they had no means of resisting, and if they held to him they must obey him. The Venetians, if their achievements are considered, will be seen to have acted safely and gloriously so long as they sent to war their own men, when with armed gentlemen and plebians they did valiantly. This was before they turned to enterprises on land, but when they began to fight on land they forsook this virtue and followed the custom of Italy. And in the beginning of their expansion on land, through not having much territory, and because of their great reputation, they had not much to fear from their captains; but when they expanded, as under Carmignuola,(#) they had a taste of this mistake; for, having found him a most valiant man (they beat the Duke of Milan under his leadership), and, on the other hand, knowing how lukewarm he was in the war, they feared they would no longer conquer under him, and for this reason they were not willing, nor were they able, to let him go; and so, not to lose again that which they had acquired, they were compelled, in order to secure themselves, to murder him. They had afterwards for their captains Bartolomeo da Bergamo, Roberto da San Severino, the count of Pitigliano,(&) and the like, under whom they had to dread loss and not gain, as happened afterwards at Vaila,($) where in one battle they lost that which in eight hundred years they had acquired with so much trouble. Because from such arms conquests come but slowly, long delayed and inconsiderable, but the losses sudden and portentous. (*) Battle of Caravaggio, 15th September 1448. (+) Johanna II of Naples, the widow of Ladislao, King of Naples. (%) Giovanni Acuto. An English knight whose name was Sir John Hawkwood. He fought in the English wars in France, and was knighted by Edward III; afterwards he collected a body of troops and went into Italy. These became the famous "White Company." He took part in many wars, and died in Florence in 1394. He was born about 1320 at Sible Hedingham, a village in Essex. He married Domnia, a daughter of Bernabo Visconti. (#) Carmignuola. Francesco Bussone, born at Carmagnola about 1390, executed at Venice, 5th May 1432. (&) Bartolomeo Colleoni of Bergamo; died 1457. Roberto of San Severino; died fighting for Venice against Sigismund, Duke of Austria, in 1487. "Primo capitano in Italia."-- Machiavelli. Count of Pitigliano; Nicolo Orsini, born 1442, died 1510. ($) Battle of Vaila in 1509. And as with these examples I have reached Italy, which has been ruled for many years by mercenaries, I wish to discuss them more seriously, in order that, having seen their rise and progress, one may be better prepared to counteract them. You must understand that the empire has recently come to be repudiated in Italy, that the Pope has acquired more temporal power, and that Italy has been divided up into more states, for the reason that many of the great cities took up arms against their nobles, who, formerly favoured by the emperor, were oppressing them, whilst the Church was favouring them so as to gain authority in temporal power: in many others their citizens became princes. From this it came to pass that Italy fell partly into the hands of the Church and of republics, and, the Church consisting of priests and the republic of citizens unaccustomed to arms, both commenced to enlist foreigners. The first who gave renown to this soldiery was Alberigo da Conio,(*) the Romagnian. From the school of this man sprang, among others, Braccio and Sforza, who in their time were the arbiters of Italy. After these came all the other captains who till now have directed the arms of Italy; and the end of all their valour has been, that she has been overrun by Charles, robbed by Louis, ravaged by Ferdinand, and insulted by the Switzers. The principle that has guided them has been, first, to lower the credit of infantry so that they might increase their own. They did this because, subsisting on their pay and without territory, they were unable to support many soldiers, and a few infantry did not give them any authority; so they were led to employ cavalry, with a moderate force of which they were maintained and honoured; and affairs were brought to such a pass that, in an army of twenty thousand soldiers, there were not to be found two thousand foot soldiers. They had, besides this, used every art to lessen fatigue and danger to themselves and their soldiers, not killing in the fray, but taking prisoners and liberating without ransom. They did not attack towns at night, nor did the garrisons of the towns attack encampments at night; they did not surround the camp either with stockade or ditch, nor did they campaign in the winter. All these things were permitted by their military rules, and devised by them to avoid, as I have said, both fatigue and dangers; thus they have brought Italy to slavery and contempt. (*) Alberigo da Conio. Alberico da Barbiano, Count of Cunio in Romagna. He was the leader of the famous "Company of St George," composed entirely of Italian soldiers. He died in 1409. Auxiliaries, which are the other useless arm, are employed when a prince is called in with his forces to aid and defend, as was done by Pope Julius in the most recent times; for he, having, in the enterprise against Ferrara, had poor proof of his mercenaries, turned to auxiliaries, and stipulated with Ferdinand, King of Spain,(*) for his assistance with men and arms. These arms may be useful and good in themselves, but for him who calls them in they are always disadvantageous; for losing, one is undone, and winning, one is their captive. And although ancient histories may be full of examples, I do not wish to leave this recent one of Pope Julius the Second, the peril of which cannot fail to be perceived; for he, wishing to get Ferrara, threw himself entirely into the hands of the foreigner. But his good fortune brought about a third event, so that he did not reap the fruit of his rash choice; because, having his auxiliaries routed at Ravenna, and the Switzers having risen and driven out the conquerors (against all expectation, both his and others), it so came to pass that he did not become prisoner to his enemies, they having fled, nor to his auxiliaries, he having conquered by other arms than theirs. The Florentines, being entirely without arms, sent ten thousand Frenchmen to take Pisa, whereby they ran more danger than at any other time of their troubles. The Emperor of Constantinople,(*) to oppose his neighbours, sent ten thousand Turks into Greece, who, on the war being finished, were not willing to quit; this was the beginning of the servitude of Greece to the infidels. Therefore, let him who has no desire to conquer make use of these arms, for they are much more hazardous than mercenaries, because with them the ruin is ready made; they are all united, all yield obedience to others; but with mercenaries, when they have conquered, more time and better opportunities are needed to injure you; they are not all of one community, they are found and paid by you, and a third party, which you have made their head, is not able all at once to assume enough authority to injure you. In conclusion, in mercenaries dastardy is most dangerous; in auxiliaries, valour. The wise prince, therefore, has always avoided these arms and turned to his own; and has been willing rather to lose with them than to conquer with the others, not deeming that a real victory which is gained with the arms of others. I shall never hesitate to cite Cesare Borgia and his actions. This duke entered the Romagna with auxiliaries, taking there only French soldiers, and with them he captured Imola and Forli; but afterwards, such forces not appearing to him reliable, he turned to mercenaries, discerning less danger in them, and enlisted the Orsini and Vitelli; whom presently, on handling and finding them doubtful, unfaithful, and dangerous, he destroyed and turned to his own men. And the difference between one and the other of these forces can easily be seen when one considers the difference there was in the reputation of the duke, when he had the French, when he had the Orsini and Vitelli, and when he relied on his own soldiers, on whose fidelity he could always count and found it ever increasing; he was never esteemed more highly than when every one saw that he was complete master of his own forces. I was not intending to go beyond Italian and recent examples, but I am unwilling to leave out Hiero, the Syracusan, he being one of those I have named above. This man, as I have said, made head of the army by the Syracusans, soon found out that a mercenary soldiery, constituted like our Italian condottieri, was of no use; and it appearing to him that he could neither keep them not let them go, he had them all cut to pieces, and afterwards made war with his own forces and not with aliens. I wish also to recall to memory an instance from the Old Testament applicable to this subject. David offered himself to Saul to fight with Goliath, the Philistine champion, and, to give him courage, Saul armed him with his own weapons; which David rejected as soon as he had them on his back, saying he could make no use of them, and that he wished to meet the enemy with his sling and his knife. In conclusion, the arms of others either fall from your back, or they weigh you down, or they bind you fast. Charles the Seventh,(*) the father of King Louis the Eleventh,(+) having by good fortune and valour liberated France from the English, recognized the necessity of being armed with forces of his own, and he established in his kingdom ordinances concerning men-at-arms and infantry. Afterwards his son, King Louis, abolished the infantry and began to enlist the Switzers, which mistake, followed by others, is, as is now seen, a source of peril to that kingdom; because, having raised the reputation of the Switzers, he has entirely diminished the value of his own arms, for he has destroyed the infantry altogether; and his men-at-arms he has subordinated to others, for, being as they are so accustomed to fight along with Switzers, it does not appear that they can now conquer without them. Hence it arises that the French cannot stand against the Switzers, and without the Switzers they do not come off well against others. The armies of the French have thus become mixed, partly mercenary and partly national, both of which arms together are much better than mercenaries alone or auxiliaries alone, but much inferior to one's own forces. And this example proves it, for the kingdom of France would be unconquerable if the ordinance of Charles had been enlarged or maintained. But the scanty wisdom of man, on entering into an affair which looks well at first, cannot discern the poison that is hidden in it, as I have said above of hectic fevers. Therefore, if he who rules a principality cannot recognize evils until they are upon him, he is not truly wise; and this insight is given to few. And if the first disaster to the Roman Empire(*) should be examined, it will be found to have commenced only with the enlisting of the Goths; because from that time the vigour of the Roman Empire began to decline, and all that valour which had raised it passed away to others. (*) "Many speakers to the House the other night in the debate on the reduction of armaments seemed to show a most lamentable ignorance of the conditions under which the British Empire maintains its existence. When Mr Balfour replied to the allegations that the Roman Empire sank under the weight of its military obligations, he said that this was 'wholly unhistorical.' He might well have added that the Roman power was at its zenith when every citizen acknowledged his liability to fight for the State, but that it began to decline as soon as this obligation was no longer recognized."--Pall Mall Gazette, 15th May 1906. I conclude, therefore, that no principality is secure without having its own forces; on the contrary, it is entirely dependent on good fortune, not having the valour which in adversity would defend it. And it has always been the opinion and judgment of wise men that nothing can be so uncertain or unstable as fame or power not founded on its own strength. And one's own forces are those which are composed either of subjects, citizens, or dependents; all others are mercenaries or auxiliaries. And the way to make ready one's own forces will be easily found if the rules suggested by me shall be reflected upon, and if one will consider how Philip, the father of Alexander the Great, and many republics and princes have armed and organized themselves, to which rules I entirely commit myself. A prince ought to have no other aim or thought, nor select anything else for his study, than war and its rules and discipline; for this is the sole art that belongs to him who rules, and it is of such force that it not only upholds those who are born princes, but it often enables men to rise from a private station to that rank. And, on the contrary, it is seen that when princes have thought more of ease than of arms they have lost their states. And the first cause of your losing it is to neglect this art; and what enables you to acquire a state is to be master of the art. Francesco Sforza, through being martial, from a private person became Duke of Milan; and the sons, through avoiding the hardships and troubles of arms, from dukes became private persons. For among other evils which being unarmed brings you, it causes you to be despised, and this is one of those ignominies against which a prince ought to guard himself, as is shown later on. Because there is nothing proportionate between the armed and the unarmed; and it is not reasonable that he who is armed should yield obedience willingly to him who is unarmed, or that the unarmed man should be secure among armed servants. Because, there being in the one disdain and in the other suspicion, it is not possible for them to work well together. And therefore a prince who does not understand the art of war, over and above the other misfortunes already mentioned, cannot be respected by his soldiers, nor can he rely on them. He ought never, therefore, to have out of his thoughts this subject of war, and in peace he should addict himself more to its exercise than in war; this he can do in two ways, the one by action, the other by study. As regards action, he ought above all things to keep his men well organized and drilled, to follow incessantly the chase, by which he accustoms his body to hardships, and learns something of the nature of localities, and gets to find out how the mountains rise, how the valleys open out, how the plains lie, and to understand the nature of rivers and marshes, and in all this to take the greatest care. Which knowledge is useful in two ways. Firstly, he learns to know his country, and is better able to undertake its defence; afterwards, by means of the knowledge and observation of that locality, he understands with ease any other which it may be necessary for him to study hereafter; because the hills, valleys, and plains, and rivers and marshes that are, for instance, in Tuscany, have a certain resemblance to those of other countries, so that with a knowledge of the aspect of one country one can easily arrive at a knowledge of others. And the prince that lacks this skill lacks the essential which it is desirable that a captain should possess, for it teaches him to surprise his enemy, to select quarters, to lead armies, to array the battle, to besiege towns to advantage. Philopoemen,(*) Prince of the Achaeans, among other praises which writers have bestowed on him, is commended because in time of peace he never had anything in his mind but the rules of war; and when he was in the country with friends, he often stopped and reasoned with them: "If the enemy should be upon that hill, and we should find ourselves here with our army, with whom would be the advantage? How should one best advance to meet him, keeping the ranks? If we should wish to retreat, how ought we to pursue?" And he would set forth to them, as he went, all the chances that could befall an army; he would listen to their opinion and state his, confirming it with reasons, so that by these continual discussions there could never arise, in time of war, any unexpected circumstances that he could not deal with. (*) Philopoemen, "the last of the Greeks," born 252 B.C., died 183 B.C. But to exercise the intellect the prince should read histories, and study there the actions of illustrious men, to see how they have borne themselves in war, to examine the causes of their victories and defeat, so as to avoid the latter and imitate the former; and above all do as an illustrious man did, who took as an exemplar one who had been praised and famous before him, and whose achievements and deeds he always kept in his mind, as it is said Alexander the Great imitated Achilles, Caesar Alexander, Scipio Cyrus. And whoever reads the life of Cyrus, written by Xenophon, will recognize afterwards in the life of Scipio how that imitation was his glory, and how in chastity, affability, humanity, and liberality Scipio conformed to those things which have been written of Cyrus by Xenophon. A wise prince ought to observe some such rules, and never in peaceful times stand idle, but increase his resources with industry in such a way that they may be available to him in adversity, so that if fortune chances it may find him prepared to resist her blows.

Section 5: Chapters XII-XIV

https://web.archive.org/web/20210417004655/https://www.gradesaver.com/the-prince/study-guide/summary-section-5-chapters-xii-xiv

A prince must lay strong foundations, Machiavelli argues in Chapter XII, "On Different Kinds of Troops, Especially Mercenaries." Such foundations consist primarily of good laws and good arms. Because these are inextricably bound, Machiavelli explains that he will focus on arms rather than laws. Armies are either composed of mercenaries, composed of auxiliaries, mixed, or the state's own. The first two types are "useless and dangerous": mercenaries, in particular, "will protect you from ruin only as long as nobody assaults you; in peace you are at their mercy, and in war at the mercy of your enemies." The only incentive mercenaries have is money, and the weakness of Italy can be blamed on their kind. Machiavelli proceeds to list examples of secure republics with large armies of their own people and contrasts these with the Carthaginians, whose mercenary armies turned on their masters and almost overthrew them. The next chapter, "On Auxiliary Troops, Mixed Troops, and Your Own Troops," defines auxiliaries as foreign armies who help a prince upon request. They are also useless, but even more dangerous than mercenaries. "You get your ruin ready-made," Machiavelli writes. While mercenaries are undisciplined, disunited, and disloyal, auxiliary troops "come to you as a compact body, all trained to obey somebody else." Mixed armies are, of course, composed of both auxiliary troops and mercenaries. The ideal is for a prince to use his own troops. Cesare Borgia started out relying on auxiliaries , and then switched to mercenaries before resorting to troops of his own. Steadily, his reputation increased. In Chapter XIV, "Military Duties of the Prince," Machiavelli concludes that a prince must constantly study the art of war. He should think even more about war during times of peace than during times of conflict. He should read history and "reflect on the actions of great men." After all, Alexander the Great imitated Achilles; Caesar imitated Alexander; and Scorpio imitated Cyrus. Reiterating one of the principal themes of The Prince, Machiavelli stresses the importance of learning from the past in order to carve out a better - and more politically successful - future.

In these three chapters, Machiavelli puts forth an explanation for the decline of three great states or territories: the Roman Empire, France, and Italy. Machiavelli, holding forth the hope for a unified Italy, refers to it as a single entity - albeit divided. More importantly, he wields history as a weapon, spinning powerful rhetoric out of the flaws and foibles of men from the past. The fall of the Roman Empire began with the hiring of Goths as soldiers. Charles VII of France, after having freed his kingdom from the English, immediately saw how necessary it was for France to have her own armies. He subsequently passed laws to train cavalry and infantry. Unfortunately, his son Louis XI gave up on this initiative and began to hire Swiss troops. Hence France's current weakness: "the kingdom of France would be invincible if the laws of Charles had been kept in force or strengthened." Relying on the Swiss, Machiavelli argues, was shortsighted expediency. As a judge of human behavior, Machiavelli has little tolerance for lack of foresight. Purely short-term policies are often acts of cowardice, ways of avoiding the festering problems that come back with a vengeance years later. A good prince must look ahead and recognize evils the minute they are born. History is the best demonstration of this point; Machiavelli follows his France and Rome narratives with an admonition for princes to read about the past, to study war as if it were an art, and to continually exercise their minds and strive to emulate the great ancients. "Above all," Machiavelli writes, a prince "should do as great men have done before him, and take as a model for his conduct some great historical figure who achieved the highest praise and glory by constantly holding before himself the deeds and achievements of a predecessor." And what of Italy? Machiavelli's analysis of the country/territory's ills comes earlier, in Chapter XII, "On Different Kinds of Troops, Especially Mercenaries." When the Roman Empire began to fade and the Pope started to gain power, Italy split into several states, which soon saw a flurry of uprisings. Cities took up arms against nobles who had reigned over them with the help of the Empire; the Pope, meanwhile, favored these developments, as they helped increase his own power. Private citizens became princes, and Italy, out of this chaos, morphed into a jumble of republics surrounding and scattered among the Church's holdings. Neither the Church nor the private citizens knew much about war, so foreigners were hired to constitute their armies. The reliance on mercenaries began here, and has persisted since. As a result, Machiavelli argues, Italy is in "a state of slavery and contempt." The Prince places much emphasis on sovereignty, on standing on one's own feet. It is fitting that the newer title of the book be a singular noun, reflecting a solitary character who, on his own, makes something of himself. In its own strange way, The Prince is a celebration of individuality; the better state is the one that uses its own troops, and that resists too much outside influence; the better prince is the one who rises by his own force, rather than by the help of friends or by good luck. No wonder this manual of monarchy has found such a wide audience in the democracies of the 20th and 21st centuries.

sparknotes

all_chapterized_books/28054-chapters/24.txt

finished_summaries/sparknotes/The Brothers Karamazov/section_3_part_11.txt

The Brothers Karamazov.book 3.chapter 11

book 3, chapter 11

{"name": "book 3, Chapter 11", "url": "https://web.archive.org/web/20210305110438/https://www.sparknotes.com/lit/brothersk/section4/", "summary": "One More Ruined Reputation As he returns to the monastery, Alyosha is again stopped by Dmitri, who laughs at the report of Grushenka's behavior. Suddenly remorseful, Dmitri then tells Alyosha that he is consumed by self-disgust. At the monastery that night, Alyosha learns that Zosima's health is rapidly deteriorating, and Zosima is near death. Alyosha decides to remain with Zosima, whom he loves like a father, instead of returning to help with his family's conflict. He reads Lise's letter, which contains a confession of her love for him. She writes that she hopes to marry Alyosha one day. Alyosha laughs happily, says a prayer for all his troubled loved ones, and, after such an eventful day, falls into a deep sleep.", "analysis": "Book III: The Sensualists, Chapters 1-11 The Brothers Karamazov is a systematically ordered novel. Each of the story's twelve books chronicles a specific phase of its development and approaches its narrative from a specific angle"}

Chapter XI. Another Reputation Ruined It was not much more than three-quarters of a mile from the town to the monastery. Alyosha walked quickly along the road, at that hour deserted. It was almost night, and too dark to see anything clearly at thirty paces ahead. There were cross-roads half-way. A figure came into sight under a solitary willow at the cross-roads. As soon as Alyosha reached the cross- roads the figure moved out and rushed at him, shouting savagely: "Your money or your life!" "So it's you, Mitya," cried Alyosha, in surprise, violently startled however. "Ha ha ha! You didn't expect me? I wondered where to wait for you. By her house? There are three ways from it, and I might have missed you. At last I thought of waiting here, for you had to pass here, there's no other way to the monastery. Come, tell me the truth. Crush me like a beetle. But what's the matter?" "Nothing, brother--it's the fright you gave me. Oh, Dmitri! Father's blood just now." (Alyosha began to cry, he had been on the verge of tears for a long time, and now something seemed to snap in his soul.) "You almost killed him--cursed him--and now--here--you're making jokes--'Your money or your life!' " "Well, what of that? It's not seemly--is that it? Not suitable in my position?" "No--I only--" "Stay. Look at the night. You see what a dark night, what clouds, what a wind has risen. I hid here under the willow waiting for you. And as God's above, I suddenly thought, why go on in misery any longer, what is there to wait for? Here I have a willow, a handkerchief, a shirt, I can twist them into a rope in a minute, and braces besides, and why go on burdening the earth, dishonoring it with my vile presence? And then I heard you coming--Heavens, it was as though something flew down to me suddenly. So there is a man, then, whom I love. Here he is, that man, my dear little brother, whom I love more than any one in the world, the only one I love in the world. And I loved you so much, so much at that moment that I thought, 'I'll fall on his neck at once.' Then a stupid idea struck me, to have a joke with you and scare you. I shouted, like a fool, 'Your money!' Forgive my foolery--it was only nonsense, and there's nothing unseemly in my soul.... Damn it all, tell me what's happened. What did she say? Strike me, crush me, don't spare me! Was she furious?" "No, not that.... There was nothing like that, Mitya. There--I found them both there." "Both? Whom?" "Grushenka at Katerina Ivanovna's." Dmitri was struck dumb. "Impossible!" he cried. "You're raving! Grushenka with her?" Alyosha described all that had happened from the moment he went in to Katerina Ivanovna's. He was ten minutes telling his story. He can't be said to have told it fluently and consecutively, but he seemed to make it clear, not omitting any word or action of significance, and vividly describing, often in one word, his own sensations. Dmitri listened in silence, gazing at him with a terrible fixed stare, but it was clear to Alyosha that he understood it all, and had grasped every point. But as the story went on, his face became not merely gloomy, but menacing. He scowled, he clenched his teeth, and his fixed stare became still more rigid, more concentrated, more terrible, when suddenly, with incredible rapidity, his wrathful, savage face changed, his tightly compressed lips parted, and Dmitri Fyodorovitch broke into uncontrolled, spontaneous laughter. He literally shook with laughter. For a long time he could not speak. "So she wouldn't kiss her hand! So she didn't kiss it; so she ran away!" he kept exclaiming with hysterical delight; insolent delight it might have been called, if it had not been so spontaneous. "So the other one called her tigress! And a tigress she is! So she ought to be flogged on a scaffold? Yes, yes, so she ought. That's just what I think; she ought to have been long ago. It's like this, brother, let her be punished, but I must get better first. I understand the queen of impudence. That's her all over! You saw her all over in that hand-kissing, the she-devil! She's magnificent in her own line! So she ran home? I'll go--ah--I'll run to her! Alyosha, don't blame me, I agree that hanging is too good for her." "But Katerina Ivanovna!" exclaimed Alyosha sorrowfully. "I see her, too! I see right through her, as I've never done before! It's a regular discovery of the four continents of the world, that is, of the five! What a thing to do! That's just like Katya, who was not afraid to face a coarse, unmannerly officer and risk a deadly insult on a generous impulse to save her father! But the pride, the recklessness, the defiance of fate, the unbounded defiance! You say that aunt tried to stop her? That aunt, you know, is overbearing, herself. She's the sister of the general's widow in Moscow, and even more stuck-up than she. But her husband was caught stealing government money. He lost everything, his estate and all, and the proud wife had to lower her colors, and hasn't raised them since. So she tried to prevent Katya, but she wouldn't listen to her! She thinks she can overcome everything, that everything will give way to her. She thought she could bewitch Grushenka if she liked, and she believed it herself: she plays a part to herself, and whose fault is it? Do you think she kissed Grushenka's hand first, on purpose, with a motive? No, she really was fascinated by Grushenka, that's to say, not by Grushenka, but by her own dream, her own delusion--because it was _her_ dream, _her_ delusion! Alyosha, darling, how did you escape from them, those women? Did you pick up your cassock and run? Ha ha ha!" "Brother, you don't seem to have noticed how you've insulted Katerina Ivanovna by telling Grushenka about that day. And she flung it in her face just now that she had gone to gentlemen in secret to sell her beauty! Brother, what could be worse than that insult?" What worried Alyosha more than anything was that, incredible as it seemed, his brother appeared pleased at Katerina Ivanovna's humiliation. "Bah!" Dmitri frowned fiercely, and struck his forehead with his hand. He only now realized it, though Alyosha had just told him of the insult, and Katerina Ivanovna's cry: "Your brother is a scoundrel!" "Yes, perhaps, I really did tell Grushenka about that 'fatal day,' as Katya calls it. Yes, I did tell her, I remember! It was that time at Mokroe. I was drunk, the gypsies were singing.... But I was sobbing. I was sobbing then, kneeling and praying to Katya's image, and Grushenka understood it. She understood it all then. I remember, she cried herself.... Damn it all! But it's bound to be so now.... Then she cried, but now 'the dagger in the heart'! That's how women are." He looked down and sank into thought. "Yes, I am a scoundrel, a thorough scoundrel!" he said suddenly, in a gloomy voice. "It doesn't matter whether I cried or not, I'm a scoundrel! Tell her I accept the name, if that's any comfort. Come, that's enough. Good-by. It's no use talking! It's not amusing. You go your way and I mine. And I don't want to see you again except as a last resource. Good- by, Alexey!" He warmly pressed Alyosha's hand, and still looking down, without raising his head, as though tearing himself away, turned rapidly towards the town. Alyosha looked after him, unable to believe he would go away so abruptly. "Stay, Alexey, one more confession to you alone!" cried Dmitri, suddenly turning back. "Look at me. Look at me well. You see here, here--there's terrible disgrace in store for me." (As he said "here," Dmitri struck his chest with his fist with a strange air, as though the dishonor lay precisely on his chest, in some spot, in a pocket, perhaps, or hanging round his neck.) "You know me now, a scoundrel, an avowed scoundrel, but let me tell you that I've never done anything before and never shall again, anything that can compare in baseness with the dishonor which I bear now at this very minute on my breast, here, here, which will come to pass, though I'm perfectly free to stop it. I can stop it or carry it through, note that. Well, let me tell you, I shall carry it through. I shan't stop it. I told you everything just now, but I didn't tell you this, because even I had not brass enough for it. I can still pull up; if I do, I can give back the full half of my lost honor to-morrow. But I shan't pull up. I shall carry out my base plan, and you can bear witness that I told you so beforehand. Darkness and destruction! No need to explain. You'll find out in due time. The filthy back-alley and the she- devil. Good-by. Don't pray for me, I'm not worth it. And there's no need, no need at all.... I don't need it! Away!" And he suddenly retreated, this time finally. Alyosha went towards the monastery. "What? I shall never see him again! What is he saying?" he wondered wildly. "Why, I shall certainly see him to-morrow. I shall look him up. I shall make a point of it. What does he mean?" ------------------------------------- He went round the monastery, and crossed the pine-wood to the hermitage. The door was opened to him, though no one was admitted at that hour. There was a tremor in his heart as he went into Father Zossima's cell. "Why, why, had he gone forth? Why had he sent him into the world? Here was peace. Here was holiness. But there was confusion, there was darkness in which one lost one's way and went astray at once...." In the cell he found the novice Porfiry and Father Paissy, who came every hour to inquire after Father Zossima. Alyosha learnt with alarm that he was getting worse and worse. Even his usual discourse with the brothers could not take place that day. As a rule every evening after service the monks flocked into Father Zossima's cell, and all confessed aloud their sins of the day, their sinful thoughts and temptations; even their disputes, if there had been any. Some confessed kneeling. The elder absolved, reconciled, exhorted, imposed penance, blessed, and dismissed them. It was against this general "confession" that the opponents of "elders" protested, maintaining that it was a profanation of the sacrament of confession, almost a sacrilege, though this was quite a different thing. They even represented to the diocesan authorities that such confessions attained no good object, but actually to a large extent led to sin and temptation. Many of the brothers disliked going to the elder, and went against their own will because every one went, and for fear they should be accused of pride and rebellious ideas. People said that some of the monks agreed beforehand, saying, "I'll confess I lost my temper with you this morning, and you confirm it," simply in order to have something to say. Alyosha knew that this actually happened sometimes. He knew, too, that there were among the monks some who deeply resented the fact that letters from relations were habitually taken to the elder, to be opened and read by him before those to whom they were addressed. It was assumed, of course, that all this was done freely, and in good faith, by way of voluntary submission and salutary guidance. But, in fact, there was sometimes no little insincerity, and much that was false and strained in this practice. Yet the older and more experienced of the monks adhered to their opinion, arguing that "for those who have come within these walls sincerely seeking salvation, such obedience and sacrifice will certainly be salutary and of great benefit; those, on the other hand, who find it irksome, and repine, are no true monks, and have made a mistake in entering the monastery--their proper place is in the world. Even in the temple one cannot be safe from sin and the devil. So it was no good taking it too much into account." "He is weaker, a drowsiness has come over him," Father Paissy whispered to Alyosha, as he blessed him. "It's difficult to rouse him. And he must not be roused. He waked up for five minutes, sent his blessing to the brothers, and begged their prayers for him at night. He intends to take the sacrament again in the morning. He remembered you, Alexey. He asked whether you had gone away, and was told that you were in the town. 'I blessed him for that work,' he said, 'his place is there, not here, for awhile.' Those were his words about you. He remembered you lovingly, with anxiety; do you understand how he honored you? But how is it that he has decided that you shall spend some time in the world? He must have foreseen something in your destiny! Understand, Alexey, that if you return to the world, it must be to do the duty laid upon you by your elder, and not for frivolous vanity and worldly pleasures." Father Paissy went out. Alyosha had no doubt that Father Zossima was dying, though he might live another day or two. Alyosha firmly and ardently resolved that in spite of his promises to his father, the Hohlakovs, and Katerina Ivanovna, he would not leave the monastery next day, but would remain with his elder to the end. His heart glowed with love, and he reproached himself bitterly for having been able for one instant to forget him whom he had left in the monastery on his deathbed, and whom he honored above every one in the world. He went into Father Zossima's bedroom, knelt down, and bowed to the ground before the elder, who slept quietly without stirring, with regular, hardly audible breathing and a peaceful face. Alyosha returned to the other room, where Father Zossima had received his guests in the morning. Taking off his boots, he lay down on the hard, narrow, leathern sofa, which he had long used as a bed, bringing nothing but a pillow. The mattress, about which his father had shouted to him that morning, he had long forgotten to lie on. He took off his cassock, which he used as a covering. But before going to bed, he fell on his knees and prayed a long time. In his fervent prayer he did not beseech God to lighten his darkness but only thirsted for the joyous emotion, which always visited his soul after the praise and adoration, of which his evening prayer usually consisted. That joy always brought him light untroubled sleep. As he was praying, he suddenly felt in his pocket the little pink note the servant had handed him as he left Katerina Ivanovna's. He was disturbed, but finished his prayer. Then, after some hesitation, he opened the envelope. In it was a letter to him, signed by Lise, the young daughter of Madame Hohlakov, who had laughed at him before the elder in the morning. "Alexey Fyodorovitch," she wrote, "I am writing to you without any one's knowledge, even mamma's, and I know how wrong it is. But I cannot live without telling you the feeling that has sprung up in my heart, and this no one but us two must know for a time. But how am I to say what I want so much to tell you? Paper, they say, does not blush, but I assure you it's not true and that it's blushing just as I am now, all over. Dear Alyosha, I love you, I've loved you from my childhood, since our Moscow days, when you were very different from what you are now, and I shall love you all my life. My heart has chosen you, to unite our lives, and pass them together till our old age. Of course, on condition that you will leave the monastery. As for our age we will wait for the time fixed by the law. By that time I shall certainly be quite strong, I shall be walking and dancing. There can be no doubt of that. "You see how I've thought of everything. There's only one thing I can't imagine: what you'll think of me when you read this. I'm always laughing and being naughty. I made you angry this morning, but I assure you before I took up my pen, I prayed before the Image of the Mother of God, and now I'm praying, and almost crying. "My secret is in your hands. When you come to-morrow, I don't know how I shall look at you. Ah, Alexey Fyodorovitch, what if I can't restrain myself like a silly and laugh when I look at you as I did to-day. You'll think I'm a nasty girl making fun of you, and you won't believe my letter. And so I beg you, dear one, if you've any pity for me, when you come to- morrow, don't look me straight in the face, for if I meet your eyes, it will be sure to make me laugh, especially as you'll be in that long gown. I feel cold all over when I think of it, so when you come, don't look at me at all for a time, look at mamma or at the window.... "Here I've written you a love-letter. Oh, dear, what have I done? Alyosha, don't despise me, and if I've done something very horrid and wounded you, forgive me. Now the secret of my reputation, ruined perhaps for ever, is in your hands. "I shall certainly cry to-day. Good-by till our meeting, our _awful_ meeting.--LISE. "P.S.--Alyosha! You must, must, must come!--LISE." Alyosha read the note in amazement, read it through twice, thought a little, and suddenly laughed a soft, sweet laugh. He started. That laugh seemed to him sinful. But a minute later he laughed again just as softly and happily. He slowly replaced the note in the envelope, crossed himself and lay down. The agitation in his heart passed at once. "God, have mercy upon all of them, have all these unhappy and turbulent souls in Thy keeping, and set them in the right path. All ways are Thine. Save them according to Thy wisdom. Thou art love. Thou wilt send joy to all!" Alyosha murmured, crossing himself, and falling into peaceful sleep.

book 3, Chapter 11

https://web.archive.org/web/20210305110438/https://www.sparknotes.com/lit/brothersk/section4/

One More Ruined Reputation As he returns to the monastery, Alyosha is again stopped by Dmitri, who laughs at the report of Grushenka's behavior. Suddenly remorseful, Dmitri then tells Alyosha that he is consumed by self-disgust. At the monastery that night, Alyosha learns that Zosima's health is rapidly deteriorating, and Zosima is near death. Alyosha decides to remain with Zosima, whom he loves like a father, instead of returning to help with his family's conflict. He reads Lise's letter, which contains a confession of her love for him. She writes that she hopes to marry Alyosha one day. Alyosha laughs happily, says a prayer for all his troubled loved ones, and, after such an eventful day, falls into a deep sleep.

Book III: The Sensualists, Chapters 1-11 The Brothers Karamazov is a systematically ordered novel. Each of the story's twelve books chronicles a specific phase of its development and approaches its narrative from a specific angle

gradesaver

all_chapterized_books/161-chapters/22.txt

finished_summaries/gradesaver/Sense and Sensibility/section_2_part_2.txt

Sense and Sensibility.chapter 22

chapter 22

{"name": "Chapter 22", "url": "https://web.archive.org/web/20210419170735/https://www.gradesaver.com/sense-and-sensibility/study-guide/summary-chapters-21-30", "summary": "Marianne cannot stand the Miss Steeles and is cold toward them out of ill-spirits and dislike, so Elinor becomes the preferred companion of Lucy. Elinor thinks Lucy decent company, though she lacks education and refinement, has an insincere tendency to flatter people. Lucy inquires of Mrs. Ferrars, which strikes Elinor as odd; Elinor asks of her acquaintance with the Ferrars family, and Lucy reveals that she is engaged to Edward. The engagement, though, is a secret to all but Lucy's sister and now Elinor; Elinor questions Lucy to try and prove that this is not true, but it turns out that it was Lucy that Edward had visited in Plymouth before his arrival at Barton, and Lucy says she gave him a ring with a lock of hair, which Elinor and Marianne had noticed him wearing. Elinor is overcome by grief at this discovery, but she must keep this knowledge a secret, and hide her great disappointment as best she can.", "analysis": "Disappointment hits Elinor just as hard as it had with Marianne; her expectations, once again a theme in the story, are immediately dashed. The secret symbolized by Edward's ring is finally revealed, though Elinor, unlike Marianne, has not the luxury of expressing her grief on this occasion. Elinor's complete oppression of her feelings here shows her to be as opposite to Marianne as she can be; the juxtaposition between Marianne's indulgent grief and Elinor's complete restraint shows that both feel disappointment keenly, but are driven to react in very different ways. Austen's diction upon conveying Elinor's disappointment is as keen and sharp as Elinor's own feelings; she is \"mortified, shocked, confounded\" by Lucy's confession, and is so affected that she \"can hardly stand"}

Marianne, who had never much toleration for any thing like impertinence, vulgarity, inferiority of parts, or even difference of taste from herself, was at this time particularly ill-disposed, from the state of her spirits, to be pleased with the Miss Steeles, or to encourage their advances; and to the invariable coldness of her behaviour towards them, which checked every endeavour at intimacy on their side, Elinor principally attributed that preference of herself which soon became evident in the manners of both, but especially of Lucy, who missed no opportunity of engaging her in conversation, or of striving to improve their acquaintance by an easy and frank communication of her sentiments. Lucy was naturally clever; her remarks were often just and amusing; and as a companion for half an hour Elinor frequently found her agreeable; but her powers had received no aid from education: she was ignorant and illiterate; and her deficiency of all mental improvement, her want of information in the most common particulars, could not be concealed from Miss Dashwood, in spite of her constant endeavour to appear to advantage. Elinor saw, and pitied her for, the neglect of abilities which education might have rendered so respectable; but she saw, with less tenderness of feeling, the thorough want of delicacy, of rectitude, and integrity of mind, which her attentions, her assiduities, her flatteries at the Park betrayed; and she could have no lasting satisfaction in the company of a person who joined insincerity with ignorance; whose want of instruction prevented their meeting in conversation on terms of equality, and whose conduct toward others made every shew of attention and deference towards herself perfectly valueless. "You will think my question an odd one, I dare say," said Lucy to her one day, as they were walking together from the park to the cottage--"but pray, are you personally acquainted with your sister-in-law's mother, Mrs. Ferrars?" Elinor DID think the question a very odd one, and her countenance expressed it, as she answered that she had never seen Mrs. Ferrars. "Indeed!" replied Lucy; "I wonder at that, for I thought you must have seen her at Norland sometimes. Then, perhaps, you cannot tell me what sort of a woman she is?" "No," returned Elinor, cautious of giving her real opinion of Edward's mother, and not very desirous of satisfying what seemed impertinent curiosity-- "I know nothing of her." "I am sure you think me very strange, for enquiring about her in such a way," said Lucy, eyeing Elinor attentively as she spoke; "but perhaps there may be reasons--I wish I might venture; but however I hope you will do me the justice of believing that I do not mean to be impertinent." Elinor made her a civil reply, and they walked on for a few minutes in silence. It was broken by Lucy, who renewed the subject again by saying, with some hesitation, "I cannot bear to have you think me impertinently curious. I am sure I would rather do any thing in the world than be thought so by a person whose good opinion is so well worth having as yours. And I am sure I should not have the smallest fear of trusting YOU; indeed, I should be very glad of your advice how to manage in such an uncomfortable situation as I am; but, however, there is no occasion to trouble YOU. I am sorry you do not happen to know Mrs. Ferrars." "I am sorry I do NOT," said Elinor, in great astonishment, "if it could be of any use to YOU to know my opinion of her. But really I never understood that you were at all connected with that family, and therefore I am a little surprised, I confess, at so serious an inquiry into her character." "I dare say you are, and I am sure I do not at all wonder at it. But if I dared tell you all, you would not be so much surprised. Mrs. Ferrars is certainly nothing to me at present--but the time MAY come--how soon it will come must depend upon herself--when we may be very intimately connected." She looked down as she said this, amiably bashful, with only one side glance at her companion to observe its effect on her. "Good heavens!" cried Elinor, "what do you mean? Are you acquainted with Mr. Robert Ferrars? Can you be?" And she did not feel much delighted with the idea of such a sister-in-law. "No," replied Lucy, "not to Mr. ROBERT Ferrars--I never saw him in my life; but," fixing her eyes upon Elinor, "to his eldest brother." What felt Elinor at that moment? Astonishment, that would have been as painful as it was strong, had not an immediate disbelief of the assertion attended it. She turned towards Lucy in silent amazement, unable to divine the reason or object of such a declaration; and though her complexion varied, she stood firm in incredulity, and felt in no danger of an hysterical fit, or a swoon. "You may well be surprised," continued Lucy; "for to be sure you could have had no idea of it before; for I dare say he never dropped the smallest hint of it to you or any of your family; because it was always meant to be a great secret, and I am sure has been faithfully kept so by me to this hour. Not a soul of all my relations know of it but Anne, and I never should have mentioned it to you, if I had not felt the greatest dependence in the world upon your secrecy; and I really thought my behaviour in asking so many questions about Mrs. Ferrars must seem so odd, that it ought to be explained. And I do not think Mr. Ferrars can be displeased, when he knows I have trusted you, because I know he has the highest opinion in the world of all your family, and looks upon yourself and the other Miss Dashwoods quite as his own sisters."--She paused. Elinor for a few moments remained silent. Her astonishment at what she heard was at first too great for words; but at length forcing herself to speak, and to speak cautiously, she said, with calmness of manner, which tolerably well concealed her surprise and solicitude-- "May I ask if your engagement is of long standing?" "We have been engaged these four years." "Four years!" "Yes." Elinor, though greatly shocked, still felt unable to believe it. "I did not know," said she, "that you were even acquainted till the other day." "Our acquaintance, however, is of many years date. He was under my uncle's care, you know, a considerable while." "Your uncle!" "Yes; Mr. Pratt. Did you never hear him talk of Mr. Pratt?" "I think I have," replied Elinor, with an exertion of spirits, which increased with her increase of emotion. "He was four years with my uncle, who lives at Longstaple, near Plymouth. It was there our acquaintance begun, for my sister and me was often staying with my uncle, and it was there our engagement was formed, though not till a year after he had quitted as a pupil; but he was almost always with us afterwards. I was very unwilling to enter into it, as you may imagine, without the knowledge and approbation of his mother; but I was too young, and loved him too well, to be so prudent as I ought to have been.-- Though you do not know him so well as me, Miss Dashwood, you must have seen enough of him to be sensible he is very capable of making a woman sincerely attached to him." "Certainly," answered Elinor, without knowing what she said; but after a moment's reflection, she added, with revived security of Edward's honour and love, and her companion's falsehood--"Engaged to Mr. Edward Ferrars!--I confess myself so totally surprised at what you tell me, that really--I beg your pardon; but surely there must be some mistake of person or name. We cannot mean the same Mr. Ferrars." "We can mean no other," cried Lucy, smiling. "Mr. Edward Ferrars, the eldest son of Mrs. Ferrars, of Park Street, and brother of your sister-in-law, Mrs. John Dashwood, is the person I mean; you must allow that I am not likely to be deceived as to the name of the man on who all my happiness depends." "It is strange," replied Elinor, in a most painful perplexity, "that I should never have heard him even mention your name." "No; considering our situation, it was not strange. Our first care has been to keep the matter secret.-- You knew nothing of me, or my family, and, therefore, there could be no OCCASION for ever mentioning my name to you; and, as he was always particularly afraid of his sister's suspecting any thing, THAT was reason enough for his not mentioning it." She was silent.--Elinor's security sunk; but her self-command did not sink with it. "Four years you have been engaged," said she with a firm voice. "Yes; and heaven knows how much longer we may have to wait. Poor Edward! It puts him quite out of heart." Then taking a small miniature from her pocket, she added, "To prevent the possibility of mistake, be so good as to look at this face. It does not do him justice, to be sure, but yet I think you cannot be deceived as to the person it was drew for.--I have had it above these three years." She put it into her hands as she spoke; and when Elinor saw the painting, whatever other doubts her fear of a too hasty decision, or her wish of detecting falsehood might suffer to linger in her mind, she could have none of its being Edward's face. She returned it almost instantly, acknowledging the likeness. "I have never been able," continued Lucy, "to give him my picture in return, which I am very much vexed at, for he has been always so anxious to get it! But I am determined to set for it the very first opportunity." "You are quite in the right," replied Elinor calmly. They then proceeded a few paces in silence. Lucy spoke first. "I am sure," said she, "I have no doubt in the world of your faithfully keeping this secret, because you must know of what importance it is to us, not to have it reach his mother; for she would never approve of it, I dare say. I shall have no fortune, and I fancy she is an exceeding proud woman." "I certainly did not seek your confidence," said Elinor; "but you do me no more than justice in imagining that I may be depended on. Your secret is safe with me; but pardon me if I express some surprise at so unnecessary a communication. You must at least have felt that my being acquainted with it could not add to its safety." As she said this, she looked earnestly at Lucy, hoping to discover something in her countenance; perhaps the falsehood of the greatest part of what she had been saying; but Lucy's countenance suffered no change. "I was afraid you would think I was taking a great liberty with you," said she, "in telling you all this. I have not known you long to be sure, personally at least, but I have known you and all your family by description a great while; and as soon as I saw you, I felt almost as if you was an old acquaintance. Besides in the present case, I really thought some explanation was due to you after my making such particular inquiries about Edward's mother; and I am so unfortunate, that I have not a creature whose advice I can ask. Anne is the only person that knows of it, and she has no judgment at all; indeed, she does me a great deal more harm than good, for I am in constant fear of her betraying me. She does not know how to hold her tongue, as you must perceive, and I am sure I was in the greatest fright in the world t'other day, when Edward's name was mentioned by Sir John, lest she should out with it all. You can't think how much I go through in my mind from it altogether. I only wonder that I am alive after what I have suffered for Edward's sake these last four years. Every thing in such suspense and uncertainty; and seeing him so seldom--we can hardly meet above twice a-year. I am sure I wonder my heart is not quite broke." Here she took out her handkerchief; but Elinor did not feel very compassionate. "Sometimes." continued Lucy, after wiping her eyes, "I think whether it would not be better for us both to break off the matter entirely." As she said this, she looked directly at her companion. "But then at other times I have not resolution enough for it.-- I cannot bear the thoughts of making him so miserable, as I know the very mention of such a thing would do. And on my own account too--so dear as he is to me--I don't think I could be equal to it. What would you advise me to do in such a case, Miss Dashwood? What would you do yourself?" "Pardon me," replied Elinor, startled by the question; "but I can give you no advice under such circumstances. Your own judgment must direct you." "To be sure," continued Lucy, after a few minutes silence on both sides, "his mother must provide for him sometime or other; but poor Edward is so cast down by it! Did you not think him dreadful low-spirited when he was at Barton? He was so miserable when he left us at Longstaple, to go to you, that I was afraid you would think him quite ill." "Did he come from your uncle's, then, when he visited us?" "Oh, yes; he had been staying a fortnight with us. Did you think he came directly from town?" "No," replied Elinor, most feelingly sensible of every fresh circumstance in favour of Lucy's veracity; "I remember he told us, that he had been staying a fortnight with some friends near Plymouth." She remembered too, her own surprise at the time, at his mentioning nothing farther of those friends, at his total silence with respect even to their names. "Did not you think him sadly out of spirits?" repeated Lucy. "We did, indeed, particularly so when he first arrived." "I begged him to exert himself for fear you should suspect what was the matter; but it made him so melancholy, not being able to stay more than a fortnight with us, and seeing me so much affected.-- Poor fellow!--I am afraid it is just the same with him now; for he writes in wretched spirits. I heard from him just before I left Exeter;" taking a letter from her pocket and carelessly showing the direction to Elinor. "You know his hand, I dare say, a charming one it is; but that is not written so well as usual.--He was tired, I dare say, for he had just filled the sheet to me as full as possible." Elinor saw that it WAS his hand, and she could doubt no longer. This picture, she had allowed herself to believe, might have been accidentally obtained; it might not have been Edward's gift; but a correspondence between them by letter, could subsist only under a positive engagement, could be authorised by nothing else; for a few moments, she was almost overcome--her heart sunk within her, and she could hardly stand; but exertion was indispensably necessary; and she struggled so resolutely against the oppression of her feelings, that her success was speedy, and for the time complete. "Writing to each other," said Lucy, returning the letter into her pocket, "is the only comfort we have in such long separations. Yes, I have one other comfort in his picture, but poor Edward has not even THAT. If he had but my picture, he says he should be easy. I gave him a lock of my hair set in a ring when he was at Longstaple last, and that was some comfort to him, he said, but not equal to a picture. Perhaps you might notice the ring when you saw him?" "I did," said Elinor, with a composure of voice, under which was concealed an emotion and distress beyond any thing she had ever felt before. She was mortified, shocked, confounded. Fortunately for her, they had now reached the cottage, and the conversation could be continued no farther. After sitting with them a few minutes, the Miss Steeles returned to the Park, and Elinor was then at liberty to think and be wretched. [At this point in the first and second editions, Volume 1 ends.]

Chapter 22

https://web.archive.org/web/20210419170735/https://www.gradesaver.com/sense-and-sensibility/study-guide/summary-chapters-21-30

Marianne cannot stand the Miss Steeles and is cold toward them out of ill-spirits and dislike, so Elinor becomes the preferred companion of Lucy. Elinor thinks Lucy decent company, though she lacks education and refinement, has an insincere tendency to flatter people. Lucy inquires of Mrs. Ferrars, which strikes Elinor as odd; Elinor asks of her acquaintance with the Ferrars family, and Lucy reveals that she is engaged to Edward. The engagement, though, is a secret to all but Lucy's sister and now Elinor; Elinor questions Lucy to try and prove that this is not true, but it turns out that it was Lucy that Edward had visited in Plymouth before his arrival at Barton, and Lucy says she gave him a ring with a lock of hair, which Elinor and Marianne had noticed him wearing. Elinor is overcome by grief at this discovery, but she must keep this knowledge a secret, and hide her great disappointment as best she can.

Disappointment hits Elinor just as hard as it had with Marianne; her expectations, once again a theme in the story, are immediately dashed. The secret symbolized by Edward's ring is finally revealed, though Elinor, unlike Marianne, has not the luxury of expressing her grief on this occasion. Elinor's complete oppression of her feelings here shows her to be as opposite to Marianne as she can be; the juxtaposition between Marianne's indulgent grief and Elinor's complete restraint shows that both feel disappointment keenly, but are driven to react in very different ways. Austen's diction upon conveying Elinor's disappointment is as keen and sharp as Elinor's own feelings; she is "mortified, shocked, confounded" by Lucy's confession, and is so affected that she "can hardly stand

gradesaver

all_chapterized_books/1756-chapters/act_iii.txt

finished_summaries/gradesaver/Uncle Vanya/section_2_part_0.txt

Uncle Vanya.act iii

act iii

{"name": "Act III", "url": "https://web.archive.org/web/20180409044821/http://www.gradesaver.com/uncle-vanya/study-guide/summary-act-iii", "summary": "In the drawing room, Vanya and Sonya sit; Helen, deep in thought, walks up to them. Vanya complains to the ladies that Serebryakov wants to speak to them, no doubt about something pointless. He mocks Helen for her charming laziness, and Helen furrows her brow. She tells him to stop and says that she is excessively bored. Sonya suggests that there are plenty of things for her to do, such as working on the farm, or teaching, or nursing. Helen simply replies that she cannot to do that sort of thing. Sonya tells her that her boredom is infectious, and that she could certainly teach. Vanya sneers that Helen has mermaid's blood and ought to just fall into the river with a river-god. Helen is angry, even when Vanya apologizes and kisses her hand. She wonders how they will ever get through the winter. After Vanya leaves, Sonya confides in Helen that she is sad that she is not beautiful. Helen compliments her hair, but this does not comfort Sonya. She loves Astrov's voice, his hand, and the sound of him arriving at the house, but he doesn't seem to even notice her. Helen thoughtfully says she will talk to him on her behalf; Sonya is pleased but a bit agitated, and makes Helen promise to tell her exactly what he says. Helen does; the plan is for Sonya to tell Astrov that Helen wants to see his maps. After Sonya departs, Helen muses aloud that Astrov certainly does not love Sonya; however, even though she is not beautiful, she would make him a good wife because she is clever and unspoiled. Helen feels like she understands Sonya, and she certainly understands ghastly boredom and how Astrov's occasional appearance enlivens that boredom. He is different from the others and is like a \"bright moon rising in the darkness\" . Helen sighs that she wishes she could fly away like a bird from all of this, but she is too much of a coward to leave. Astrov enters with his maps, happily asking if she wants to see them. Astrov spreads them out; as he does so, he asks where she is from and where she was educated. He wonders if she could actually be interested in this; Helen responds that she might not know much about country life, but she has read a lot. Astrov begins to speak about the maps, a pleasure he allows himself only once a month. The first map, he begins, is the district fifty years ago. Half the area was wooded. The land featured small isolated hamlets and a great deal of birds and cattle and horses. Twenty-five years ago, though, some of the animals were gone, and only a third of the area was wooded. Old hamlets and farmsteads vanished, and the \"general picture is one of a gradual and unmistakable decline\" . Things have certainly worsened over the last years. Astrov pauses and says that if people had built roads and railways instead of simply destroying the forests, or had erected factories and schools, then the peasants would be better off and happier. However, this did not happen: the district is still mosquito-laden, poor, and prone to fires and disease. People find the struggle for existence difficult, he says: they are backward, ignorant, and have no idea what they're doing. A man's only instinct is to be warm and fed, and he does not think about the future. Astrov looks at Helen and coldly comments that she is bored. She replies that she understands little, but he denies this: she is just not interested. Helen asks if she can change the subject, so they sit down and asks bluntly about Sonya--does she attract him as a woman? He answers no. Helen sighs and says that Sonya is so unhappy, and that he ought to stop coming here. Astrov, annoyed, stands up. Helen feels that this is a disagreeable conversation and is wearied by it. She tells them that they ought to pretend like nothing was said. Astrov stares at her and asks why she brought it up. He shrugs but then regards her more carefully and comments that she is a little box of tricks. Helen is confused, and he laughs that she has it all figured out. He presses on and says she knows perfectly well why he comes here, that she's a little vampire, and that he is not new to this. Helen is still confused, and Astrov smiles that she is a beautiful little weasel. He bows his head and mockingly says that he surrenders. Helen is surprised, calls him crazy, and moves to leave, but he bars her way and takes her hand. He moves closer and passionately begs her to let him kiss her. He kisses her hand as she tries to pull away. He leans in, imploring her to tell him when they can meet, and he kisses her as Vanya walks in. Helen does not see Vanya, but she tells Astrov to leave her alone. He insists that she meet him at the forest reservation, but she still tries to extricate herself, especially once she notices Vanya. Vanya is carrying roses and puts them down. Astrov bitterly talks about the weather as he rolls up the maps. Helen runs up to Vanya and says he must do all he can to get her husband and her away from this house. Vanya is distracted but says \"of course.\" Serebryakov, Sonya, Telegin, and Marina enter. Serebryakov complains about the house. As her father prepares to speak, Sonya goes up to Helen and asks what Astrov said. Helen only says she will tell her later, and Sonya trembles and asks if he said he wasn't going to come anymore. Helen nods. Serebryakov tells everyone to sit down and Vanya asks in an annoyed, agitated tone if he is needed. Serebryakov tells him that he obviously is, and he wonders why he is acting like this. He begins his speech a moment later, explaining that he needs everyone's advice. He is old now and has to think about putting his affairs in order. It is impossible for him to live in the country, and the estate's income will not support them in the city. It is his proposal that they sell the estate, which would allow for a smaller cottage near St. Petersburg. Vanya is stunned and asks what Serebryakov thinks he, Mrs. Voynitksy, and Sonya will do. Serebryakov replies that they will figure that out in time. Vanya shakes his head, saying that he thought all this time that this was Sonya's estate. Serebryakov replies that it is, and that he would do this in her best interest. This does not comfort Vanya, even though Mrs. Voynitsky suggests listening to the professor. Serebryakov doesn't understand why people are upset, and Vanya interrupts clueless Telegin's comments to explain angrily how he gave up part of his inheritance so that his sister could buy this land. Furthermore, it is free from debt because he, Vanya, has worked so hard on it for twenty-five years. All this time, Serebryakov has neither thanked him nor given him an extra ruble. Telegin and Mrs. Voynitsky try to calm Vanya down but he continues, saying how he used to revere the professor's writing and books but how he now despises them. He says they used to think of the professor as superior, but now he sees that he knows nothing of the art he writes about. Serebryakov is still confused and Helen tries to calm Vanya down. Serebryakov tells Vanya that, if he wants the estate, it is his. Telegin runs out in distress. Helen shouts that she can't stand this. Vanya moans that his life is ruined, and that he could have been a Schopenhauer or Dostoevsky but for Serebryakov; he feels like he is going mad. Sonya leans before Marina in anguish. Vanya calls out to his mother, then announces he knows what to do, and runs out. Serebryakov proclaims he does not know what is wrong with Vanya, and Helen insists they must leave today. Sonya turns to her father and begs him to understand that she and her uncle are so unhappy and worked so hard for him their whole lives. Helen tells her husband that she must sort this out. Grudgingly, Serebryakov leaves to talk to Vanya with Helen following. Marina comforts Sonya. Suddenly, a shot is heard; Helen's scream follows. Serebryakov staggers back in, shouting about Vanya's madness. Helen and Vanya struggle over a revolver. Vanya bests her and fires again at Serebryakov but misses. He tries again and misses. He curses and sinks into a chair. Helen leans against a wall, her chest heaving. She says she must leave. Vanya wonders desperately what he is doing, and Sonya cries for Nanny.", "analysis": "In a play where not much happens, this act features several encounters that would be immensely significant, were it not for Chekhov's droll tone and the lack of any consequence or change following said encounters. There is Helen's attempt to find out Astrov's feelings for Sonya, Astrov's attempt to seduce Helen, Serebryakov's announcement that he wants to sell the estate, and Vanya's breakdown and subsequent attempted murder of Serebryakov. All of the characters, critic Kael D. Kramer writes, \"are determined to make a melodrama out of something that is ordinary human experience.\" They \"try to maximize the minimum, creating the effect of anticlimax. The way they do this is by regularly resorting to self-dramatization or indulging in self-pity.\" John Weston agrees, lauding Chekhov's vision of evil \" precisely in the midst of idle talk, everyday pettiness, and people with nothing to distinguish them: neither vice nor virtue.\" There are conflicts and problems in their lives, yes, but the main one is merely \"one of good but ineffectual people with the harsh crudeness of real life, a clash of the dream and reality of an ordinary life.\" Thus, the Sonya-Helen-Astrov dynamic seems like it would be more momentous than it actually is. Sonya is in love with Astrov, but even when Helen reveals to her that he does not love her back, she quells her feelings of sadness and focuses on caring for her uncle. Helen admits that she finds Astrov interesting and attractive, but she will not actually cheat on her husband. And Astrov is sexually attracted to Helen, but he does not seem to have any real feelings for her; he is merely drunk and feeling a sense of lust rooted in the desire to destroy, to sublimate his fears and sorrows, and to rile and rouse the stultifying country life he is stuck in. In this seduction scene, he is the destroyer, not the creator, even though he decried such behavior earlier in the play. This act, perhaps like the play itself, belongs to Vanya. When Serebryakov announces to the family that he wishes to sell the estate so he and Helen can afford to live elsewhere, Vanya snaps. He reminds his brother-in-law that the estate is only in the family because of his deceased sister, and because of the efforts of Sonya and himself. Serebryakov's feint that he does not understand why Vanya is so upset only adds fuel to the fire; he acts as if he were the aggrieved one and perceives Vanya only as a petulant child. The putative loss of the estate vexes Vanya because Serebryakov's behavior encapsulates everything that he hates about the man. Vanya explodes that he worked the estate for twenty-five years and Serebryakov \" thanked me once\" . He and the others talked only of Serebryakov and his works and \"were proud of you and worshipped the very sound of your name\" . Now, though, Vanya seethes that Serebryakov's writings are worthless and that he's made a fool of them. Before he rushes out to grab the revolver, he says, \"You've ruined my life! I've not lived, I tell you. Thanks to you the best years of my life have been thrown down the drain. You are my worst enemy!\" and \"My life's ruined. I'm gifted, intelligent, courageous. If I'd had a normal life I might have been a Schopenhauer or a Dostoevsky\" . What to make of Vanya's outburst? There is certainly truth to it. Serebryakov is not a great man, and Vanya did work hard for seemingly nothing. However, Vanya is excessively self-pitying. As Kramer explains, Vanya often \" himself in the role of victim\" and \"casts Serebryakov as the villain of his drama.\" Serebryakov doesn't deserve this much ire; he is simply too inane. Earlier, Sonya told her uncle that his complaining is boring, although she comforts him in his despair at the end of the play. Sadly, the \"heart of Vanya's senseless mistake... he is asking for validation from one whose credentials belie all credibility.\""}

ACT III The drawing-room of SEREBRAKOFF'S house. There are three doors: one to the right, one to the left, and one in the centre of the room. VOITSKI and SONIA are sitting down. HELENA is walking up and down, absorbed in thought. VOITSKI. We were asked by the professor to be here at one o'clock. [Looks at his watch] It is now a quarter to one. It seems he has some communication to make to the world. HELENA. Probably a matter of business. VOITSKI. He never had any business. He writes twaddle, grumbles, and eats his heart out with jealousy; that's all he does. SONIA. [Reproachfully] Uncle! VOITSKI. All right. I beg your pardon. [He points to HELENA] Look at her. Wandering up and down from sheer idleness. A sweet picture, really. HELENA. I wonder you are not bored, droning on in the same key from morning till night. [Despairingly] I am dying of this tedium. What shall I do? SONIA. [Shrugging her shoulders] There is plenty to do if you would. HELENA. For instance? SONIA. You could help run this place, teach the children, care for the sick--isn't that enough? Before you and papa came, Uncle Vanya and I used to go to market ourselves to deal in flour. HELENA. I don't know anything about such things, and besides, they don't interest me. It is only in novels that women go out and teach and heal the peasants; how can I suddenly begin to do it? SONIA. How can you live here and not do it? Wait awhile, you will get used to it all. [Embraces her] Don't be sad, dearest. [Laughing] You feel miserable and restless, and can't seem to fit into this life, and your restlessness is catching. Look at Uncle Vanya, he does nothing now but haunt you like a shadow, and I have left my work to-day to come here and talk with you. I am getting lazy, and don't want to go on with it. Dr. Astroff hardly ever used to come here; it was all we could do to persuade him to visit us once a month, and now he has abandoned his forestry and his practice, and comes every day. You must be a witch. VOITSKI. Why should you languish here? Come, my dearest, my beauty, be sensible! The blood of a Nixey runs in your veins. Oh, won't you let yourself be one? Give your nature the reins for once in your life; fall head over ears in love with some other water sprite and plunge down head first into a deep pool, so that the Herr Professor and all of us may have our hands free again. HELENA. [Angrily] Leave me alone! How cruel you are! [She tries to go out.] VOITSKI. [Preventing her] There, there, my beauty, I apologise. [He kisses her hand] Forgive me. HELENA. Confess that you would try the patience of an angel. VOITSKI. As a peace offering I am going to fetch some flowers which I picked for you this morning: some autumn roses, beautiful, sorrowful roses. [He goes out.] SONIA. Autumn roses, beautiful, sorrowful roses! [She and HELENA stand looking out of the window.] HELENA. September already! How shall we live through the long winter here? [A pause] Where is the doctor? SONIA. He is writing in Uncle Vanya's room. I am glad Uncle Vanya has gone out, I want to talk to you about something. HELENA. About what? SONIA. About what? [She lays her head on HELENA'S breast.] HELENA. [Stroking her hair] There, there, that will do. Don't, Sonia. SONIA. I am ugly! HELENA. You have lovely hair. SONIA. Don't say that! [She turns to look at herself in the glass] No, when a woman is ugly they always say she has beautiful hair or eyes. I have loved him now for six years, I have loved him more than one loves one's mother. I seem to hear him beside me every moment of the day. I feel the pressure of his hand on mine. If I look up, I seem to see him coming, and as you see, I run to you to talk of him. He is here every day now, but he never looks at me, he does not notice my presence. It is agony. I have absolutely no hope, no, no hope. Oh, my God! Give me strength to endure. I prayed all last night. I often go up to him and speak to him and look into his eyes. My pride is gone. I am not mistress of myself. Yesterday I told Uncle Vanya I couldn't control myself, and all the servants know it. Every one knows that I love him. HELENA. Does he? SONIA. No, he never notices me. HELENA. [Thoughtfully] He is a strange man. Listen, Sonia, will you allow me to speak to him? I shall be careful, only hint. [A pause] Really, to be in uncertainty all these years! Let me do it! SONIA nods an affirmative. HELENA. Splendid! It will be easy to find out whether he loves you or not. Don't be ashamed, sweetheart, don't worry. I shall be careful; he will not notice a thing. We only want to find out whether it is yes or no, don't we? [A pause] And if it is no, then he must keep away from here, is that so? SONIA nods. HELENA. It will be easier not to see him any more. We won't put off the examination an instant. He said he had a sketch to show me. Go and tell him at once that I want to see him. SONIA. [In great excitement] Will you tell me the whole truth? HELENA. Of course I will. I am sure that no matter what it is, it will be easier for you to bear than this uncertainty. Trust to me, dearest. SONIA. Yes, yes. I shall say that you want to see his sketch. [She starts out, but stops near the door and looks back] No, it is better not to know--and yet--there may be hope. HELENA. What do you say? SONIA. Nothing. [She goes out.] HELENA. [Alone] There is no greater sorrow than to know another's secret when you cannot help them. [In deep thought] He is obviously not in love with her, but why shouldn't he marry her? She is not pretty, but she is so clever and pure and good, she would make a splendid wife for a country doctor of his years. [A pause] I can understand how the poor child feels. She lives here in this desperate loneliness with no one around her except these colourless shadows that go mooning about talking nonsense and knowing nothing except that they eat, drink, and sleep. Among them appears from time to time this Dr. Astroff, so different, so handsome, so interesting, so charming. It is like seeing the moon rise on a dark night. Oh, to surrender oneself to his embrace! To lose oneself in his arms! I am a little in love with him myself! Yes, I am lonely without him, and when I think of him I smile. That Uncle Vanya says I have the blood of a Nixey in my veins: "Give rein to your nature for once in your life!" Perhaps it is right that I should. Oh, to be free as a bird, to fly away from all your sleepy faces and your talk and forget that you have existed at all! But I am a coward, I am afraid; my conscience torments me. He comes here every day now. I can guess why, and feel guilty already; I should like to fall on my knees at Sonia's feet and beg her forgiveness, and weep. ASTROFF comes in carrying a portfolio. ASTROFF. How do you do? [Shakes hands with her] Do you want to see my sketch? HELENA. Yes, you promised to show me what you had been doing. Have you time now? ASTROFF. Of course I have! He lays the portfolio on the table, takes out the sketch and fastens it to the table with thumb-tacks. ASTROFF. Where were you born? HELENA. [Helping him] In St. Petersburg. ASTROFF. And educated? HELENA. At the Conservatory there. ASTROFF. You don't find this life very interesting, I dare say? HELENA. Oh, why not? It is true I don't know the country very well, but I have read a great deal about it. ASTROFF. I have my own desk there in Ivan's room. When I am absolutely too exhausted to go on I drop everything and rush over here to forget myself in this work for an hour or two. Ivan and Miss Sonia sit rattling at their counting-boards, the cricket chirps, and I sit beside them and paint, feeling warm and peaceful. But I don't permit myself this luxury very often, only once a month. [Pointing to the picture] Look there! That is a map of our country as it was fifty years ago. The green tints, both dark and light, represent forests. Half the map, as you see, is covered with it. Where the green is striped with red the forests were inhabited by elk and wild goats. Here on this lake, lived great flocks of swans and geese and ducks; as the old men say, there was a power of birds of every kind. Now they have vanished like a cloud. Beside the hamlets and villages, you see, I have dotted down here and there the various settlements, farms, hermit's caves, and water-mills. This country carried a great many cattle and horses, as you can see by the quantity of blue paint. For instance, see how thickly it lies in this part; there were great herds of them here, an average of three horses to every house. [A pause] Now, look lower down. This is the country as it was twenty-five years ago. Only a third of the map is green now with forests. There are no goats left and no elk. The blue paint is lighter, and so on, and so on. Now we come to the third part; our country as it appears to-day. We still see spots of green, but not much. The elk, the swans, the black-cock have disappeared. It is, on the whole, the picture of a regular and slow decline which it will evidently only take about ten or fifteen more years to complete. You may perhaps object that it is the march of progress, that the old order must give place to the new, and you might be right if roads had been run through these ruined woods, or if factories and schools had taken their place. The people then would have become better educated and healthier and richer, but as it is, we have nothing of the sort. We have the same swamps and mosquitoes; the same disease and want; the typhoid, the diphtheria, the burning villages. We are confronted by the degradation of our country, brought on by the fierce struggle for existence of the human race. It is the consequence of the ignorance and unconsciousness of starving, shivering, sick humanity that, to save its children, instinctively snatches at everything that can warm it and still its hunger. So it destroys everything it can lay its hands on, without a thought for the morrow. And almost everything has gone, and nothing has been created to take its place. [Coldly] But I see by your face that I am not interesting you. HELENA. I know so little about such things! ASTROFF. There is nothing to know. It simply isn't interesting, that's all. HELENA. Frankly, my thoughts were elsewhere. Forgive me! I want to submit you to a little examination, but I am embarrassed and don't know how to begin. ASTROFF. An examination? HELENA. Yes, but quite an innocent one. Sit down. [They sit down] It is about a certain young girl I know. Let us discuss it like honest people, like friends, and then forget what has passed between us, shall we? ASTROFF. Very well. HELENA. It is about my step-daughter, Sonia. Do you like her? ASTROFF. Yes, I respect her. HELENA. Do you like her--as a woman? ASTROFF. [Slowly] No. HELENA. One more word, and that will be the last. You have not noticed anything? ASTROFF. No, nothing. HELENA. [Taking his hand] You do not love her. I see that in your eyes. She is suffering. You must realise that, and not come here any more. ASTROFF. My sun has set, yes, and then I haven't the time. [Shrugging his shoulders] Where shall I find time for such things? [He is embarrassed.] HELENA. Bah! What an unpleasant conversation! I am as out of breath as if I had been running three miles uphill. Thank heaven, that is over! Now let us forget everything as if nothing had been said. You are sensible. You understand. [A pause] I am actually blushing. ASTROFF. If you had spoken a month ago I might perhaps have considered it, but now--[He shrugs his shoulders] Of course, if she is suffering--but I cannot understand why you had to put me through this examination. [He searches her face with his eyes, and shakes his finger at her] Oho, you are wily! HELENA. What does this mean? ASTROFF. [Laughing] You are a wily one! I admit that Sonia is suffering, but what does this examination of yours mean? [He prevents her from retorting, and goes on quickly] Please don't put on such a look of surprise; you know perfectly well why I come here every day. Yes, you know perfectly why and for whose sake I come! Oh, my sweet tigress! don't look at me in that way; I am an old bird! HELENA. [Perplexed] A tigress? I don't understand you. ASTROFF. Beautiful, sleek tigress, you must have your victims! For a whole month I have done nothing but seek you eagerly. I have thrown over everything for you, and you love to see it. Now then, I am sure you knew all this without putting me through your examination. [Crossing his arms and bowing his head] I surrender. Here you have me--now, eat me. HELENA. You have gone mad! ASTROFF. You are afraid! HELENA. I am a better and stronger woman than you think me. Good-bye. [She tries to leave the room.] ASTROFF. Why good-bye? Don't say good-bye, don't waste words. Oh, how lovely you are--what hands! [He kisses her hands.] HELENA. Enough of this! [She frees her hands] Leave the room! You have forgotten yourself. ASTROFF. Tell me, tell me, where can we meet to-morrow? [He puts his arm around her] Don't you see that we must meet, that it is inevitable? He kisses her. VOITSKI comes in carrying a bunch of roses, and stops in the doorway. HELENA. [Without seeing VOITSKI] Have pity! Leave me, [lays her head on ASTROFF'S shoulder] Don't! [She tries to break away from him.] ASTROFF. [Holding her by the waist] Be in the forest tomorrow at two o'clock. Will you? Will you? HELENA. [Sees VOITSKI] Let me go! [Goes to the window deeply embarrassed] This is appalling! VOITSKI. [Throws the flowers on a chair, and speaks in great excitement, wiping his face with his handkerchief] Nothing--yes, yes, nothing. ASTROFF. The weather is fine to-day, my dear Ivan; the morning was overcast and looked like rain, but now the sun is shining again. Honestly, we have had a very fine autumn, and the wheat is looking fairly well. [Puts his map back into the portfolio] But the days are growing short. HELENA. [Goes quickly up to VOITSKI] You must do your best; you must use all your power to get my husband and myself away from here to-day! Do you hear? I say, this very day! VOITSKI. [Wiping his face] Oh! Ah! Oh! All right! I--Helena, I saw everything! HELENA. [In great agitation] Do you hear me? I must leave here this very day! SEREBRAKOFF, SONIA, MARINA, and TELEGIN come in. TELEGIN. I am not very well myself, your Excellency. I have been limping for two days, and my head-- SEREBRAKOFF. Where are the others? I hate this house. It is a regular labyrinth. Every one is always scattered through the twenty-six enormous rooms; one never can find a soul. [Rings] Ask my wife and Madame Voitskaya to come here! HELENA. I am here already. SEREBRAKOFF. Please, all of you, sit down. SONIA. [Goes up to HELENA and asks anxiously] What did he say? HELENA. I'll tell you later. SONIA. You are moved. [looking quickly and inquiringly into her face] I understand; he said he would not come here any more. [A pause] Tell me, did he? HELENA nods. SEREBRAKOFF. [To TELEGIN] One can, after all, become reconciled to being an invalid, but not to this country life. The ways of it stick in my throat and I feel exactly as if I had been whirled off the earth and landed on a strange planet. Please be seated, ladies and gentlemen. Sonia! [SONIA does not hear. She is standing with her head bowed sadly forward on her breast] Sonia! [A pause] She does not hear me. [To MARINA] Sit down too, nurse. [MARINA sits down and begins to knit her stocking] I crave your indulgence, ladies and gentlemen; hang your ears, if I may say so, on the peg of attention. [He laughs.] VOITSKI. [Agitated] Perhaps you do not need me--may I be excused? SEREBRAKOFF. No, you are needed now more than any one. VOITSKI. What is it you want of me? SEREBRAKOFF. You--but what are you angry about? If it is anything I have done, I ask you to forgive me. VOITSKI. Oh, drop that and come to business; what do you want? MME. VOITSKAYA comes in. SEREBRAKOFF. Here is mother. Ladies and gentlemen, I shall begin. I have asked you to assemble here, my friends, in order to discuss a very important matter. I want to ask you for your assistance and advice, and knowing your unfailing amiability I think I can count on both. I am a book-worm and a scholar, and am unfamiliar with practical affairs. I cannot, I find, dispense with the help of well-informed people such as you, Ivan, and you, Telegin, and you, mother. The truth is, _manet omnes una nox,_ that is to say, our lives are in the hands of God, and as I am old and ill, I realise that the time has come for me to dispose of my property in regard to the interests of my family. My life is nearly over, and I am not thinking of myself, but I have a young wife and daughter. [A pause] I cannot continue to live in the country; we were not made for country life, and yet we cannot afford to live in town on the income derived from this estate. We might sell the woods, but that would be an expedient we could not resort to every year. We must find some means of guaranteeing to ourselves a certain more or less fixed yearly income. With this object in view, a plan has occurred to me which I now have the honour of presenting to you for your consideration. I shall only give you a rough outline, avoiding all details. Our estate does not pay on an average more than two per cent on the money invested in it. I propose to sell it. If we then invest our capital in bonds, it will earn us four to five per cent, and we should probably have a surplus over of several thousand roubles, with which we could buy a summer cottage in Finland-- VOITSKI. Hold on! Repeat what you just said; I don't think I heard you quite right. SEREBRAKOFF. I said we would invest the money in bonds and buy a cottage in Finland with the surplus. VOITSKI. No, not Finland--you said something else. SEREBRAKOFF. I propose to sell this place. VOITSKI. Aha! That was it! So you are going to sell the place? Splendid. The idea is a rich one. And what do you propose to do with my old mother and me and with Sonia here? SEREBRAKOFF. That will be decided in due time. We can't do everything at once. VOITSKI. Wait! It is clear that until this moment I have never had a grain of sense in my head. I have always been stupid enough to think that the estate belonged to Sonia. My father bought it as a wedding present for my sister, and I foolishly imagined that as our laws were made for Russians and not Turks, my sister's estate would come down to her child. SEREBRAKOFF. Of course it is Sonia's. Has any one denied it? I don't want to sell it without Sonia's consent; on the contrary, what I am doing is for Sonia's good. VOITSKI. This is absolutely incomprehensible. Either I have gone mad or--or-- MME. VOITSKAYA. Jean, don't contradict Alexander. Trust to him; he knows better than we do what is right and what is wrong. VOITSKI. I shan't. Give me some water. [He drinks] Go ahead! Say anything you please--anything! SEREBRAKOFF. I can't imagine why you are so upset. I don't pretend that my scheme is an ideal one, and if you all object to it I shall not insist. [A pause.] TELEGIN. [With embarrassment] I not only nourish feelings of respect toward learning, your Excellency, but I am also drawn to it by family ties. My brother Gregory's wife's brother, whom you may know; his name is Constantine Lakedemonoff, and he used to be a magistrate-- VOITSKI. Stop, Waffles. This is business; wait a bit, we will talk of that later. [To SEREBRAKOFF] There now, ask him what he thinks; this estate was bought from his uncle. SEREBRAKOFF. Ah! Why should I ask questions? What good would it do? VOITSKI. The price was ninety-five thousand roubles. My father paid seventy and left a debt of twenty-five. Now listen! This place could never have been bought had I not renounced my inheritance in favour of my sister, whom I deeply loved--and what is more, I worked for ten years like an ox, and paid off the debt. SEREBRAKOFF. I regret ever having started this conversation. VOITSKI. Thanks entirely to my own personal efforts, the place is entirely clear of debts, and now, when I have grown old, you want to throw me out, neck and crop! SEREBRAKOFF. I can't imagine what you are driving at. VOITSKI. For twenty-five years I have managed this place, and have sent you the returns from it like the most honest of servants, and you have never given me one single word of thanks for my work, not one--neither in my youth nor now. You allowed me a meagre salary of five hundred roubles a year, a beggar's pittance, and have never even thought of adding a rouble to it. SEREBRAKOFF. What did I know about such things, Ivan? I am not a practical man and don't understand them. You might have helped yourself to all you wanted. VOITSKI. Yes, why did I not steal? Don't you all despise me for not stealing, when it would have been only justice? And I should not now have been a beggar! MME. VOITSKAYA. [Sternly] Jean! TELEGIN. [Agitated] Vanya, old man, don't talk in that way. Why spoil such pleasant relations? [He embraces him] Do stop! VOITSKI. For twenty-five years I have been sitting here with my mother like a mole in a burrow. Our every thought and hope was yours and yours only. By day we talked with pride of you and your work, and spoke your name with veneration; our nights we wasted reading the books and papers which my soul now loathes. TELEGIN. Don't, Vanya, don't. I can't stand it. SEREBRAKOFF. [Wrathfully] What under heaven do you want, anyway? VOITSKI. We used to think of you as almost superhuman, but now the scales have fallen from my eyes and I see you as you are! You write on art without knowing anything about it. Those books of yours which I used to admire are not worth one copper kopeck. You are a hoax! SEREBRAKOFF. Can't any one make him stop? I am going! HELENA. Ivan, I command you to stop this instant! Do you hear me? VOITSKI. I refuse! [SEREBRAKOFF tries to get out of the room, but VOITSKI bars the door] Wait! I have not done yet! You have wrecked my life. I have never lived. My best years have gone for nothing, have been ruined, thanks to you. You are my most bitter enemy! TELEGIN. I can't stand it; I can't stand it. I am going. [He goes out in great excitement.] SEREBRAKOFF. But what do you want? What earthly right have you to use such language to me? Ruination! If this estate is yours, then take it, and let me be ruined! HELENA. I am going away out of this hell this minute. [Shrieks] This is too much! VOITSKI. My life has been a failure. I am clever and brave and strong. If I had lived a normal life I might have become another Schopenhauer or Dostoieffski. I am losing my head! I am going crazy! Mother, I am in despair! Oh, mother! MME. VOITSKAYA. [Sternly] Listen, Alexander! SONIA falls on her knees beside the nurse and nestles against her. SONIA. Oh, nurse, nurse! VOITSKI. Mother! What shall I do? But no, don't speak! I know what to do. [To SEREBRAKOFF] And you will understand me! He goes out through the door in the centre of the room and MME. VOITSKAYA follows him. SEREBRAKOFF. Tell me, what on earth is the matter? Take this lunatic out of my sight! I cannot possibly live under the same roof with him. His room [He points to the centre door] is almost next door to mine. Let him take himself off into the village or into the wing of the house, or I shall leave here at once. I cannot stay in the same house with him. HELENA. [To her husband] We are leaving to-day; we must get ready at once for our departure. SEREBRAKOFF. What a perfectly dreadful man! SONIA. [On her knees beside the nurse and turning to her father. She speaks with emotion] You must be kind to us, papa. Uncle Vanya and I are so unhappy! [Controlling her despair] Have pity on us. Remember how Uncle Vanya and Granny used to copy and translate your books for you every night--every, every night. Uncle Vanya has toiled without rest; he would never spend a penny on us, we sent it all to you. We have not eaten the bread of idleness. I am not saying this as I should like to, but you must understand us, papa, you must be merciful to us. HELENA. [Very excited, to her husband] For heaven's sake, Alexander, go and have a talk with him--explain! SEREBRAKOFF. Very well, I shall have a talk with him, but I won't apologise for a thing. I am not angry with him, but you must confess that his behaviour has been strange, to say the least. Excuse me, I shall go to him. [He goes out through the centre door.] HELENA. Be gentle with him; try to quiet him. [She follows him out.] SONIA. [Nestling nearer to MARINA] Nurse, oh, nurse! MARINA. It's all right, my baby. When the geese have cackled they will be still again. First they cackle and then they stop. SONIA. Nurse! MARINA. You are trembling all over, as if you were freezing. There, there, little orphan baby, God is merciful. A little linden-tea, and it will all pass away. Don't cry, my sweetest. [Looking angrily at the door in the centre of the room] See, the geese have all gone now. The devil take them! A shot is heard. HELENA screams behind the scenes. SONIA shudders. MARINA. Bang! What's that? SEREBRAKOFF. [Comes in reeling with terror] Hold him! hold him! He has gone mad! HELENA and VOITSKI are seen struggling in the doorway. HELENA. [Trying to wrest the revolver from him] Give it to me; give it to me, I tell you! VOITSKI. Let me go, Helena, let me go! [He frees himself and rushes in, looking everywhere for SEREBRAKOFF] Where is he? Ah, there he is! [He shoots at him. A pause] I didn't get him? I missed again? [Furiously] Damnation! Damnation! To hell with him! He flings the revolver on the floor, and drops helpless into a chair. SEREBRAKOFF stands as if stupefied. HELENA leans against the wall, almost fainting. HELENA. Take me away! Take me away! I can't stay here--I can't! VOITSKI. [In despair] Oh, what shall I do? What shall I do? SONIA. [Softly] Oh, nurse, nurse! The curtain falls.

Act III

https://web.archive.org/web/20180409044821/http://www.gradesaver.com/uncle-vanya/study-guide/summary-act-iii

In the drawing room, Vanya and Sonya sit; Helen, deep in thought, walks up to them. Vanya complains to the ladies that Serebryakov wants to speak to them, no doubt about something pointless. He mocks Helen for her charming laziness, and Helen furrows her brow. She tells him to stop and says that she is excessively bored. Sonya suggests that there are plenty of things for her to do, such as working on the farm, or teaching, or nursing. Helen simply replies that she cannot to do that sort of thing. Sonya tells her that her boredom is infectious, and that she could certainly teach. Vanya sneers that Helen has mermaid's blood and ought to just fall into the river with a river-god. Helen is angry, even when Vanya apologizes and kisses her hand. She wonders how they will ever get through the winter. After Vanya leaves, Sonya confides in Helen that she is sad that she is not beautiful. Helen compliments her hair, but this does not comfort Sonya. She loves Astrov's voice, his hand, and the sound of him arriving at the house, but he doesn't seem to even notice her. Helen thoughtfully says she will talk to him on her behalf; Sonya is pleased but a bit agitated, and makes Helen promise to tell her exactly what he says. Helen does; the plan is for Sonya to tell Astrov that Helen wants to see his maps. After Sonya departs, Helen muses aloud that Astrov certainly does not love Sonya; however, even though she is not beautiful, she would make him a good wife because she is clever and unspoiled. Helen feels like she understands Sonya, and she certainly understands ghastly boredom and how Astrov's occasional appearance enlivens that boredom. He is different from the others and is like a "bright moon rising in the darkness" . Helen sighs that she wishes she could fly away like a bird from all of this, but she is too much of a coward to leave. Astrov enters with his maps, happily asking if she wants to see them. Astrov spreads them out; as he does so, he asks where she is from and where she was educated. He wonders if she could actually be interested in this; Helen responds that she might not know much about country life, but she has read a lot. Astrov begins to speak about the maps, a pleasure he allows himself only once a month. The first map, he begins, is the district fifty years ago. Half the area was wooded. The land featured small isolated hamlets and a great deal of birds and cattle and horses. Twenty-five years ago, though, some of the animals were gone, and only a third of the area was wooded. Old hamlets and farmsteads vanished, and the "general picture is one of a gradual and unmistakable decline" . Things have certainly worsened over the last years. Astrov pauses and says that if people had built roads and railways instead of simply destroying the forests, or had erected factories and schools, then the peasants would be better off and happier. However, this did not happen: the district is still mosquito-laden, poor, and prone to fires and disease. People find the struggle for existence difficult, he says: they are backward, ignorant, and have no idea what they're doing. A man's only instinct is to be warm and fed, and he does not think about the future. Astrov looks at Helen and coldly comments that she is bored. She replies that she understands little, but he denies this: she is just not interested. Helen asks if she can change the subject, so they sit down and asks bluntly about Sonya--does she attract him as a woman? He answers no. Helen sighs and says that Sonya is so unhappy, and that he ought to stop coming here. Astrov, annoyed, stands up. Helen feels that this is a disagreeable conversation and is wearied by it. She tells them that they ought to pretend like nothing was said. Astrov stares at her and asks why she brought it up. He shrugs but then regards her more carefully and comments that she is a little box of tricks. Helen is confused, and he laughs that she has it all figured out. He presses on and says she knows perfectly well why he comes here, that she's a little vampire, and that he is not new to this. Helen is still confused, and Astrov smiles that she is a beautiful little weasel. He bows his head and mockingly says that he surrenders. Helen is surprised, calls him crazy, and moves to leave, but he bars her way and takes her hand. He moves closer and passionately begs her to let him kiss her. He kisses her hand as she tries to pull away. He leans in, imploring her to tell him when they can meet, and he kisses her as Vanya walks in. Helen does not see Vanya, but she tells Astrov to leave her alone. He insists that she meet him at the forest reservation, but she still tries to extricate herself, especially once she notices Vanya. Vanya is carrying roses and puts them down. Astrov bitterly talks about the weather as he rolls up the maps. Helen runs up to Vanya and says he must do all he can to get her husband and her away from this house. Vanya is distracted but says "of course." Serebryakov, Sonya, Telegin, and Marina enter. Serebryakov complains about the house. As her father prepares to speak, Sonya goes up to Helen and asks what Astrov said. Helen only says she will tell her later, and Sonya trembles and asks if he said he wasn't going to come anymore. Helen nods. Serebryakov tells everyone to sit down and Vanya asks in an annoyed, agitated tone if he is needed. Serebryakov tells him that he obviously is, and he wonders why he is acting like this. He begins his speech a moment later, explaining that he needs everyone's advice. He is old now and has to think about putting his affairs in order. It is impossible for him to live in the country, and the estate's income will not support them in the city. It is his proposal that they sell the estate, which would allow for a smaller cottage near St. Petersburg. Vanya is stunned and asks what Serebryakov thinks he, Mrs. Voynitksy, and Sonya will do. Serebryakov replies that they will figure that out in time. Vanya shakes his head, saying that he thought all this time that this was Sonya's estate. Serebryakov replies that it is, and that he would do this in her best interest. This does not comfort Vanya, even though Mrs. Voynitsky suggests listening to the professor. Serebryakov doesn't understand why people are upset, and Vanya interrupts clueless Telegin's comments to explain angrily how he gave up part of his inheritance so that his sister could buy this land. Furthermore, it is free from debt because he, Vanya, has worked so hard on it for twenty-five years. All this time, Serebryakov has neither thanked him nor given him an extra ruble. Telegin and Mrs. Voynitsky try to calm Vanya down but he continues, saying how he used to revere the professor's writing and books but how he now despises them. He says they used to think of the professor as superior, but now he sees that he knows nothing of the art he writes about. Serebryakov is still confused and Helen tries to calm Vanya down. Serebryakov tells Vanya that, if he wants the estate, it is his. Telegin runs out in distress. Helen shouts that she can't stand this. Vanya moans that his life is ruined, and that he could have been a Schopenhauer or Dostoevsky but for Serebryakov; he feels like he is going mad. Sonya leans before Marina in anguish. Vanya calls out to his mother, then announces he knows what to do, and runs out. Serebryakov proclaims he does not know what is wrong with Vanya, and Helen insists they must leave today. Sonya turns to her father and begs him to understand that she and her uncle are so unhappy and worked so hard for him their whole lives. Helen tells her husband that she must sort this out. Grudgingly, Serebryakov leaves to talk to Vanya with Helen following. Marina comforts Sonya. Suddenly, a shot is heard; Helen's scream follows. Serebryakov staggers back in, shouting about Vanya's madness. Helen and Vanya struggle over a revolver. Vanya bests her and fires again at Serebryakov but misses. He tries again and misses. He curses and sinks into a chair. Helen leans against a wall, her chest heaving. She says she must leave. Vanya wonders desperately what he is doing, and Sonya cries for Nanny.

In a play where not much happens, this act features several encounters that would be immensely significant, were it not for Chekhov's droll tone and the lack of any consequence or change following said encounters. There is Helen's attempt to find out Astrov's feelings for Sonya, Astrov's attempt to seduce Helen, Serebryakov's announcement that he wants to sell the estate, and Vanya's breakdown and subsequent attempted murder of Serebryakov. All of the characters, critic Kael D. Kramer writes, "are determined to make a melodrama out of something that is ordinary human experience." They "try to maximize the minimum, creating the effect of anticlimax. The way they do this is by regularly resorting to self-dramatization or indulging in self-pity." John Weston agrees, lauding Chekhov's vision of evil " precisely in the midst of idle talk, everyday pettiness, and people with nothing to distinguish them: neither vice nor virtue." There are conflicts and problems in their lives, yes, but the main one is merely "one of good but ineffectual people with the harsh crudeness of real life, a clash of the dream and reality of an ordinary life." Thus, the Sonya-Helen-Astrov dynamic seems like it would be more momentous than it actually is. Sonya is in love with Astrov, but even when Helen reveals to her that he does not love her back, she quells her feelings of sadness and focuses on caring for her uncle. Helen admits that she finds Astrov interesting and attractive, but she will not actually cheat on her husband. And Astrov is sexually attracted to Helen, but he does not seem to have any real feelings for her; he is merely drunk and feeling a sense of lust rooted in the desire to destroy, to sublimate his fears and sorrows, and to rile and rouse the stultifying country life he is stuck in. In this seduction scene, he is the destroyer, not the creator, even though he decried such behavior earlier in the play. This act, perhaps like the play itself, belongs to Vanya. When Serebryakov announces to the family that he wishes to sell the estate so he and Helen can afford to live elsewhere, Vanya snaps. He reminds his brother-in-law that the estate is only in the family because of his deceased sister, and because of the efforts of Sonya and himself. Serebryakov's feint that he does not understand why Vanya is so upset only adds fuel to the fire; he acts as if he were the aggrieved one and perceives Vanya only as a petulant child. The putative loss of the estate vexes Vanya because Serebryakov's behavior encapsulates everything that he hates about the man. Vanya explodes that he worked the estate for twenty-five years and Serebryakov " thanked me once" . He and the others talked only of Serebryakov and his works and "were proud of you and worshipped the very sound of your name" . Now, though, Vanya seethes that Serebryakov's writings are worthless and that he's made a fool of them. Before he rushes out to grab the revolver, he says, "You've ruined my life! I've not lived, I tell you. Thanks to you the best years of my life have been thrown down the drain. You are my worst enemy!" and "My life's ruined. I'm gifted, intelligent, courageous. If I'd had a normal life I might have been a Schopenhauer or a Dostoevsky" . What to make of Vanya's outburst? There is certainly truth to it. Serebryakov is not a great man, and Vanya did work hard for seemingly nothing. However, Vanya is excessively self-pitying. As Kramer explains, Vanya often " himself in the role of victim" and "casts Serebryakov as the villain of his drama." Serebryakov doesn't deserve this much ire; he is simply too inane. Earlier, Sonya told her uncle that his complaining is boring, although she comforts him in his despair at the end of the play. Sadly, the "heart of Vanya's senseless mistake... he is asking for validation from one whose credentials belie all credibility."

cliffnotes

all_chapterized_books/107-chapters/33.txt

finished_summaries/cliffnotes/Far from the Madding Crowd/section_32_part_0.txt

Far from the Madding Crowd.chapter 33

chapter 33

{"name": "Chapter 33", "url": "https://web.archive.org/web/20201101052914/https://www.cliffsnotes.com/literature/f/far-from-the-madding-crowd/summary-and-analysis/chapter-33", "summary": "After a week, Bathsheba had not returned. Maryann received a note that her mistress was detained. Another week elapsed, and the oat harvest began. As the men worked in the fields they saw a runner. Maryann, who was helping bind sheaves, had an uncomfortable premonition, for she had dropped the door key that morning and it had broken. The runner proved to be Cainy Ball, on holiday because he had an inflammation on his finger and could not work. The men commented on the advantages of an occasional indisposition that afforded time to get other things done, things more to one's liking. Cainy, choking and coughing, exasperated everyone because he was unable to catch his breath sufficiently to deliver his message. They pounded him and gave him cider to drink. Finally, in spasms, he told of having been to Bath, where he had seen Bathsheba with a soldier. \"And I think the sojer was Sergeant Troy. And they sat there together for more than half-an-hour, talking moving things, and she once was crying a'most to death. And when they came out her eyes were shining and she was as white as a lily; and they looked into one another's faces, as far gone friendly as a man and woman can be.\" Gabriel, deeply affected, tried to question Cainy further, but the boy had nothing more to tell about Bathsheba, and wanted to talk only about the wonders of Bath. Coggan privately advised Oak, \"Don't take on about her, Gabriel. What difference does it make whose sweetheart she is, since she can't be yours?\" \"'That's the very thing I say to myself,' said Gabriel.\"", "analysis": "Realistically, Cainy blurts out the narrative between coughs and sneezes. In his discomfort and obtuseness, he arouses the curiosity of the listeners even more. After a long-winded recital of trivia about the town of Bath, he can offer no further morsel of excitement to climax his tale. The account is not without caricature and humor."}

IN THE SUN--A HARBINGER A week passed, and there were no tidings of Bathsheba; nor was there any explanation of her Gilpin's rig. Then a note came for Maryann, stating that the business which had called her mistress to Bath still detained her there; but that she hoped to return in the course of another week. Another week passed. The oat-harvest began, and all the men were a-field under a monochromatic Lammas sky, amid the trembling air and short shadows of noon. Indoors nothing was to be heard save the droning of blue-bottle flies; out-of-doors the whetting of scythes and the hiss of tressy oat-ears rubbing together as their perpendicular stalks of amber-yellow fell heavily to each swath. Every drop of moisture not in the men's bottles and flagons in the form of cider was raining as perspiration from their foreheads and cheeks. Drought was everywhere else. They were about to withdraw for a while into the charitable shade of a tree in the fence, when Coggan saw a figure in a blue coat and brass buttons running to them across the field. "I wonder who that is?" he said. "I hope nothing is wrong about mistress," said Maryann, who with some other women was tying the bundles (oats being always sheafed on this farm), "but an unlucky token came to me indoors this morning. I went to unlock the door and dropped the key, and it fell upon the stone floor and broke into two pieces. Breaking a key is a dreadful bodement. I wish mis'ess was home." "'Tis Cain Ball," said Gabriel, pausing from whetting his reaphook. Oak was not bound by his agreement to assist in the corn-field; but the harvest month is an anxious time for a farmer, and the corn was Bathsheba's, so he lent a hand. "He's dressed up in his best clothes," said Matthew Moon. "He hev been away from home for a few days, since he's had that felon upon his finger; for 'a said, since I can't work I'll have a hollerday." "A good time for one--a' excellent time," said Joseph Poorgrass, straightening his back; for he, like some of the others, had a way of resting a while from his labour on such hot days for reasons preternaturally small; of which Cain Ball's advent on a week-day in his Sunday-clothes was one of the first magnitude. "Twas a bad leg allowed me to read the _Pilgrim's Progress_, and Mark Clark learnt All-Fours in a whitlow." "Ay, and my father put his arm out of joint to have time to go courting," said Jan Coggan, in an eclipsing tone, wiping his face with his shirt-sleeve and thrusting back his hat upon the nape of his neck. By this time Cainy was nearing the group of harvesters, and was perceived to be carrying a large slice of bread and ham in one hand, from which he took mouthfuls as he ran, the other being wrapped in a bandage. When he came close, his mouth assumed the bell shape, and he began to cough violently. "Now, Cainy!" said Gabriel, sternly. "How many more times must I tell you to keep from running so fast when you be eating? You'll choke yourself some day, that's what you'll do, Cain Ball." "Hok-hok-hok!" replied Cain. "A crumb of my victuals went the wrong way--hok-hok! That's what 'tis, Mister Oak! And I've been visiting to Bath because I had a felon on my thumb; yes, and I've seen--ahok-hok!" Directly Cain mentioned Bath, they all threw down their hooks and forks and drew round him. Unfortunately the erratic crumb did not improve his narrative powers, and a supplementary hindrance was that of a sneeze, jerking from his pocket his rather large watch, which dangled in front of the young man pendulum-wise. "Yes," he continued, directing his thoughts to Bath and letting his eyes follow, "I've seed the world at last--yes--and I've seed our mis'ess--ahok-hok-hok!" "Bother the boy!" said Gabriel. "Something is always going the wrong way down your throat, so that you can't tell what's necessary to be told." "Ahok! there! Please, Mister Oak, a gnat have just fleed into my stomach and brought the cough on again!" "Yes, that's just it. Your mouth is always open, you young rascal!" "'Tis terrible bad to have a gnat fly down yer throat, pore boy!" said Matthew Moon. "Well, at Bath you saw--" prompted Gabriel. "I saw our mistress," continued the junior shepherd, "and a sojer, walking along. And bymeby they got closer and closer, and then they went arm-in-crook, like courting complete--hok-hok! like courting complete--hok!--courting complete--" Losing the thread of his narrative at this point simultaneously with his loss of breath, their informant looked up and down the field apparently for some clue to it. "Well, I see our mis'ess and a soldier--a-ha-a-wk!" "Damn the boy!" said Gabriel. "'Tis only my manner, Mister Oak, if ye'll excuse it," said Cain Ball, looking reproachfully at Oak, with eyes drenched in their own dew. "Here's some cider for him--that'll cure his throat," said Jan Coggan, lifting a flagon of cider, pulling out the cork, and applying the hole to Cainy's mouth; Joseph Poorgrass in the meantime beginning to think apprehensively of the serious consequences that would follow Cainy Ball's strangulation in his cough, and the history of his Bath adventures dying with him. "For my poor self, I always say 'please God' afore I do anything," said Joseph, in an unboastful voice; "and so should you, Cain Ball. 'Tis a great safeguard, and might perhaps save you from being choked to death some day." Mr. Coggan poured the liquor with unstinted liberality at the suffering Cain's circular mouth; half of it running down the side of the flagon, and half of what reached his mouth running down outside his throat, and half of what ran in going the wrong way, and being coughed and sneezed around the persons of the gathered reapers in the form of a cider fog, which for a moment hung in the sunny air like a small exhalation. "There's a great clumsy sneeze! Why can't ye have better manners, you young dog!" said Coggan, withdrawing the flagon. "The cider went up my nose!" cried Cainy, as soon as he could speak; "and now 'tis gone down my neck, and into my poor dumb felon, and over my shiny buttons and all my best cloze!" "The poor lad's cough is terrible unfortunate," said Matthew Moon. "And a great history on hand, too. Bump his back, shepherd." "'Tis my nater," mourned Cain. "Mother says I always was so excitable when my feelings were worked up to a point!" "True, true," said Joseph Poorgrass. "The Balls were always a very excitable family. I knowed the boy's grandfather--a truly nervous and modest man, even to genteel refinery. 'Twas blush, blush with him, almost as much as 'tis with me--not but that 'tis a fault in me!" "Not at all, Master Poorgrass," said Coggan. "'Tis a very noble quality in ye." "Heh-heh! well, I wish to noise nothing abroad--nothing at all," murmured Poorgrass, diffidently. "But we be born to things--that's true. Yet I would rather my trifle were hid; though, perhaps, a high nater is a little high, and at my birth all things were possible to my Maker, and he may have begrudged no gifts.... But under your bushel, Joseph! under your bushel with 'ee! A strange desire, neighbours, this desire to hide, and no praise due. Yet there is a Sermon on the Mount with a calendar of the blessed at the head, and certain meek men may be named therein." "Cainy's grandfather was a very clever man," said Matthew Moon. "Invented a' apple-tree out of his own head, which is called by his name to this day--the Early Ball. You know 'em, Jan? A Quarrenden grafted on a Tom Putt, and a Rathe-ripe upon top o' that again. 'Tis trew 'a used to bide about in a public-house wi' a 'ooman in a way he had no business to by rights, but there--'a were a clever man in the sense of the term." "Now then," said Gabriel, impatiently, "what did you see, Cain?" "I seed our mis'ess go into a sort of a park place, where there's seats, and shrubs and flowers, arm-in-crook with a sojer," continued Cainy, firmly, and with a dim sense that his words were very effective as regarded Gabriel's emotions. "And I think the sojer was Sergeant Troy. And they sat there together for more than half-an-hour, talking moving things, and she once was crying a'most to death. And when they came out her eyes were shining and she was as white as a lily; and they looked into one another's faces, as far-gone friendly as a man and woman can be." Gabriel's features seemed to get thinner. "Well, what did you see besides?" "Oh, all sorts." "White as a lily? You are sure 'twas she?" "Yes." "Well, what besides?" "Great glass windows to the shops, and great clouds in the sky, full of rain, and old wooden trees in the country round." "You stun-poll! What will ye say next?" said Coggan. "Let en alone," interposed Joseph Poorgrass. "The boy's meaning is that the sky and the earth in the kingdom of Bath is not altogether different from ours here. 'Tis for our good to gain knowledge of strange cities, and as such the boy's words should be suffered, so to speak it." "And the people of Bath," continued Cain, "never need to light their fires except as a luxury, for the water springs up out of the earth ready boiled for use." "'Tis true as the light," testified Matthew Moon. "I've heard other navigators say the same thing." "They drink nothing else there," said Cain, "and seem to enjoy it, to see how they swaller it down." "Well, it seems a barbarian practice enough to us, but I daresay the natives think nothing o' it," said Matthew. "And don't victuals spring up as well as drink?" asked Coggan, twirling his eye. "No--I own to a blot there in Bath--a true blot. God didn't provide 'em with victuals as well as drink, and 'twas a drawback I couldn't get over at all." "Well, 'tis a curious place, to say the least," observed Moon; "and it must be a curious people that live therein." "Miss Everdene and the soldier were walking about together, you say?" said Gabriel, returning to the group. "Ay, and she wore a beautiful gold-colour silk gown, trimmed with black lace, that would have stood alone 'ithout legs inside if required. 'Twas a very winsome sight; and her hair was brushed splendid. And when the sun shone upon the bright gown and his red coat--my! how handsome they looked. You could see 'em all the length of the street." "And what then?" murmured Gabriel. "And then I went into Griffin's to hae my boots hobbed, and then I went to Riggs's batty-cake shop, and asked 'em for a penneth of the cheapest and nicest stales, that were all but blue-mouldy, but not quite. And whilst I was chawing 'em down I walked on and seed a clock with a face as big as a baking trendle--" "But that's nothing to do with mistress!" "I'm coming to that, if you'll leave me alone, Mister Oak!" remonstrated Cainy. "If you excites me, perhaps you'll bring on my cough, and then I shan't be able to tell ye nothing." "Yes--let him tell it his own way," said Coggan. Gabriel settled into a despairing attitude of patience, and Cainy went on:-- "And there were great large houses, and more people all the week long than at Weatherbury club-walking on White Tuesdays. And I went to grand churches and chapels. And how the parson would pray! Yes; he would kneel down and put up his hands together, and make the holy gold rings on his fingers gleam and twinkle in yer eyes, that he'd earned by praying so excellent well!--Ah yes, I wish I lived there." "Our poor Parson Thirdly can't get no money to buy such rings," said Matthew Moon, thoughtfully. "And as good a man as ever walked. I don't believe poor Thirdly have a single one, even of humblest tin or copper. Such a great ornament as they'd be to him on a dull afternoon, when he's up in the pulpit lighted by the wax candles! But 'tis impossible, poor man. Ah, to think how unequal things be." "Perhaps he's made of different stuff than to wear 'em," said Gabriel, grimly. "Well, that's enough of this. Go on, Cainy--quick." "Oh--and the new style of parsons wear moustaches and long beards," continued the illustrious traveller, "and look like Moses and Aaron complete, and make we fokes in the congregation feel all over like the children of Israel." "A very right feeling--very," said Joseph Poorgrass. "And there's two religions going on in the nation now--High Church and High Chapel. And, thinks I, I'll play fair; so I went to High Church in the morning, and High Chapel in the afternoon." "A right and proper boy," said Joseph Poorgrass. "Well, at High Church they pray singing, and worship all the colours of the rainbow; and at High Chapel they pray preaching, and worship drab and whitewash only. And then--I didn't see no more of Miss Everdene at all." "Why didn't you say so afore, then?" exclaimed Oak, with much disappointment. "Ah," said Matthew Moon, "she'll wish her cake dough if so be she's over intimate with that man." "She's not over intimate with him," said Gabriel, indignantly. "She would know better," said Coggan. "Our mis'ess has too much sense under they knots of black hair to do such a mad thing." "You see, he's not a coarse, ignorant man, for he was well brought up," said Matthew, dubiously. "'Twas only wildness that made him a soldier, and maids rather like your man of sin." "Now, Cain Ball," said Gabriel restlessly, "can you swear in the most awful form that the woman you saw was Miss Everdene?" "Cain Ball, you be no longer a babe and suckling," said Joseph in the sepulchral tone the circumstances demanded, "and you know what taking an oath is. 'Tis a horrible testament mind ye, which you say and seal with your blood-stone, and the prophet Matthew tells us that on whomsoever it shall fall it will grind him to powder. Now, before all the work-folk here assembled, can you swear to your words as the shepherd asks ye?" "Please no, Mister Oak!" said Cainy, looking from one to the other with great uneasiness at the spiritual magnitude of the position. "I don't mind saying 'tis true, but I don't like to say 'tis damn true, if that's what you mane." "Cain, Cain, how can you!" asked Joseph sternly. "You be asked to swear in a holy manner, and you swear like wicked Shimei, the son of Gera, who cursed as he came. Young man, fie!" "No, I don't! 'Tis you want to squander a pore boy's soul, Joseph Poorgrass--that's what 'tis!" said Cain, beginning to cry. "All I mane is that in common truth 'twas Miss Everdene and Sergeant Troy, but in the horrible so-help-me truth that ye want to make of it perhaps 'twas somebody else!" "There's no getting at the rights of it," said Gabriel, turning to his work. "Cain Ball, you'll come to a bit of bread!" groaned Joseph Poorgrass. Then the reapers' hooks were flourished again, and the old sounds went on. Gabriel, without making any pretence of being lively, did nothing to show that he was particularly dull. However, Coggan knew pretty nearly how the land lay, and when they were in a nook together he said-- "Don't take on about her, Gabriel. What difference does it make whose sweetheart she is, since she can't be yours?" "That's the very thing I say to myself," said Gabriel.

Chapter 33

https://web.archive.org/web/20201101052914/https://www.cliffsnotes.com/literature/f/far-from-the-madding-crowd/summary-and-analysis/chapter-33

After a week, Bathsheba had not returned. Maryann received a note that her mistress was detained. Another week elapsed, and the oat harvest began. As the men worked in the fields they saw a runner. Maryann, who was helping bind sheaves, had an uncomfortable premonition, for she had dropped the door key that morning and it had broken. The runner proved to be Cainy Ball, on holiday because he had an inflammation on his finger and could not work. The men commented on the advantages of an occasional indisposition that afforded time to get other things done, things more to one's liking. Cainy, choking and coughing, exasperated everyone because he was unable to catch his breath sufficiently to deliver his message. They pounded him and gave him cider to drink. Finally, in spasms, he told of having been to Bath, where he had seen Bathsheba with a soldier. "And I think the sojer was Sergeant Troy. And they sat there together for more than half-an-hour, talking moving things, and she once was crying a'most to death. And when they came out her eyes were shining and she was as white as a lily; and they looked into one another's faces, as far gone friendly as a man and woman can be." Gabriel, deeply affected, tried to question Cainy further, but the boy had nothing more to tell about Bathsheba, and wanted to talk only about the wonders of Bath. Coggan privately advised Oak, "Don't take on about her, Gabriel. What difference does it make whose sweetheart she is, since she can't be yours?" "'That's the very thing I say to myself,' said Gabriel."

Realistically, Cainy blurts out the narrative between coughs and sneezes. In his discomfort and obtuseness, he arouses the curiosity of the listeners even more. After a long-winded recital of trivia about the town of Bath, he can offer no further morsel of excitement to climax his tale. The account is not without caricature and humor.

pinkmonkey

all_chapterized_books/5658-chapters/34.txt

finished_summaries/pinkmonkey/Lord Jim/section_33_part_0.txt

Lord Jim.chapter 34

chapter 34

{"name": "Chapter 34", "url": "https://web.archive.org/web/20180820051943/http://www.pinkmonkey.com/booknotes/monkeynotes/pmLordJim43.asp", "summary": "Marlow reflects on Jim's many plans for Patusan, including the building of a coffee plantation. He is totally amazed at Jim's enthusiasm, level of energy, and optimism. It is almost hard to believe that Jim fits in so well on this mysterious island and leads a blissful existence. He has truly proven that \"he is one of us.\" Marlow himself feels almost lost and never comfortable during his Patusan visit. Marlow's reverie is interrupted by Cornelius, who approaches \"vermin-like\" and wants to talk. Marlow remembers that Jim considered Cornelius a coward, but on this night the despicable character talks courageously. He wants Marlow to convince Jim to give him some money in exchange for Jewel. He had raised her, although she was not really his. He feels he should be monetarily rewarded by Jim before he departs Patusan. Marlow explains to the old man that Jim has no intention of leaving the island. Cornelius tells him that Jim is a fool to stay in Patusan and urges Marlow to compel Jim to leave. He even promises to take care of Jewel when Jim departs. Marlow again insists that Jim will never leave Patusan. Cornelius bemoans his fate, stating that he is being trampled by Jim. As Cornelius swears and threatens, Marlow takes his leave.", "analysis": "Notes In this chapter the gloominess deepens and the darkness begins to close in. Conrad continues to build an atmosphere of suspense and impending tragedy. Marlow reveals that Jim told Jewel about the Patna, but she did not believe him; she thinks he is the bravest and wisest man she has ever known. Marlow also feels somewhat smug over Jim's accomplishments; he is glad to know that his earlier trust in Jim and his basic goodness was merited. He is now able to leave Jim to his own destiny; but there is a hint that the end will not be good. Cornelius is reintroduced to the book, for he seeks out Marlow for a conversation. It is obvious that he is still a rogue and a villain. He wants Jim to pay him some money for Jewel. He also tells Marlow that Jim is childish and foolish and begs Marlow to take Jim away. When Marlow tells him that Jim will never leave Patusan, the jealous Cornelius swears loudly and threatens violence. Marlow leaves the man, incorrectly judging him as \"too insignificant to be dangerous.\" In the end, Cornelius will greatly contribute to Jim's undoing."}

Marlow swung his legs out, got up quickly, and staggered a little, as though he had been set down after a rush through space. He leaned his back against the balustrade and faced a disordered array of long cane chairs. The bodies prone in them seemed startled out of their torpor by his movement. One or two sat up as if alarmed; here and there a cigar glowed yet; Marlow looked at them all with the eyes of a man returning from the excessive remoteness of a dream. A throat was cleared; a calm voice encouraged negligently, 'Well.' 'Nothing,' said Marlow with a slight start. 'He had told her--that's all. She did not believe him--nothing more. As to myself, I do not know whether it be just, proper, decent for me to rejoice or to be sorry. For my part, I cannot say what I believed--indeed I don't know to this day, and never shall probably. But what did the poor devil believe himself? Truth shall prevail--don't you know Magna est veritas el . . . Yes, when it gets a chance. There is a law, no doubt--and likewise a law regulates your luck in the throwing of dice. It is not Justice the servant of men, but accident, hazard, Fortune--the ally of patient Time--that holds an even and scrupulous balance. Both of us had said the very same thing. Did we both speak the truth--or one of us did--or neither? . . .' Marlow paused, crossed his arms on his breast, and in a changed tone-- 'She said we lied. Poor soul! Well--let's leave it to Chance, whose ally is Time, that cannot be hurried, and whose enemy is Death, that will not wait. I had retreated--a little cowed, I must own. I had tried a fall with fear itself and got thrown--of course. I had only succeeded in adding to her anguish the hint of some mysterious collusion, of an inexplicable and incomprehensible conspiracy to keep her for ever in the dark. And it had come easily, naturally, unavoidably, by his act, by her own act! It was as though I had been shown the working of the implacable destiny of which we are the victims--and the tools. It was appalling to think of the girl whom I had left standing there motionless; Jim's footsteps had a fateful sound as he tramped by, without seeing me, in his heavy laced boots. "What? No lights!" he said in a loud, surprised voice. "What are you doing in the dark--you two?" Next moment he caught sight of her, I suppose. "Hallo, girl!" he cried cheerily. "Hallo, boy!" she answered at once, with amazing pluck. 'This was their usual greeting to each other, and the bit of swagger she would put into her rather high but sweet voice was very droll, pretty, and childlike. It delighted Jim greatly. This was the last occasion on which I heard them exchange this familiar hail, and it struck a chill into my heart. There was the high sweet voice, the pretty effort, the swagger; but it all seemed to die out prematurely, and the playful call sounded like a moan. It was too confoundedly awful. "What have you done with Marlow?" Jim was asking; and then, "Gone down--has he? Funny I didn't meet him. . . . You there, Marlow?" 'I didn't answer. I wasn't going in--not yet at any rate. I really couldn't. While he was calling me I was engaged in making my escape through a little gate leading out upon a stretch of newly cleared ground. No; I couldn't face them yet. I walked hastily with lowered head along a trodden path. The ground rose gently, the few big trees had been felled, the undergrowth had been cut down and the grass fired. He had a mind to try a coffee-plantation there. The big hill, rearing its double summit coal-black in the clear yellow glow of the rising moon, seemed to cast its shadow upon the ground prepared for that experiment. He was going to try ever so many experiments; I had admired his energy, his enterprise, and his shrewdness. Nothing on earth seemed less real now than his plans, his energy, and his enthusiasm; and raising my eyes, I saw part of the moon glittering through the bushes at the bottom of the chasm. For a moment it looked as though the smooth disc, falling from its place in the sky upon the earth, had rolled to the bottom of that precipice: its ascending movement was like a leisurely rebound; it disengaged itself from the tangle of twigs; the bare contorted limb of some tree, growing on the slope, made a black crack right across its face. It threw its level rays afar as if from a cavern, and in this mournful eclipse-like light the stumps of felled trees uprose very dark, the heavy shadows fell at my feet on all sides, my own moving shadow, and across my path the shadow of the solitary grave perpetually garlanded with flowers. In the darkened moonlight the interlaced blossoms took on shapes foreign to one's memory and colours indefinable to the eye, as though they had been special flowers gathered by no man, grown not in this world, and destined for the use of the dead alone. Their powerful scent hung in the warm air, making it thick and heavy like the fumes of incense. The lumps of white coral shone round the dark mound like a chaplet of bleached skulls, and everything around was so quiet that when I stood still all sound and all movement in the world seemed to come to an end. 'It was a great peace, as if the earth had been one grave, and for a time I stood there thinking mostly of the living who, buried in remote places out of the knowledge of mankind, still are fated to share in its tragic or grotesque miseries. In its noble struggles too--who knows? The human heart is vast enough to contain all the world. It is valiant enough to bear the burden, but where is the courage that would cast it off? 'I suppose I must have fallen into a sentimental mood; I only know that I stood there long enough for the sense of utter solitude to get hold of me so completely that all I had lately seen, all I had heard, and the very human speech itself, seemed to have passed away out of existence, living only for a while longer in my memory, as though I had been the last of mankind. It was a strange and melancholy illusion, evolved half-consciously like all our illusions, which I suspect only to be visions of remote unattainable truth, seen dimly. This was, indeed, one of the lost, forgotten, unknown places of the earth; I had looked under its obscure surface; and I felt that when to-morrow I had left it for ever, it would slip out of existence, to live only in my memory till I myself passed into oblivion. I have that feeling about me now; perhaps it is that feeling which has incited me to tell you the story, to try to hand over to you, as it were, its very existence, its reality--the truth disclosed in a moment of illusion. 'Cornelius broke upon it. He bolted out, vermin-like, from the long grass growing in a depression of the ground. I believe his house was rotting somewhere near by, though I've never seen it, not having been far enough in that direction. He ran towards me upon the path; his feet, shod in dirty white shoes, twinkled on the dark earth; he pulled himself up, and began to whine and cringe under a tall stove-pipe hat. His dried-up little carcass was swallowed up, totally lost, in a suit of black broadcloth. That was his costume for holidays and ceremonies, and it reminded me that this was the fourth Sunday I had spent in Patusan. All the time of my stay I had been vaguely aware of his desire to confide in me, if he only could get me all to himself. He hung about with an eager craving look on his sour yellow little face; but his timidity had kept him back as much as my natural reluctance to have anything to do with such an unsavoury creature. He would have succeeded, nevertheless, had he not been so ready to slink off as soon as you looked at him. He would slink off before Jim's severe gaze, before my own, which I tried to make indifferent, even before Tamb' Itam's surly, superior glance. He was perpetually slinking away; whenever seen he was seen moving off deviously, his face over his shoulder, with either a mistrustful snarl or a woe-begone, piteous, mute aspect; but no assumed expression could conceal this innate irremediable abjectness of his nature, any more than an arrangement of clothing can conceal some monstrous deformity of the body. 'I don't know whether it was the demoralisation of my utter defeat in my encounter with a spectre of fear less than an hour ago, but I let him capture me without even a show of resistance. I was doomed to be the recipient of confidences, and to be confronted with unanswerable questions. It was trying; but the contempt, the unreasoned contempt, the man's appearance provoked, made it easier to bear. He couldn't possibly matter. Nothing mattered, since I had made up my mind that Jim, for whom alone I cared, had at last mastered his fate. He had told me he was satisfied . . . nearly. This is going further than most of us dare. I--who have the right to think myself good enough--dare not. Neither does any of you here, I suppose? . . .' Marlow paused, as if expecting an answer. Nobody spoke. 'Quite right,' he began again. 'Let no soul know, since the truth can be wrung out of us only by some cruel, little, awful catastrophe. But he is one of us, and he could say he was satisfied . . . nearly. Just fancy this! Nearly satisfied. One could almost envy him his catastrophe. Nearly satisfied. After this nothing could matter. It did not matter who suspected him, who trusted him, who loved him, who hated him--especially as it was Cornelius who hated him. 'Yet after all this was a kind of recognition. You shall judge of a man by his foes as well as by his friends, and this enemy of Jim was such as no decent man would be ashamed to own, without, however, making too much of him. This was the view Jim took, and in which I shared; but Jim disregarded him on general grounds. "My dear Marlow," he said, "I feel that if I go straight nothing can touch me. Indeed I do. Now you have been long enough here to have a good look round--and, frankly, don't you think I am pretty safe? It all depends upon me, and, by Jove! I have lots of confidence in myself. The worst thing he could do would be to kill me, I suppose. I don't think for a moment he would. He couldn't, you know--not if I were myself to hand him a loaded rifle for the purpose, and then turn my back on him. That's the sort of thing he is. And suppose he would--suppose he could? Well--what of that? I didn't come here flying for my life--did I? I came here to set my back against the wall, and I am going to stay here . . ." '"Till you are _quite_ satisfied," I struck in. 'We were sitting at the time under the roof in the stern of his boat; twenty paddles flashed like one, ten on a side, striking the water with a single splash, while behind our backs Tamb' Itam dipped silently right and left, and stared right down the river, attentive to keep the long canoe in the greatest strength of the current. Jim bowed his head, and our last talk seemed to flicker out for good. He was seeing me off as far as the mouth of the river. The schooner had left the day before, working down and drifting on the ebb, while I had prolonged my stay overnight. And now he was seeing me off. 'Jim had been a little angry with me for mentioning Cornelius at all. I had not, in truth, said much. The man was too insignificant to be dangerous, though he was as full of hate as he could hold. He had called me "honourable sir" at every second sentence, and had whined at my elbow as he followed me from the grave of his "late wife" to the gate of Jim's compound. He declared himself the most unhappy of men, a victim, crushed like a worm; he entreated me to look at him. I wouldn't turn my head to do so; but I could see out of the corner of my eye his obsequious shadow gliding after mine, while the moon, suspended on our right hand, seemed to gloat serenely upon the spectacle. He tried to explain--as I've told you--his share in the events of the memorable night. It was a matter of expediency. How could he know who was going to get the upper hand? "I would have saved him, honourable sir! I would have saved him for eighty dollars," he protested in dulcet tones, keeping a pace behind me. "He has saved himself," I said, "and he has forgiven you." I heard a sort of tittering, and turned upon him; at once he appeared ready to take to his heels. "What are you laughing at?" I asked, standing still. "Don't be deceived, honourable sir!" he shrieked, seemingly losing all control over his feelings. "_He_ save himself! He knows nothing, honourable sir--nothing whatever. Who is he? What does he want here--the big thief? What does he want here? He throws dust into everybody's eyes; he throws dust into your eyes, honourable sir; but he can't throw dust into my eyes. He is a big fool, honourable sir." I laughed contemptuously, and, turning on my heel, began to walk on again. He ran up to my elbow and whispered forcibly, "He's no more than a little child here--like a little child--a little child." Of course I didn't take the slightest notice, and seeing the time pressed, because we were approaching the bamboo fence that glittered over the blackened ground of the clearing, he came to the point. He commenced by being abjectly lachrymose. His great misfortunes had affected his head. He hoped I would kindly forget what nothing but his troubles made him say. He didn't mean anything by it; only the honourable sir did not know what it was to be ruined, broken down, trampled upon. After this introduction he approached the matter near his heart, but in such a rambling, ejaculatory, craven fashion, that for a long time I couldn't make out what he was driving at. He wanted me to intercede with Jim in his favour. It seemed, too, to be some sort of money affair. I heard time and again the words, "Moderate provision--suitable present." He seemed to be claiming value for something, and he even went the length of saying with some warmth that life was not worth having if a man were to be robbed of everything. I did not breathe a word, of course, but neither did I stop my ears. The gist of the affair, which became clear to me gradually, was in this, that he regarded himself as entitled to some money in exchange for the girl. He had brought her up. Somebody else's child. Great trouble and pains--old man now--suitable present. If the honourable sir would say a word. . . . I stood still to look at him with curiosity, and fearful lest I should think him extortionate, I suppose, he hastily brought himself to make a concession. In consideration of a "suitable present" given at once, he would, he declared, be willing to undertake the charge of the girl, "without any other provision--when the time came for the gentleman to go home." His little yellow face, all crumpled as though it had been squeezed together, expressed the most anxious, eager avarice. His voice whined coaxingly, "No more trouble--natural guardian--a sum of money . . ." 'I stood there and marvelled. That kind of thing, with him, was evidently a vocation. I discovered suddenly in his cringing attitude a sort of assurance, as though he had been all his life dealing in certitudes. He must have thought I was dispassionately considering his proposal, because he became as sweet as honey. "Every gentleman made a provision when the time came to go home," he began insinuatingly. I slammed the little gate. "In this case, Mr. Cornelius," I said, "the time will never come." He took a few seconds to gather this in. "What!" he fairly squealed. "Why," I continued from my side of the gate, "haven't you heard him say so himself? He will never go home." "Oh! this is too much," he shouted. He would not address me as "honoured sir" any more. He was very still for a time, and then without a trace of humility began very low: "Never go--ah! He--he--he comes here devil knows from where--comes here--devil knows why--to trample on me till I die--ah--trample" (he stamped softly with both feet), "trample like this--nobody knows why--till I die. . . ." His voice became quite extinct; he was bothered by a little cough; he came up close to the fence and told me, dropping into a confidential and piteous tone, that he would not be trampled upon. "Patience--patience," he muttered, striking his breast. I had done laughing at him, but unexpectedly he treated me to a wild cracked burst of it. "Ha! ha! ha! We shall see! We shall see! What! Steal from me! Steal from me everything! Everything! Everything!" His head drooped on one shoulder, his hands were hanging before him lightly clasped. One would have thought he had cherished the girl with surpassing love, that his spirit had been crushed and his heart broken by the most cruel of spoliations. Suddenly he lifted his head and shot out an infamous word. "Like her mother--she is like her deceitful mother. Exactly. In her face, too. In her face. The devil!" He leaned his forehead against the fence, and in that position uttered threats and horrible blasphemies in Portuguese in very weak ejaculations, mingled with miserable plaints and groans, coming out with a heave of the shoulders as though he had been overtaken by a deadly fit of sickness. It was an inexpressibly grotesque and vile performance, and I hastened away. He tried to shout something after me. Some disparagement of Jim, I believe--not too loud though, we were too near the house. All I heard distinctly was, "No more than a little child--a little child."'

Chapter 34

https://web.archive.org/web/20180820051943/http://www.pinkmonkey.com/booknotes/monkeynotes/pmLordJim43.asp

Marlow reflects on Jim's many plans for Patusan, including the building of a coffee plantation. He is totally amazed at Jim's enthusiasm, level of energy, and optimism. It is almost hard to believe that Jim fits in so well on this mysterious island and leads a blissful existence. He has truly proven that "he is one of us." Marlow himself feels almost lost and never comfortable during his Patusan visit. Marlow's reverie is interrupted by Cornelius, who approaches "vermin-like" and wants to talk. Marlow remembers that Jim considered Cornelius a coward, but on this night the despicable character talks courageously. He wants Marlow to convince Jim to give him some money in exchange for Jewel. He had raised her, although she was not really his. He feels he should be monetarily rewarded by Jim before he departs Patusan. Marlow explains to the old man that Jim has no intention of leaving the island. Cornelius tells him that Jim is a fool to stay in Patusan and urges Marlow to compel Jim to leave. He even promises to take care of Jewel when Jim departs. Marlow again insists that Jim will never leave Patusan. Cornelius bemoans his fate, stating that he is being trampled by Jim. As Cornelius swears and threatens, Marlow takes his leave.

Notes In this chapter the gloominess deepens and the darkness begins to close in. Conrad continues to build an atmosphere of suspense and impending tragedy. Marlow reveals that Jim told Jewel about the Patna, but she did not believe him; she thinks he is the bravest and wisest man she has ever known. Marlow also feels somewhat smug over Jim's accomplishments; he is glad to know that his earlier trust in Jim and his basic goodness was merited. He is now able to leave Jim to his own destiny; but there is a hint that the end will not be good. Cornelius is reintroduced to the book, for he seeks out Marlow for a conversation. It is obvious that he is still a rogue and a villain. He wants Jim to pay him some money for Jewel. He also tells Marlow that Jim is childish and foolish and begs Marlow to take Jim away. When Marlow tells him that Jim will never leave Patusan, the jealous Cornelius swears loudly and threatens violence. Marlow leaves the man, incorrectly judging him as "too insignificant to be dangerous." In the end, Cornelius will greatly contribute to Jim's undoing.

pinkmonkey

all_chapterized_books/110-chapters/36.txt

finished_summaries/pinkmonkey/Tess of the D'Urbervilles/section_14_part_2.txt

Tess of the D'Urbervilles.chapter 36

chapter 36

{"name": "CHAPTER 36", "url": "https://web.archive.org/web/20180820050202/http://www.pinkmonkey.com/booknotes/monkeynotes/pmTessD45.asp", "summary": "The next morning Angel asks Tess to say her past is not true, but Tess cannot lie to him. Although Angel is crushed, he is not harsh with Tess. He treats her gently, but refuses to accept her as his wife. Tess proposes a divorce and is horrified to learn that the law does not permit it. For the next few days, Tess devotedly serves Angel and tries her best to soothe his broken heart. Nothing seems to change his attitude. Finally, Tess accepts that he will never accept her. As a result, she suggests going home, and Angel agrees it is a good idea. They both know that a separation will save them from the misery of further pretension.", "analysis": "Notes Angel is a hard man. Although he still has deep feelings for Tess, his principles forbid him from accepting her as his wife. He can no longer imagine them living together on the farm, and he fears that if they were to have children, they would suffer. The ashes in the fireplace remind him of his wrecked relationship. Tess is equally miserable. She knows that Angel will never accept her and feels she is getting her just reward. When she learns that divorce is not a possibility, she offers to leave him and return home. Angel agrees that it is the best idea"}

Clare arose in the light of a dawn that was ashy and furtive, as though associated with crime. The fireplace confronted him with its extinct embers; the spread supper-table, whereon stood the two full glasses of untasted wine, now flat and filmy; her vacated seat and his own; the other articles of furniture, with their eternal look of not being able to help it, their intolerable inquiry what was to be done? From above there was no sound; but in a few minutes there came a knock at the door. He remembered that it would be the neighbouring cottager's wife, who was to minister to their wants while they remained here. The presence of a third person in the house would be extremely awkward just now, and, being already dressed, he opened the window and informed her that they could manage to shift for themselves that morning. She had a milk-can in her hand, which he told her to leave at the door. When the dame had gone away he searched in the back quarters of the house for fuel, and speedily lit a fire. There was plenty of eggs, butter, bread, and so on in the larder, and Clare soon had breakfast laid, his experiences at the dairy having rendered him facile in domestic preparations. The smoke of the kindled wood rose from the chimney without like a lotus-headed column; local people who were passing by saw it, and thought of the newly-married couple, and envied their happiness. Angel cast a final glance round, and then going to the foot of the stairs, called in a conventional voice-- "Breakfast is ready!" He opened the front door, and took a few steps in the morning air. When, after a short space, he came back she was already in the sitting-room mechanically readjusting the breakfast things. As she was fully attired, and the interval since his calling her had been but two or three minutes, she must have been dressed or nearly so before he went to summon her. Her hair was twisted up in a large round mass at the back of her head, and she had put on one of the new frocks--a pale blue woollen garment with neck-frillings of white. Her hands and face appeared to be cold, and she had possibly been sitting dressed in the bedroom a long time without any fire. The marked civility of Clare's tone in calling her seemed to have inspired her, for the moment, with a new glimmer of hope. But it soon died when she looked at him. The pair were, in truth, but the ashes of their former fires. To the hot sorrow of the previous night had succeeded heaviness; it seemed as if nothing could kindle either of them to fervour of sensation any more. He spoke gently to her, and she replied with a like undemonstrativeness. At last she came up to him, looking in his sharply-defined face as one who had no consciousness that her own formed a visible object also. "Angel!" she said, and paused, touching him with her fingers lightly as a breeze, as though she could hardly believe to be there in the flesh the man who was once her lover. Her eyes were bright, her pale cheek still showed its wonted roundness, though half-dried tears had left glistening traces thereon; and the usually ripe red mouth was almost as pale as her cheek. Throbbingly alive as she was still, under the stress of her mental grief the life beat so brokenly that a little further pull upon it would cause real illness, dull her characteristic eyes, and make her mouth thin. She looked absolutely pure. Nature, in her fantastic trickery, had set such a seal of maidenhood upon Tess's countenance that he gazed at her with a stupefied air. "Tess! Say it is not true! No, it is not true!" "It is true." "Every word?" "Every word." He looked at her imploringly, as if he would willingly have taken a lie from her lips, knowing it to be one, and have made of it, by some sort of sophistry, a valid denial. However, she only repeated-- "It is true." "Is he living?" Angel then asked. "The baby died." "But the man?" "He is alive." A last despair passed over Clare's face. "Is he in England?" "Yes." He took a few vague steps. "My position--is this," he said abruptly. "I thought--any man would have thought--that by giving up all ambition to win a wife with social standing, with fortune, with knowledge of the world, I should secure rustic innocence as surely as I should secure pink cheeks; but--However, I am no man to reproach you, and I will not." Tess felt his position so entirely that the remainder had not been needed. Therein lay just the distress of it; she saw that he had lost all round. "Angel--I should not have let it go on to marriage with you if I had not known that, after all, there was a last way out of it for you; though I hoped you would never--" Her voice grew husky. "A last way?" "I mean, to get rid of me. You CAN get rid of me." "How?" "By divorcing me." "Good heavens--how can you be so simple! How can I divorce you?" "Can't you--now I have told you? I thought my confession would give you grounds for that." "O Tess--you are too, too--childish--unformed--crude, I suppose! I don't know what you are. You don't understand the law--you don't understand!" "What--you cannot?" "Indeed I cannot." A quick shame mixed with the misery upon his listener's face. "I thought--I thought," she whispered. "O, now I see how wicked I seem to you! Believe me--believe me, on my soul, I never thought but that you could! I hoped you would not; yet I believed, without a doubt, that you could cast me off if you were determined, and didn't love me at--at--all!" "You were mistaken," he said. "O, then I ought to have done it, to have done it last night! But I hadn't the courage. That's just like me!" "The courage to do what?" As she did not answer he took her by the hand. "What were you thinking of doing?" he inquired. "Of putting an end to myself." "When?" She writhed under this inquisitorial manner of his. "Last night," she answered. "Where?" "Under your mistletoe." "My good--! How?" he asked sternly. "I'll tell you, if you won't be angry with me!" she said, shrinking. "It was with the cord of my box. But I could not--do the last thing! I was afraid that it might cause a scandal to your name." The unexpected quality of this confession, wrung from her, and not volunteered, shook him perceptibly. But he still held her, and, letting his glance fall from her face downwards, he said, "Now, listen to this. You must not dare to think of such a horrible thing! How could you! You will promise me as your husband to attempt that no more." "I am ready to promise. I saw how wicked it was." "Wicked! The idea was unworthy of you beyond description." "But, Angel," she pleaded, enlarging her eyes in calm unconcern upon him, "it was thought of entirely on your account--to set you free without the scandal of the divorce that I thought you would have to get. I should never have dreamt of doing it on mine. However, to do it with my own hand is too good for me, after all. It is you, my ruined husband, who ought to strike the blow. I think I should love you more, if that were possible, if you could bring yourself to do it, since there's no other way of escape for 'ee. I feel I am so utterly worthless! So very greatly in the way!" "Ssh!" "Well, since you say no, I won't. I have no wish opposed to yours." He knew this to be true enough. Since the desperation of the night her activities had dropped to zero, and there was no further rashness to be feared. Tess tried to busy herself again over the breakfast-table with more or less success, and they sat down both on the same side, so that their glances did not meet. There was at first something awkward in hearing each other eat and drink, but this could not be escaped; moreover, the amount of eating done was small on both sides. Breakfast over, he rose, and telling her the hour at which he might be expected to dinner, went off to the miller's in a mechanical pursuance of the plan of studying that business, which had been his only practical reason for coming here. When he was gone Tess stood at the window, and presently saw his form crossing the great stone bridge which conducted to the mill premises. He sank behind it, crossed the railway beyond, and disappeared. Then, without a sigh, she turned her attention to the room, and began clearing the table and setting it in order. The charwoman soon came. Her presence was at first a strain upon Tess, but afterwards an alleviation. At half-past twelve she left her assistant alone in the kitchen, and, returning to the sitting-room, waited for the reappearance of Angel's form behind the bridge. About one he showed himself. Her face flushed, although he was a quarter of a mile off. She ran to the kitchen to get the dinner served by the time he should enter. He went first to the room where they had washed their hands together the day before, and as he entered the sitting-room the dish-covers rose from the dishes as if by his own motion. "How punctual!" he said. "Yes. I saw you coming over the bridge," said she. The meal was passed in commonplace talk of what he had been doing during the morning at the Abbey Mill, of the methods of bolting and the old-fashioned machinery, which he feared would not enlighten him greatly on modern improved methods, some of it seeming to have been in use ever since the days it ground for the monks in the adjoining conventual buildings--now a heap of ruins. He left the house again in the course of an hour, coming home at dusk, and occupying himself through the evening with his papers. She feared she was in the way and, when the old woman was gone, retired to the kitchen, where she made herself busy as well as she could for more than an hour. Clare's shape appeared at the door. "You must not work like this," he said. "You are not my servant; you are my wife." She raised her eyes, and brightened somewhat. "I may think myself that--indeed?" she murmured, in piteous raillery. "You mean in name! Well, I don't want to be anything more." "You MAY think so, Tess! You are. What do you mean?" "I don't know," she said hastily, with tears in her accents. "I thought I--because I am not respectable, I mean. I told you I thought I was not respectable enough long ago--and on that account I didn't want to marry you, only--only you urged me!" She broke into sobs, and turned her back to him. It would almost have won round any man but Angel Clare. Within the remote depths of his constitution, so gentle and affectionate as he was in general, there lay hidden a hard logical deposit, like a vein of metal in a soft loam, which turned the edge of everything that attempted to traverse it. It had blocked his acceptance of the Church; it blocked his acceptance of Tess. Moreover, his affection itself was less fire than radiance, and, with regard to the other sex, when he ceased to believe he ceased to follow: contrasting in this with many impressionable natures, who remain sensuously infatuated with what they intellectually despise. He waited till her sobbing ceased. "I wish half the women in England were as respectable as you," he said, in an ebullition of bitterness against womankind in general. "It isn't a question of respectability, but one of principle!" He spoke such things as these and more of a kindred sort to her, being still swayed by the antipathetic wave which warps direct souls with such persistence when once their vision finds itself mocked by appearances. There was, it is true, underneath, a back current of sympathy through which a woman of the world might have conquered him. But Tess did not think of this; she took everything as her deserts, and hardly opened her mouth. The firmness of her devotion to him was indeed almost pitiful; quick-tempered as she naturally was, nothing that he could say made her unseemly; she sought not her own; was not provoked; thought no evil of his treatment of her. She might just now have been Apostolic Charity herself returned to a self-seeking modern world. This evening, night, and morning were passed precisely as the preceding ones had been passed. On one, and only one, occasion did she--the formerly free and independent Tess--venture to make any advances. It was on the third occasion of his starting after a meal to go out to the flour-mill. As he was leaving the table he said "Goodbye," and she replied in the same words, at the same time inclining her mouth in the way of his. He did not avail himself of the invitation, saying, as he turned hastily aside-- "I shall be home punctually." Tess shrank into herself as if she had been struck. Often enough had he tried to reach those lips against her consent--often had he said gaily that her mouth and breath tasted of the butter and eggs and milk and honey on which she mainly lived, that he drew sustenance from them, and other follies of that sort. But he did not care for them now. He observed her sudden shrinking, and said gently-- "You know, I have to think of a course. It was imperative that we should stay together a little while, to avoid the scandal to you that would have resulted from our immediate parting. But you must see it is only for form's sake." "Yes," said Tess absently. He went out, and on his way to the mill stood still, and wished for a moment that he had responded yet more kindly, and kissed her once at least. Thus they lived through this despairing day or two; in the same house, truly; but more widely apart than before they were lovers. It was evident to her that he was, as he had said, living with paralyzed activities in his endeavour to think of a plan of procedure. She was awe-stricken to discover such determination under such apparent flexibility. His consistency was, indeed, too cruel. She no longer expected forgiveness now. More than once she thought of going away from him during his absence at the mill; but she feared that this, instead of benefiting him, might be the means of hampering and humiliating him yet more if it should become known. Meanwhile Clare was meditating, verily. His thought had been unsuspended; he was becoming ill with thinking; eaten out with thinking, withered by thinking; scourged out of all his former pulsating, flexuous domesticity. He walked about saying to himself, "What's to be done--what's to be done?" and by chance she overheard him. It caused her to break the reserve about their future which had hitherto prevailed. "I suppose--you are not going to live with me--long, are you, Angel?" she asked, the sunk corners of her mouth betraying how purely mechanical were the means by which she retained that expression of chastened calm upon her face. "I cannot" he said, "without despising myself, and what is worse, perhaps, despising you. I mean, of course, cannot live with you in the ordinary sense. At present, whatever I feel, I do not despise you. And, let me speak plainly, or you may not see all my difficulties. How can we live together while that man lives?--he being your husband in nature, and not I. If he were dead it might be different... Besides, that's not all the difficulty; it lies in another consideration--one bearing upon the future of other people than ourselves. Think of years to come, and children being born to us, and this past matter getting known--for it must get known. There is not an uttermost part of the earth but somebody comes from it or goes to it from elsewhere. Well, think of wretches of our flesh and blood growing up under a taunt which they will gradually get to feel the full force of with their expanding years. What an awakening for them! What a prospect! Can you honestly say 'Remain' after contemplating this contingency? Don't you think we had better endure the ills we have than fly to others?" Her eyelids, weighted with trouble, continued drooping as before. "I cannot say 'Remain,'" she answered, "I cannot; I had not thought so far." Tess's feminine hope--shall we confess it?--had been so obstinately recuperative as to revive in her surreptitious visions of a domiciliary intimacy continued long enough to break down his coldness even against his judgement. Though unsophisticated in the usual sense, she was not incomplete; and it would have denoted deficiency of womanhood if she had not instinctively known what an argument lies in propinquity. Nothing else would serve her, she knew, if this failed. It was wrong to hope in what was of the nature of strategy, she said to herself: yet that sort of hope she could not extinguish. His last representation had now been made, and it was, as she said, a new view. She had truly never thought so far as that, and his lucid picture of possible offspring who would scorn her was one that brought deadly convictions to an honest heart which was humanitarian to its centre. Sheer experience had already taught her that in some circumstances there was one thing better than to lead a good life, and that was to be saved from leading any life whatever. Like all who have been previsioned by suffering, she could, in the words of M. Sully-Prudhomme, hear a penal sentence in the fiat, "You shall be born," particularly if addressed to potential issue of hers. Yet such is the vulpine slyness of Dame Nature, that, till now, Tess had been hoodwinked by her love for Clare into forgetting it might result in vitalizations that would inflict upon others what she had bewailed as misfortune to herself. She therefore could not withstand his argument. But with the self-combating proclivity of the supersensitive, an answer thereto arose in Clare's own mind, and he almost feared it. It was based on her exceptional physical nature; and she might have used it promisingly. She might have added besides: "On an Australian upland or Texan plain, who is to know or care about my misfortunes, or to reproach me or you?" Yet, like the majority of women, she accepted the momentary presentment as if it were the inevitable. And she may have been right. The intuitive heart of woman knoweth not only its own bitterness, but its husband's, and even if these assumed reproaches were not likely to be addressed to him or to his by strangers, they might have reached his ears from his own fastidious brain. It was the third day of the estrangement. Some might risk the odd paradox that with more animalism he would have been the nobler man. We do not say it. Yet Clare's love was doubtless ethereal to a fault, imaginative to impracticability. With these natures, corporal presence is something less appealing than corporal absence; the latter creating an ideal presence that conveniently drops the defects of the real. She found that her personality did not plead her cause so forcibly as she had anticipated. The figurative phrase was true: she was another woman than the one who had excited his desire. "I have thought over what you say," she remarked to him, moving her forefinger over the tablecloth, her other hand, which bore the ring that mocked them both, supporting her forehead. "It is quite true, all of it; it must be. You must go away from me." "But what can you do?" "I can go home." Clare had not thought of that. "Are you sure?" he inquired. "Quite sure. We ought to part, and we may as well get it past and done. You once said that I was apt to win men against their better judgement; and if I am constantly before your eyes I may cause you to change your plans in opposition to your reason and wish; and afterwards your repentance and my sorrow will be terrible." "And you would like to go home?" he asked. "I want to leave you, and go home." "Then it shall be so." Though she did not look up at him, she started. There was a difference between the proposition and the covenant, which she had felt only too quickly. "I feared it would come to this," she murmured, her countenance meekly fixed. "I don't complain, Angel, I--I think it best. What you said has quite convinced me. Yes, though nobody else should reproach me if we should stay together, yet somewhen, years hence, you might get angry with me for any ordinary matter, and knowing what you do of my bygones, you yourself might be tempted to say words, and they might be overheard, perhaps by my own children. O, what only hurts me now would torture and kill me then! I will go--to-morrow." "And I shall not stay here. Though I didn't like to initiate it, I have seen that it was advisable we should part--at least for a while, till I can better see the shape that things have taken, and can write to you." Tess stole a glance at her husband. He was pale, even tremulous; but, as before, she was appalled by the determination revealed in the depths of this gentle being she had married--the will to subdue the grosser to the subtler emotion, the substance to the conception, the flesh to the spirit. Propensities, tendencies, habits, were as dead leaves upon the tyrannous wind of his imaginative ascendency. He may have observed her look, for he explained-- "I think of people more kindly when I am away from them"; adding cynically, "God knows; perhaps we will shake down together some day, for weariness; thousands have done it!" That day he began to pack up, and she went upstairs and began to pack also. Both knew that it was in their two minds that they might part the next morning for ever, despite the gloss of assuaging conjectures thrown over their proceeding because they were of the sort to whom any parting which has an air of finality is a torture. He knew, and she knew, that, though the fascination which each had exercised over the other--on her part independently of accomplishments--would probably in the first days of their separation be even more potent than ever, time must attenuate that effect; the practical arguments against accepting her as a housemate might pronounce themselves more strongly in the boreal light of a remoter view. Moreover, when two people are once parted--have abandoned a common domicile and a common environment--new growths insensibly bud upward to fill each vacated place; unforeseen accidents hinder intentions, and old plans are forgotten.

CHAPTER 36

https://web.archive.org/web/20180820050202/http://www.pinkmonkey.com/booknotes/monkeynotes/pmTessD45.asp

The next morning Angel asks Tess to say her past is not true, but Tess cannot lie to him. Although Angel is crushed, he is not harsh with Tess. He treats her gently, but refuses to accept her as his wife. Tess proposes a divorce and is horrified to learn that the law does not permit it. For the next few days, Tess devotedly serves Angel and tries her best to soothe his broken heart. Nothing seems to change his attitude. Finally, Tess accepts that he will never accept her. As a result, she suggests going home, and Angel agrees it is a good idea. They both know that a separation will save them from the misery of further pretension.

Notes Angel is a hard man. Although he still has deep feelings for Tess, his principles forbid him from accepting her as his wife. He can no longer imagine them living together on the farm, and he fears that if they were to have children, they would suffer. The ashes in the fireplace remind him of his wrecked relationship. Tess is equally miserable. She knows that Angel will never accept her and feels she is getting her just reward. When she learns that divorce is not a possibility, she offers to leave him and return home. Angel agrees that it is the best idea

gradesaver

all_chapterized_books/174-chapters/08.txt

finished_summaries/gradesaver/The Picture of Dorian Gray/section_5_part_0.txt

The Picture of Dorian Gray.chapter 8

chapter 8

{"name": "Chapter 8", "url": "https://web.archive.org/web/20210421171214/https://www.gradesaver.com/the-picture-of-dorian-gray/study-guide/summary-chapter-8", "summary": "Dorian is awoken by Victor, his servant, after having slept until 1:15 in the afternoon. He sees that he has received a letter from Lord Henry, but leaves it unopened. He feels refreshed and eats breakfast happily, the previous night feeling like nothing more than a dream. His pleasant afternoon is interrupted, however, when he sees the screen that he has thrown over the portrait. He thinks himself foolish for imagining that the painting might have changed, but decides to check it again just to make sure. Nervous that he might be acting strangely, he throws Victor out of the room, locks all of the doors, and draws the curtains. Sure enough, \"It was perfectly true. The painting had altered.\" He wonders how this could possible, whether there is a scientific explanation, or a darker, metaphysical cause for the change. The cruel expression on the face in the portrait reminds him of his poor treatment of Sibyl. Stricken with guilt, Dorian writes her a passionate love letter, filling \"page after page with wild words of sorrow and wilder words of pain.\" Writing the letter is deeply cathartic. As soon as he finishes, Lord Henry arrives. Dorian tells him that although he saw Sibyl and was brutal towards her, he doesn't regret any of it, since \"It has taught me how to know myself better.\" Henry is delighted to find Dorian in good spirits, but when the young man tells him that he plans to cleanse his soul by marrying the poor actress, it is clear that there has been a misunderstanding. Sibyl Vane, as Henry had written to Dorian in the unopened letter, has killed herself with poison. Henry says that there will be an inquest, but that Dorian has nothing to worry about since nobody saw him go backstage or leave the theater, and since Sibyl never even told anyone her fiancA's real name. Henry urges Dorian not to get involved with the situation, as such a scandal would destroy his reputation. He asks Dorian to come see the opera with him that night. After his initial shock passes, Dorian responds to the news of Sibyl's death with a strange detachment. \"So I have murdered Sibyl Vane,\" he thinks, \"as surely as if I had cut her little throat with a knife. Yet the roses are not less lovely for all that.\" Under Henry's direction, Dorian comes to appreciate Sibyl's death as \"a wonderful ending to a wonderful play.\" Dorian is briefly disturbed by his emotional detachment, but Henry soon assuages his guilt, saying that life's tragedies often \"hurt us by...their entire lack of style.\" Since Sibyl died so dramatically, and for such a pure purpose as love, the situation is actually one, Henry believes, that Dorian should take satisfaction and pleasure in. Henry goes so far as to state that since the girl was only ever alive on stage, and since Dorian's love for her was rooted in his admiration for the various heroines she portrayed, that \"The girl never really lived, and so she has never really died...don't waste your tears over Sibyl Vane. She was less real than are.\" Dorian thanks Henry for being such a good and true friend. Henry leaves, and Dorian again looks at the picture. The mean sneer has not shifted, making Dorian think that it had \"received the news of Sibyl Vane's death before he had known of it himself.\" After further contemplation, Dorian consoles himself by thinking that since the picture displays his true character, it must \"bear the burden of his shame,\" thus leaving him to enjoy a guilt-free life. He sees no reason to consider why the picture changes, and decides to allow himself to simply be entertained by its progress. The chapter ends with Dorian leaving to meet Lord Henry at the opera.", "analysis": "Once again, Dorian displays alarming capriciousness and a disturbing blindness to his own vanity. He writes to Sibyl in a passion, taking all of the blame for his actions, but the narrator comments that \"there is a luxury in self-reproach.\" He takes pleasure in his confession, privately praising his own \"selflessness\". He falls into a brief spell of grief upon hearing the news of Sibyl's suicide, but proves to be far from inconsolable. Lord Henry, playing the devil to Dorian's Faust, shows him the means by which to transform his pain and guilt into a new, pleasurable experience, for which only the portrait will pay the price. In this chapter, the symbolic significance of the portrait is clearly spelled out for us: \"here was a visible symbol of the degradation of sin...an ever present sign of the ruin men bring upon their souls.\" This realization prompts Dorian to exclaim that he \"can't bear the idea of my soul being hideous.\" Dorian fears physical ugliness; in other words, it is vanity, not morality, that defines Dorian's relationship with his soul. A similar type of selfishness appears when Dorian writes his love letter to Sibyl. We are told that \"There is a luxury in self-reproach...When Dorian had finished the letter, he felt that he had been forgiven.\" Even in the throes of guilt, Dorian does not need Sibyl to grant the forgiveness that only she can rightly give, nor does it occur to him that Sibyl would do anything other than immediately accept his apology and agree to be his wife. Dorian's comment that Sibyl's death seems \"to be like simply a wonderful ending to a wonderful play\" continues the theme of life imitating art. It also recalls Dorian's obsession with the characters that Sibyl portrayed. He became disappointed in her when she tried to be her own person, and rejected the falseness of playing a role. Now, her death has given Dorian the ability to once again view Sibyl as a character in a play. When Lord Henry encourages this interpretation of the tragedy, he ensures that Dorian passes the point of no return on his descent into immorality. Dorian's statement that he has \"murdered her...as if I had cut her little throat with a knife\" not only displays a disturbing tendency to relish in unnecessarily morbid details, but also foreshadows Basil's murder in chapter 13, and recalls Basil's threat to destroy the painting with a knife in chapter 2. The image of death by stabbing hovers in the air throughout the novel. This chapter also contains the closest thing Wilde offers as to an explanation of how the portrait has acquired such metaphysical properties. However, it is not actually an explanation at all, but merely idle conjecture from Dorian: \"Was there some subtle affinity between the chemical atoms, that shaped themselves into form and colour on the canvas, and the soul that was within him? Could it be that what the soul thought, they realized? - that what it dreamed, they made true? Or was there some other, darker reason?\" Dorian is briefly disturbed by the possibility that black magic is at work, but he soon shrugs off this fear, and the question of how and why the portrait changes is never again raised."}

It was long past noon when he awoke. His valet had crept several times on tiptoe into the room to see if he was stirring, and had wondered what made his young master sleep so late. Finally his bell sounded, and Victor came in softly with a cup of tea, and a pile of letters, on a small tray of old Sevres china, and drew back the olive-satin curtains, with their shimmering blue lining, that hung in front of the three tall windows. "Monsieur has well slept this morning," he said, smiling. "What o'clock is it, Victor?" asked Dorian Gray drowsily. "One hour and a quarter, Monsieur." How late it was! He sat up, and having sipped some tea, turned over his letters. One of them was from Lord Henry, and had been brought by hand that morning. He hesitated for a moment, and then put it aside. The others he opened listlessly. They contained the usual collection of cards, invitations to dinner, tickets for private views, programmes of charity concerts, and the like that are showered on fashionable young men every morning during the season. There was a rather heavy bill for a chased silver Louis-Quinze toilet-set that he had not yet had the courage to send on to his guardians, who were extremely old-fashioned people and did not realize that we live in an age when unnecessary things are our only necessities; and there were several very courteously worded communications from Jermyn Street money-lenders offering to advance any sum of money at a moment's notice and at the most reasonable rates of interest. After about ten minutes he got up, and throwing on an elaborate dressing-gown of silk-embroidered cashmere wool, passed into the onyx-paved bathroom. The cool water refreshed him after his long sleep. He seemed to have forgotten all that he had gone through. A dim sense of having taken part in some strange tragedy came to him once or twice, but there was the unreality of a dream about it. As soon as he was dressed, he went into the library and sat down to a light French breakfast that had been laid out for him on a small round table close to the open window. It was an exquisite day. The warm air seemed laden with spices. A bee flew in and buzzed round the blue-dragon bowl that, filled with sulphur-yellow roses, stood before him. He felt perfectly happy. Suddenly his eye fell on the screen that he had placed in front of the portrait, and he started. "Too cold for Monsieur?" asked his valet, putting an omelette on the table. "I shut the window?" Dorian shook his head. "I am not cold," he murmured. Was it all true? Had the portrait really changed? Or had it been simply his own imagination that had made him see a look of evil where there had been a look of joy? Surely a painted canvas could not alter? The thing was absurd. It would serve as a tale to tell Basil some day. It would make him smile. And, yet, how vivid was his recollection of the whole thing! First in the dim twilight, and then in the bright dawn, he had seen the touch of cruelty round the warped lips. He almost dreaded his valet leaving the room. He knew that when he was alone he would have to examine the portrait. He was afraid of certainty. When the coffee and cigarettes had been brought and the man turned to go, he felt a wild desire to tell him to remain. As the door was closing behind him, he called him back. The man stood waiting for his orders. Dorian looked at him for a moment. "I am not at home to any one, Victor," he said with a sigh. The man bowed and retired. Then he rose from the table, lit a cigarette, and flung himself down on a luxuriously cushioned couch that stood facing the screen. The screen was an old one, of gilt Spanish leather, stamped and wrought with a rather florid Louis-Quatorze pattern. He scanned it curiously, wondering if ever before it had concealed the secret of a man's life. Should he move it aside, after all? Why not let it stay there? What was the use of knowing? If the thing was true, it was terrible. If it was not true, why trouble about it? But what if, by some fate or deadlier chance, eyes other than his spied behind and saw the horrible change? What should he do if Basil Hallward came and asked to look at his own picture? Basil would be sure to do that. No; the thing had to be examined, and at once. Anything would be better than this dreadful state of doubt. He got up and locked both doors. At least he would be alone when he looked upon the mask of his shame. Then he drew the screen aside and saw himself face to face. It was perfectly true. The portrait had altered. As he often remembered afterwards, and always with no small wonder, he found himself at first gazing at the portrait with a feeling of almost scientific interest. That such a change should have taken place was incredible to him. And yet it was a fact. Was there some subtle affinity between the chemical atoms that shaped themselves into form and colour on the canvas and the soul that was within him? Could it be that what that soul thought, they realized?--that what it dreamed, they made true? Or was there some other, more terrible reason? He shuddered, and felt afraid, and, going back to the couch, lay there, gazing at the picture in sickened horror. One thing, however, he felt that it had done for him. It had made him conscious how unjust, how cruel, he had been to Sibyl Vane. It was not too late to make reparation for that. She could still be his wife. His unreal and selfish love would yield to some higher influence, would be transformed into some nobler passion, and the portrait that Basil Hallward had painted of him would be a guide to him through life, would be to him what holiness is to some, and conscience to others, and the fear of God to us all. There were opiates for remorse, drugs that could lull the moral sense to sleep. But here was a visible symbol of the degradation of sin. Here was an ever-present sign of the ruin men brought upon their souls. Three o'clock struck, and four, and the half-hour rang its double chime, but Dorian Gray did not stir. He was trying to gather up the scarlet threads of life and to weave them into a pattern; to find his way through the sanguine labyrinth of passion through which he was wandering. He did not know what to do, or what to think. Finally, he went over to the table and wrote a passionate letter to the girl he had loved, imploring her forgiveness and accusing himself of madness. He covered page after page with wild words of sorrow and wilder words of pain. There is a luxury in self-reproach. When we blame ourselves, we feel that no one else has a right to blame us. It is the confession, not the priest, that gives us absolution. When Dorian had finished the letter, he felt that he had been forgiven. Suddenly there came a knock to the door, and he heard Lord Henry's voice outside. "My dear boy, I must see you. Let me in at once. I can't bear your shutting yourself up like this." He made no answer at first, but remained quite still. The knocking still continued and grew louder. Yes, it was better to let Lord Henry in, and to explain to him the new life he was going to lead, to quarrel with him if it became necessary to quarrel, to part if parting was inevitable. He jumped up, drew the screen hastily across the picture, and unlocked the door. "I am so sorry for it all, Dorian," said Lord Henry as he entered. "But you must not think too much about it." "Do you mean about Sibyl Vane?" asked the lad. "Yes, of course," answered Lord Henry, sinking into a chair and slowly pulling off his yellow gloves. "It is dreadful, from one point of view, but it was not your fault. Tell me, did you go behind and see her, after the play was over?" "Yes." "I felt sure you had. Did you make a scene with her?" "I was brutal, Harry--perfectly brutal. But it is all right now. I am not sorry for anything that has happened. It has taught me to know myself better." "Ah, Dorian, I am so glad you take it in that way! I was afraid I would find you plunged in remorse and tearing that nice curly hair of yours." "I have got through all that," said Dorian, shaking his head and smiling. "I am perfectly happy now. I know what conscience is, to begin with. It is not what you told me it was. It is the divinest thing in us. Don't sneer at it, Harry, any more--at least not before me. I want to be good. I can't bear the idea of my soul being hideous." "A very charming artistic basis for ethics, Dorian! I congratulate you on it. But how are you going to begin?" "By marrying Sibyl Vane." "Marrying Sibyl Vane!" cried Lord Henry, standing up and looking at him in perplexed amazement. "But, my dear Dorian--" "Yes, Harry, I know what you are going to say. Something dreadful about marriage. Don't say it. Don't ever say things of that kind to me again. Two days ago I asked Sibyl to marry me. I am not going to break my word to her. She is to be my wife." "Your wife! Dorian! ... Didn't you get my letter? I wrote to you this morning, and sent the note down by my own man." "Your letter? Oh, yes, I remember. I have not read it yet, Harry. I was afraid there might be something in it that I wouldn't like. You cut life to pieces with your epigrams." "You know nothing then?" "What do you mean?" Lord Henry walked across the room, and sitting down by Dorian Gray, took both his hands in his own and held them tightly. "Dorian," he said, "my letter--don't be frightened--was to tell you that Sibyl Vane is dead." A cry of pain broke from the lad's lips, and he leaped to his feet, tearing his hands away from Lord Henry's grasp. "Dead! Sibyl dead! It is not true! It is a horrible lie! How dare you say it?" "It is quite true, Dorian," said Lord Henry, gravely. "It is in all the morning papers. I wrote down to you to ask you not to see any one till I came. There will have to be an inquest, of course, and you must not be mixed up in it. Things like that make a man fashionable in Paris. But in London people are so prejudiced. Here, one should never make one's _debut_ with a scandal. One should reserve that to give an interest to one's old age. I suppose they don't know your name at the theatre? If they don't, it is all right. Did any one see you going round to her room? That is an important point." Dorian did not answer for a few moments. He was dazed with horror. Finally he stammered, in a stifled voice, "Harry, did you say an inquest? What did you mean by that? Did Sibyl--? Oh, Harry, I can't bear it! But be quick. Tell me everything at once." "I have no doubt it was not an accident, Dorian, though it must be put in that way to the public. It seems that as she was leaving the theatre with her mother, about half-past twelve or so, she said she had forgotten something upstairs. They waited some time for her, but she did not come down again. They ultimately found her lying dead on the floor of her dressing-room. She had swallowed something by mistake, some dreadful thing they use at theatres. I don't know what it was, but it had either prussic acid or white lead in it. I should fancy it was prussic acid, as she seems to have died instantaneously." "Harry, Harry, it is terrible!" cried the lad. "Yes; it is very tragic, of course, but you must not get yourself mixed up in it. I see by _The Standard_ that she was seventeen. I should have thought she was almost younger than that. She looked such a child, and seemed to know so little about acting. Dorian, you mustn't let this thing get on your nerves. You must come and dine with me, and afterwards we will look in at the opera. It is a Patti night, and everybody will be there. You can come to my sister's box. She has got some smart women with her." "So I have murdered Sibyl Vane," said Dorian Gray, half to himself, "murdered her as surely as if I had cut her little throat with a knife. Yet the roses are not less lovely for all that. The birds sing just as happily in my garden. And to-night I am to dine with you, and then go on to the opera, and sup somewhere, I suppose, afterwards. How extraordinarily dramatic life is! If I had read all this in a book, Harry, I think I would have wept over it. Somehow, now that it has happened actually, and to me, it seems far too wonderful for tears. Here is the first passionate love-letter I have ever written in my life. Strange, that my first passionate love-letter should have been addressed to a dead girl. Can they feel, I wonder, those white silent people we call the dead? Sibyl! Can she feel, or know, or listen? Oh, Harry, how I loved her once! It seems years ago to me now. She was everything to me. Then came that dreadful night--was it really only last night?--when she played so badly, and my heart almost broke. She explained it all to me. It was terribly pathetic. But I was not moved a bit. I thought her shallow. Suddenly something happened that made me afraid. I can't tell you what it was, but it was terrible. I said I would go back to her. I felt I had done wrong. And now she is dead. My God! My God! Harry, what shall I do? You don't know the danger I am in, and there is nothing to keep me straight. She would have done that for me. She had no right to kill herself. It was selfish of her." "My dear Dorian," answered Lord Henry, taking a cigarette from his case and producing a gold-latten matchbox, "the only way a woman can ever reform a man is by boring him so completely that he loses all possible interest in life. If you had married this girl, you would have been wretched. Of course, you would have treated her kindly. One can always be kind to people about whom one cares nothing. But she would have soon found out that you were absolutely indifferent to her. And when a woman finds that out about her husband, she either becomes dreadfully dowdy, or wears very smart bonnets that some other woman's husband has to pay for. I say nothing about the social mistake, which would have been abject--which, of course, I would not have allowed--but I assure you that in any case the whole thing would have been an absolute failure." "I suppose it would," muttered the lad, walking up and down the room and looking horribly pale. "But I thought it was my duty. It is not my fault that this terrible tragedy has prevented my doing what was right. I remember your saying once that there is a fatality about good resolutions--that they are always made too late. Mine certainly were." "Good resolutions are useless attempts to interfere with scientific laws. Their origin is pure vanity. Their result is absolutely _nil_. They give us, now and then, some of those luxurious sterile emotions that have a certain charm for the weak. That is all that can be said for them. They are simply cheques that men draw on a bank where they have no account." "Harry," cried Dorian Gray, coming over and sitting down beside him, "why is it that I cannot feel this tragedy as much as I want to? I don't think I am heartless. Do you?" "You have done too many foolish things during the last fortnight to be entitled to give yourself that name, Dorian," answered Lord Henry with his sweet melancholy smile. The lad frowned. "I don't like that explanation, Harry," he rejoined, "but I am glad you don't think I am heartless. I am nothing of the kind. I know I am not. And yet I must admit that this thing that has happened does not affect me as it should. It seems to me to be simply like a wonderful ending to a wonderful play. It has all the terrible beauty of a Greek tragedy, a tragedy in which I took a great part, but by which I have not been wounded." "It is an interesting question," said Lord Henry, who found an exquisite pleasure in playing on the lad's unconscious egotism, "an extremely interesting question. I fancy that the true explanation is this: It often happens that the real tragedies of life occur in such an inartistic manner that they hurt us by their crude violence, their absolute incoherence, their absurd want of meaning, their entire lack of style. They affect us just as vulgarity affects us. They give us an impression of sheer brute force, and we revolt against that. Sometimes, however, a tragedy that possesses artistic elements of beauty crosses our lives. If these elements of beauty are real, the whole thing simply appeals to our sense of dramatic effect. Suddenly we find that we are no longer the actors, but the spectators of the play. Or rather we are both. We watch ourselves, and the mere wonder of the spectacle enthralls us. In the present case, what is it that has really happened? Some one has killed herself for love of you. I wish that I had ever had such an experience. It would have made me in love with love for the rest of my life. The people who have adored me--there have not been very many, but there have been some--have always insisted on living on, long after I had ceased to care for them, or they to care for me. They have become stout and tedious, and when I meet them, they go in at once for reminiscences. That awful memory of woman! What a fearful thing it is! And what an utter intellectual stagnation it reveals! One should absorb the colour of life, but one should never remember its details. Details are always vulgar." "I must sow poppies in my garden," sighed Dorian. "There is no necessity," rejoined his companion. "Life has always poppies in her hands. Of course, now and then things linger. I once wore nothing but violets all through one season, as a form of artistic mourning for a romance that would not die. Ultimately, however, it did die. I forget what killed it. I think it was her proposing to sacrifice the whole world for me. That is always a dreadful moment. It fills one with the terror of eternity. Well--would you believe it?--a week ago, at Lady Hampshire's, I found myself seated at dinner next the lady in question, and she insisted on going over the whole thing again, and digging up the past, and raking up the future. I had buried my romance in a bed of asphodel. She dragged it out again and assured me that I had spoiled her life. I am bound to state that she ate an enormous dinner, so I did not feel any anxiety. But what a lack of taste she showed! The one charm of the past is that it is the past. But women never know when the curtain has fallen. They always want a sixth act, and as soon as the interest of the play is entirely over, they propose to continue it. If they were allowed their own way, every comedy would have a tragic ending, and every tragedy would culminate in a farce. They are charmingly artificial, but they have no sense of art. You are more fortunate than I am. I assure you, Dorian, that not one of the women I have known would have done for me what Sibyl Vane did for you. Ordinary women always console themselves. Some of them do it by going in for sentimental colours. Never trust a woman who wears mauve, whatever her age may be, or a woman over thirty-five who is fond of pink ribbons. It always means that they have a history. Others find a great consolation in suddenly discovering the good qualities of their husbands. They flaunt their conjugal felicity in one's face, as if it were the most fascinating of sins. Religion consoles some. Its mysteries have all the charm of a flirtation, a woman once told me, and I can quite understand it. Besides, nothing makes one so vain as being told that one is a sinner. Conscience makes egotists of us all. Yes; there is really no end to the consolations that women find in modern life. Indeed, I have not mentioned the most important one." "What is that, Harry?" said the lad listlessly. "Oh, the obvious consolation. Taking some one else's admirer when one loses one's own. In good society that always whitewashes a woman. But really, Dorian, how different Sibyl Vane must have been from all the women one meets! There is something to me quite beautiful about her death. I am glad I am living in a century when such wonders happen. They make one believe in the reality of the things we all play with, such as romance, passion, and love." "I was terribly cruel to her. You forget that." "I am afraid that women appreciate cruelty, downright cruelty, more than anything else. They have wonderfully primitive instincts. We have emancipated them, but they remain slaves looking for their masters, all the same. They love being dominated. I am sure you were splendid. I have never seen you really and absolutely angry, but I can fancy how delightful you looked. And, after all, you said something to me the day before yesterday that seemed to me at the time to be merely fanciful, but that I see now was absolutely true, and it holds the key to everything." "What was that, Harry?" "You said to me that Sibyl Vane represented to you all the heroines of romance--that she was Desdemona one night, and Ophelia the other; that if she died as Juliet, she came to life as Imogen." "She will never come to life again now," muttered the lad, burying his face in his hands. "No, she will never come to life. She has played her last part. But you must think of that lonely death in the tawdry dressing-room simply as a strange lurid fragment from some Jacobean tragedy, as a wonderful scene from Webster, or Ford, or Cyril Tourneur. The girl never really lived, and so she has never really died. To you at least she was always a dream, a phantom that flitted through Shakespeare's plays and left them lovelier for its presence, a reed through which Shakespeare's music sounded richer and more full of joy. The moment she touched actual life, she marred it, and it marred her, and so she passed away. Mourn for Ophelia, if you like. Put ashes on your head because Cordelia was strangled. Cry out against Heaven because the daughter of Brabantio died. But don't waste your tears over Sibyl Vane. She was less real than they are." There was a silence. The evening darkened in the room. Noiselessly, and with silver feet, the shadows crept in from the garden. The colours faded wearily out of things. After some time Dorian Gray looked up. "You have explained me to myself, Harry," he murmured with something of a sigh of relief. "I felt all that you have said, but somehow I was afraid of it, and I could not express it to myself. How well you know me! But we will not talk again of what has happened. It has been a marvellous experience. That is all. I wonder if life has still in store for me anything as marvellous." "Life has everything in store for you, Dorian. There is nothing that you, with your extraordinary good looks, will not be able to do." "But suppose, Harry, I became haggard, and old, and wrinkled? What then?" "Ah, then," said Lord Henry, rising to go, "then, my dear Dorian, you would have to fight for your victories. As it is, they are brought to you. No, you must keep your good looks. We live in an age that reads too much to be wise, and that thinks too much to be beautiful. We cannot spare you. And now you had better dress and drive down to the club. We are rather late, as it is." "I think I shall join you at the opera, Harry. I feel too tired to eat anything. What is the number of your sister's box?" "Twenty-seven, I believe. It is on the grand tier. You will see her name on the door. But I am sorry you won't come and dine." "I don't feel up to it," said Dorian listlessly. "But I am awfully obliged to you for all that you have said to me. You are certainly my best friend. No one has ever understood me as you have." "We are only at the beginning of our friendship, Dorian," answered Lord Henry, shaking him by the hand. "Good-bye. I shall see you before nine-thirty, I hope. Remember, Patti is singing." As he closed the door behind him, Dorian Gray touched the bell, and in a few minutes Victor appeared with the lamps and drew the blinds down. He waited impatiently for him to go. The man seemed to take an interminable time over everything. As soon as he had left, he rushed to the screen and drew it back. No; there was no further change in the picture. It had received the news of Sibyl Vane's death before he had known of it himself. It was conscious of the events of life as they occurred. The vicious cruelty that marred the fine lines of the mouth had, no doubt, appeared at the very moment that the girl had drunk the poison, whatever it was. Or was it indifferent to results? Did it merely take cognizance of what passed within the soul? He wondered, and hoped that some day he would see the change taking place before his very eyes, shuddering as he hoped it. Poor Sibyl! What a romance it had all been! She had often mimicked death on the stage. Then Death himself had touched her and taken her with him. How had she played that dreadful last scene? Had she cursed him, as she died? No; she had died for love of him, and love would always be a sacrament to him now. She had atoned for everything by the sacrifice she had made of her life. He would not think any more of what she had made him go through, on that horrible night at the theatre. When he thought of her, it would be as a wonderful tragic figure sent on to the world's stage to show the supreme reality of love. A wonderful tragic figure? Tears came to his eyes as he remembered her childlike look, and winsome fanciful ways, and shy tremulous grace. He brushed them away hastily and looked again at the picture. He felt that the time had really come for making his choice. Or had his choice already been made? Yes, life had decided that for him--life, and his own infinite curiosity about life. Eternal youth, infinite passion, pleasures subtle and secret, wild joys and wilder sins--he was to have all these things. The portrait was to bear the burden of his shame: that was all. A feeling of pain crept over him as he thought of the desecration that was in store for the fair face on the canvas. Once, in boyish mockery of Narcissus, he had kissed, or feigned to kiss, those painted lips that now smiled so cruelly at him. Morning after morning he had sat before the portrait wondering at its beauty, almost enamoured of it, as it seemed to him at times. Was it to alter now with every mood to which he yielded? Was it to become a monstrous and loathsome thing, to be hidden away in a locked room, to be shut out from the sunlight that had so often touched to brighter gold the waving wonder of its hair? The pity of it! the pity of it! For a moment, he thought of praying that the horrible sympathy that existed between him and the picture might cease. It had changed in answer to a prayer; perhaps in answer to a prayer it might remain unchanged. And yet, who, that knew anything about life, would surrender the chance of remaining always young, however fantastic that chance might be, or with what fateful consequences it might be fraught? Besides, was it really under his control? Had it indeed been prayer that had produced the substitution? Might there not be some curious scientific reason for it all? If thought could exercise its influence upon a living organism, might not thought exercise an influence upon dead and inorganic things? Nay, without thought or conscious desire, might not things external to ourselves vibrate in unison with our moods and passions, atom calling to atom in secret love or strange affinity? But the reason was of no importance. He would never again tempt by a prayer any terrible power. If the picture was to alter, it was to alter. That was all. Why inquire too closely into it? For there would be a real pleasure in watching it. He would be able to follow his mind into its secret places. This portrait would be to him the most magical of mirrors. As it had revealed to him his own body, so it would reveal to him his own soul. And when winter came upon it, he would still be standing where spring trembles on the verge of summer. When the blood crept from its face, and left behind a pallid mask of chalk with leaden eyes, he would keep the glamour of boyhood. Not one blossom of his loveliness would ever fade. Not one pulse of his life would ever weaken. Like the gods of the Greeks, he would be strong, and fleet, and joyous. What did it matter what happened to the coloured image on the canvas? He would be safe. That was everything. He drew the screen back into its former place in front of the picture, smiling as he did so, and passed into his bedroom, where his valet was already waiting for him. An hour later he was at the opera, and Lord Henry was leaning over his chair.

Chapter 8

https://web.archive.org/web/20210421171214/https://www.gradesaver.com/the-picture-of-dorian-gray/study-guide/summary-chapter-8

Dorian is awoken by Victor, his servant, after having slept until 1:15 in the afternoon. He sees that he has received a letter from Lord Henry, but leaves it unopened. He feels refreshed and eats breakfast happily, the previous night feeling like nothing more than a dream. His pleasant afternoon is interrupted, however, when he sees the screen that he has thrown over the portrait. He thinks himself foolish for imagining that the painting might have changed, but decides to check it again just to make sure. Nervous that he might be acting strangely, he throws Victor out of the room, locks all of the doors, and draws the curtains. Sure enough, "It was perfectly true. The painting had altered." He wonders how this could possible, whether there is a scientific explanation, or a darker, metaphysical cause for the change. The cruel expression on the face in the portrait reminds him of his poor treatment of Sibyl. Stricken with guilt, Dorian writes her a passionate love letter, filling "page after page with wild words of sorrow and wilder words of pain." Writing the letter is deeply cathartic. As soon as he finishes, Lord Henry arrives. Dorian tells him that although he saw Sibyl and was brutal towards her, he doesn't regret any of it, since "It has taught me how to know myself better." Henry is delighted to find Dorian in good spirits, but when the young man tells him that he plans to cleanse his soul by marrying the poor actress, it is clear that there has been a misunderstanding. Sibyl Vane, as Henry had written to Dorian in the unopened letter, has killed herself with poison. Henry says that there will be an inquest, but that Dorian has nothing to worry about since nobody saw him go backstage or leave the theater, and since Sibyl never even told anyone her fiancA's real name. Henry urges Dorian not to get involved with the situation, as such a scandal would destroy his reputation. He asks Dorian to come see the opera with him that night. After his initial shock passes, Dorian responds to the news of Sibyl's death with a strange detachment. "So I have murdered Sibyl Vane," he thinks, "as surely as if I had cut her little throat with a knife. Yet the roses are not less lovely for all that." Under Henry's direction, Dorian comes to appreciate Sibyl's death as "a wonderful ending to a wonderful play." Dorian is briefly disturbed by his emotional detachment, but Henry soon assuages his guilt, saying that life's tragedies often "hurt us by...their entire lack of style." Since Sibyl died so dramatically, and for such a pure purpose as love, the situation is actually one, Henry believes, that Dorian should take satisfaction and pleasure in. Henry goes so far as to state that since the girl was only ever alive on stage, and since Dorian's love for her was rooted in his admiration for the various heroines she portrayed, that "The girl never really lived, and so she has never really died...don't waste your tears over Sibyl Vane. She was less real than are." Dorian thanks Henry for being such a good and true friend. Henry leaves, and Dorian again looks at the picture. The mean sneer has not shifted, making Dorian think that it had "received the news of Sibyl Vane's death before he had known of it himself." After further contemplation, Dorian consoles himself by thinking that since the picture displays his true character, it must "bear the burden of his shame," thus leaving him to enjoy a guilt-free life. He sees no reason to consider why the picture changes, and decides to allow himself to simply be entertained by its progress. The chapter ends with Dorian leaving to meet Lord Henry at the opera.

Once again, Dorian displays alarming capriciousness and a disturbing blindness to his own vanity. He writes to Sibyl in a passion, taking all of the blame for his actions, but the narrator comments that "there is a luxury in self-reproach." He takes pleasure in his confession, privately praising his own "selflessness". He falls into a brief spell of grief upon hearing the news of Sibyl's suicide, but proves to be far from inconsolable. Lord Henry, playing the devil to Dorian's Faust, shows him the means by which to transform his pain and guilt into a new, pleasurable experience, for which only the portrait will pay the price. In this chapter, the symbolic significance of the portrait is clearly spelled out for us: "here was a visible symbol of the degradation of sin...an ever present sign of the ruin men bring upon their souls." This realization prompts Dorian to exclaim that he "can't bear the idea of my soul being hideous." Dorian fears physical ugliness; in other words, it is vanity, not morality, that defines Dorian's relationship with his soul. A similar type of selfishness appears when Dorian writes his love letter to Sibyl. We are told that "There is a luxury in self-reproach...When Dorian had finished the letter, he felt that he had been forgiven." Even in the throes of guilt, Dorian does not need Sibyl to grant the forgiveness that only she can rightly give, nor does it occur to him that Sibyl would do anything other than immediately accept his apology and agree to be his wife. Dorian's comment that Sibyl's death seems "to be like simply a wonderful ending to a wonderful play" continues the theme of life imitating art. It also recalls Dorian's obsession with the characters that Sibyl portrayed. He became disappointed in her when she tried to be her own person, and rejected the falseness of playing a role. Now, her death has given Dorian the ability to once again view Sibyl as a character in a play. When Lord Henry encourages this interpretation of the tragedy, he ensures that Dorian passes the point of no return on his descent into immorality. Dorian's statement that he has "murdered her...as if I had cut her little throat with a knife" not only displays a disturbing tendency to relish in unnecessarily morbid details, but also foreshadows Basil's murder in chapter 13, and recalls Basil's threat to destroy the painting with a knife in chapter 2. The image of death by stabbing hovers in the air throughout the novel. This chapter also contains the closest thing Wilde offers as to an explanation of how the portrait has acquired such metaphysical properties. However, it is not actually an explanation at all, but merely idle conjecture from Dorian: "Was there some subtle affinity between the chemical atoms, that shaped themselves into form and colour on the canvas, and the soul that was within him? Could it be that what the soul thought, they realized? - that what it dreamed, they made true? Or was there some other, darker reason?" Dorian is briefly disturbed by the possibility that black magic is at work, but he soon shrugs off this fear, and the question of how and why the portrait changes is never again raised.

pinkmonkey

all_chapterized_books/161-chapters/24.txt

finished_summaries/pinkmonkey/Sense and Sensibility/section_23_part_0.txt

Sense and Sensibility.chapter 24

chapter 24

{"name": "Chapter 24", "url": "https://web.archive.org/web/20180820034609/http://www.pinkmonkey.com/booknotes/monkeynotes/pmSenseSensibility39.asp", "summary": "Elinor is troubled by Lucy's confession. Although she is inclined to believe the truth of Lucy's statements, she is not sure about Edward's feelings in the matter. So she decides to talk to Lucy again on the subject. She gets the opportunity to do so when she visits the Park on the invitation of John Middleton. While Lady Middleton sits down to play Casino with the others and Marianne plays the piano, Elinor helps Lucy to make a basket for Annamaria.", "analysis": "Notes Elinor is as composed as she is sensible. After hearing about the engagement of Lucy and Edward, she neither breaks down nor indulges in brooding. She ponders over the truth of Lucy's statements and tries to analyze Edward's emotions towards Lucy. She does not condemn Edward for his actions. She tries to connect the sequence of events leading to their engagement. She tries to remember Edward's state of mind when she met him at Norland. She decides to talk to Lucy again before passing judgment. At home, Elinor behaves normally. She is in admirable control of her emotions. She thus spares her mother and sisters from the anxiety that would naturally result from such a disclosure. She realizes the futility of seeking advice or conversing with them on the subject. She feels that \"she was stronger alone, and her own good sense so well supported her, that her firmness was as unshaken, her appearance of cheerfulness as invariable, as with regrets so poignant and so fresh, it was possible for them to be. \" Indisputably, then, she is a paragon of endurance. CHAPTER 24 Summary At the first opportunity, Elinor brings up the topic of Lucy and Edward. Lucy readily gives information about Edward's insufficient income, which might not be enough for them to settle down. However, she expresses confidence in Edward's love for her. She also voices her desire to have Edward take orders in the Church. To realize her wish, she seeks the help of Elinor to persuade her brother to give the Norland parish to them. She further reveals a plan to visit London later on, in order to meet Edward. Notes Elinor elicits information from Lucy with commendable tact and persuasion. She encourages Lucy to talk about Edward and observes her in order to gauge her actual feelings for Edward. Lucy is pragmatic enough to want Edward to be well-settled before their marriage. She takes the first opportunity to ask Elinor to speak to John Dashwood and recommend a position at Norland for them. Shamelessly, she even hopes for Mrs. Ferrars' demise, so that Edward can get his share of the property. Elinor and Lucy love the same man, but the manner of their love differs greatly. Elinor is selfless in her love for Edward. She blames neither him nor Lucy for the turn of events. She is highly in control of her emotions. Lucy is selfish and insecure about her hold over Edward. She is crude in her manner of expression and displays her emotions openly. Of the two, Elinor undoubtedly deserves Edward. CHAPTER 25 Summary Mrs. Jennings decides to go back to town to occupy her house at Portman Square. She invites the Dashwood sisters to accompany her to London. The sisters decline the invitation at first, as they are reluctant to part with their mother. But when Mrs. Dashwood gives her consent readily, they have no excuse to offer. In fact, Marianne looks forward to the trip, as it will afford her an opportunity to meet Willoughby. Elinor is happy for her sister although she herself is not very enthusiastic about visiting the city. Notes Jane Austen creates the appropriate setting for the heroines to meet with their lover interests. The fate of both Elinor and Marianne will be decided in London. Austen evokes curiosity in the reader's mind about the future of her protagonists. The reaction of the two sisters to Mrs. Jennings' invitation is different. Marianne is too eager to go to London, and hence shows impatience, while Elinor hesitates to make a decision. Marianne is even prepared to tolerate Mrs. Jennings' company in London, as long as she has the opportunity to meet Willoughby. Her reason for going to London is entirely selfish. Elinor characteristically weighs the pros and cons before making a decision. She hesitates to leave for London because she has to part with her mother. Also, she is apprehensive about staying in London with Mrs. Jennings, whose constant company might prove irksome. Left to herself, she neither desires nor dislikes going to London. However, when she becomes aware of Marianne's enthusiasm, she decides to accompany her sister to the city."}

In a firm, though cautious tone, Elinor thus began. "I should be undeserving of the confidence you have honoured me with, if I felt no desire for its continuance, or no farther curiosity on its subject. I will not apologize therefore for bringing it forward again." "Thank you," cried Lucy warmly, "for breaking the ice; you have set my heart at ease by it; for I was somehow or other afraid I had offended you by what I told you that Monday." "Offended me! How could you suppose so? Believe me," and Elinor spoke it with the truest sincerity, "nothing could be farther from my intention than to give you such an idea. Could you have a motive for the trust, that was not honourable and flattering to me?" "And yet I do assure you," replied Lucy, her little sharp eyes full of meaning, "there seemed to me to be a coldness and displeasure in your manner that made me quite uncomfortable. I felt sure that you was angry with me; and have been quarrelling with myself ever since, for having took such a liberty as to trouble you with my affairs. But I am very glad to find it was only my own fancy, and that you really do not blame me. If you knew what a consolation it was to me to relieve my heart speaking to you of what I am always thinking of every moment of my life, your compassion would make you overlook every thing else I am sure." "Indeed, I can easily believe that it was a very great relief to you, to acknowledge your situation to me, and be assured that you shall never have reason to repent it. Your case is a very unfortunate one; you seem to me to be surrounded with difficulties, and you will have need of all your mutual affection to support you under them. Mr. Ferrars, I believe, is entirely dependent on his mother." "He has only two thousand pounds of his own; it would be madness to marry upon that, though for my own part, I could give up every prospect of more without a sigh. I have been always used to a very small income, and could struggle with any poverty for him; but I love him too well to be the selfish means of robbing him, perhaps, of all that his mother might give him if he married to please her. We must wait, it may be for many years. With almost every other man in the world, it would be an alarming prospect; but Edward's affection and constancy nothing can deprive me of I know." "That conviction must be every thing to you; and he is undoubtedly supported by the same trust in your's. If the strength of your reciprocal attachment had failed, as between many people, and under many circumstances it naturally would during a four years' engagement, your situation would have been pitiable, indeed." Lucy here looked up; but Elinor was careful in guarding her countenance from every expression that could give her words a suspicious tendency. "Edward's love for me," said Lucy, "has been pretty well put to the test, by our long, very long absence since we were first engaged, and it has stood the trial so well, that I should be unpardonable to doubt it now. I can safely say that he has never gave me one moment's alarm on that account from the first." Elinor hardly knew whether to smile or sigh at this assertion. Lucy went on. "I am rather of a jealous temper too by nature, and from our different situations in life, from his being so much more in the world than me, and our continual separation, I was enough inclined for suspicion, to have found out the truth in an instant, if there had been the slightest alteration in his behaviour to me when we met, or any lowness of spirits that I could not account for, or if he had talked more of one lady than another, or seemed in any respect less happy at Longstaple than he used to be. I do not mean to say that I am particularly observant or quick-sighted in general, but in such a case I am sure I could not be deceived." "All this," thought Elinor, "is very pretty; but it can impose upon neither of us." "But what," said she after a short silence, "are your views? or have you none but that of waiting for Mrs. Ferrars's death, which is a melancholy and shocking extremity?--Is her son determined to submit to this, and to all the tediousness of the many years of suspense in which it may involve you, rather than run the risk of her displeasure for a while by owning the truth?" "If we could be certain that it would be only for a while! But Mrs. Ferrars is a very headstrong proud woman, and in her first fit of anger upon hearing it, would very likely secure every thing to Robert, and the idea of that, for Edward's sake, frightens away all my inclination for hasty measures." "And for your own sake too, or you are carrying your disinterestedness beyond reason." Lucy looked at Elinor again, and was silent. "Do you know Mr. Robert Ferrars?" asked Elinor. "Not at all--I never saw him; but I fancy he is very unlike his brother--silly and a great coxcomb." "A great coxcomb!" repeated Miss Steele, whose ear had caught those words by a sudden pause in Marianne's music.-- "Oh, they are talking of their favourite beaux, I dare say." "No sister," cried Lucy, "you are mistaken there, our favourite beaux are NOT great coxcombs." "I can answer for it that Miss Dashwood's is not," said Mrs. Jennings, laughing heartily; "for he is one of the modestest, prettiest behaved young men I ever saw; but as for Lucy, she is such a sly little creature, there is no finding out who SHE likes." "Oh," cried Miss Steele, looking significantly round at them, "I dare say Lucy's beau is quite as modest and pretty behaved as Miss Dashwood's." Elinor blushed in spite of herself. Lucy bit her lip, and looked angrily at her sister. A mutual silence took place for some time. Lucy first put an end to it by saying in a lower tone, though Marianne was then giving them the powerful protection of a very magnificent concerto-- "I will honestly tell you of one scheme which has lately come into my head, for bringing matters to bear; indeed I am bound to let you into the secret, for you are a party concerned. I dare say you have seen enough of Edward to know that he would prefer the church to every other profession; now my plan is that he should take orders as soon as he can, and then through your interest, which I am sure you would be kind enough to use out of friendship for him, and I hope out of some regard to me, your brother might be persuaded to give him Norland living; which I understand is a very good one, and the present incumbent not likely to live a great while. That would be enough for us to marry upon, and we might trust to time and chance for the rest." "I should always be happy," replied Elinor, "to show any mark of my esteem and friendship for Mr. Ferrars; but do you not perceive that my interest on such an occasion would be perfectly unnecessary? He is brother to Mrs. John Dashwood--THAT must be recommendation enough to her husband." "But Mrs. John Dashwood would not much approve of Edward's going into orders." "Then I rather suspect that my interest would do very little." They were again silent for many minutes. At length Lucy exclaimed with a deep sigh, "I believe it would be the wisest way to put an end to the business at once by dissolving the engagement. We seem so beset with difficulties on every side, that though it would make us miserable for a time, we should be happier perhaps in the end. But you will not give me your advice, Miss Dashwood?" "No," answered Elinor, with a smile, which concealed very agitated feelings, "on such a subject I certainly will not. You know very well that my opinion would have no weight with you, unless it were on the side of your wishes." "Indeed you wrong me," replied Lucy, with great solemnity; "I know nobody of whose judgment I think so highly as I do of yours; and I do really believe, that if you was to say to me, 'I advise you by all means to put an end to your engagement with Edward Ferrars, it will be more for the happiness of both of you,' I should resolve upon doing it immediately." Elinor blushed for the insincerity of Edward's future wife, and replied, "This compliment would effectually frighten me from giving any opinion on the subject had I formed one. It raises my influence much too high; the power of dividing two people so tenderly attached is too much for an indifferent person." "'Tis because you are an indifferent person," said Lucy, with some pique, and laying a particular stress on those words, "that your judgment might justly have such weight with me. If you could be supposed to be biased in any respect by your own feelings, your opinion would not be worth having." Elinor thought it wisest to make no answer to this, lest they might provoke each other to an unsuitable increase of ease and unreserve; and was even partly determined never to mention the subject again. Another pause therefore of many minutes' duration, succeeded this speech, and Lucy was still the first to end it. "Shall you be in town this winter, Miss Dashwood?" said she with all her accustomary complacency. "Certainly not." "I am sorry for that," returned the other, while her eyes brightened at the information, "it would have gave me such pleasure to meet you there! But I dare say you will go for all that. To be sure, your brother and sister will ask you to come to them." "It will not be in my power to accept their invitation if they do." "How unlucky that is! I had quite depended upon meeting you there. Anne and me are to go the latter end of January to some relations who have been wanting us to visit them these several years! But I only go for the sake of seeing Edward. He will be there in February, otherwise London would have no charms for me; I have not spirits for it." Elinor was soon called to the card-table by the conclusion of the first rubber, and the confidential discourse of the two ladies was therefore at an end, to which both of them submitted without any reluctance, for nothing had been said on either side to make them dislike each other less than they had done before; and Elinor sat down to the card table with the melancholy persuasion that Edward was not only without affection for the person who was to be his wife; but that he had not even the chance of being tolerably happy in marriage, which sincere affection on HER side would have given, for self-interest alone could induce a woman to keep a man to an engagement, of which she seemed so thoroughly aware that he was weary. From this time the subject was never revived by Elinor, and when entered on by Lucy, who seldom missed an opportunity of introducing it, and was particularly careful to inform her confidante, of her happiness whenever she received a letter from Edward, it was treated by the former with calmness and caution, and dismissed as soon as civility would allow; for she felt such conversations to be an indulgence which Lucy did not deserve, and which were dangerous to herself. The visit of the Miss Steeles at Barton Park was lengthened far beyond what the first invitation implied. Their favour increased; they could not be spared; Sir John would not hear of their going; and in spite of their numerous and long arranged engagements in Exeter, in spite of the absolute necessity of returning to fulfill them immediately, which was in full force at the end of every week, they were prevailed on to stay nearly two months at the park, and to assist in the due celebration of that festival which requires a more than ordinary share of private balls and large dinners to proclaim its importance.

Chapter 24

https://web.archive.org/web/20180820034609/http://www.pinkmonkey.com/booknotes/monkeynotes/pmSenseSensibility39.asp

Elinor is troubled by Lucy's confession. Although she is inclined to believe the truth of Lucy's statements, she is not sure about Edward's feelings in the matter. So she decides to talk to Lucy again on the subject. She gets the opportunity to do so when she visits the Park on the invitation of John Middleton. While Lady Middleton sits down to play Casino with the others and Marianne plays the piano, Elinor helps Lucy to make a basket for Annamaria.

Notes Elinor is as composed as she is sensible. After hearing about the engagement of Lucy and Edward, she neither breaks down nor indulges in brooding. She ponders over the truth of Lucy's statements and tries to analyze Edward's emotions towards Lucy. She does not condemn Edward for his actions. She tries to connect the sequence of events leading to their engagement. She tries to remember Edward's state of mind when she met him at Norland. She decides to talk to Lucy again before passing judgment. At home, Elinor behaves normally. She is in admirable control of her emotions. She thus spares her mother and sisters from the anxiety that would naturally result from such a disclosure. She realizes the futility of seeking advice or conversing with them on the subject. She feels that "she was stronger alone, and her own good sense so well supported her, that her firmness was as unshaken, her appearance of cheerfulness as invariable, as with regrets so poignant and so fresh, it was possible for them to be. " Indisputably, then, she is a paragon of endurance. CHAPTER 24 Summary At the first opportunity, Elinor brings up the topic of Lucy and Edward. Lucy readily gives information about Edward's insufficient income, which might not be enough for them to settle down. However, she expresses confidence in Edward's love for her. She also voices her desire to have Edward take orders in the Church. To realize her wish, she seeks the help of Elinor to persuade her brother to give the Norland parish to them. She further reveals a plan to visit London later on, in order to meet Edward. Notes Elinor elicits information from Lucy with commendable tact and persuasion. She encourages Lucy to talk about Edward and observes her in order to gauge her actual feelings for Edward. Lucy is pragmatic enough to want Edward to be well-settled before their marriage. She takes the first opportunity to ask Elinor to speak to John Dashwood and recommend a position at Norland for them. Shamelessly, she even hopes for Mrs. Ferrars' demise, so that Edward can get his share of the property. Elinor and Lucy love the same man, but the manner of their love differs greatly. Elinor is selfless in her love for Edward. She blames neither him nor Lucy for the turn of events. She is highly in control of her emotions. Lucy is selfish and insecure about her hold over Edward. She is crude in her manner of expression and displays her emotions openly. Of the two, Elinor undoubtedly deserves Edward. CHAPTER 25 Summary Mrs. Jennings decides to go back to town to occupy her house at Portman Square. She invites the Dashwood sisters to accompany her to London. The sisters decline the invitation at first, as they are reluctant to part with their mother. But when Mrs. Dashwood gives her consent readily, they have no excuse to offer. In fact, Marianne looks forward to the trip, as it will afford her an opportunity to meet Willoughby. Elinor is happy for her sister although she herself is not very enthusiastic about visiting the city. Notes Jane Austen creates the appropriate setting for the heroines to meet with their lover interests. The fate of both Elinor and Marianne will be decided in London. Austen evokes curiosity in the reader's mind about the future of her protagonists. The reaction of the two sisters to Mrs. Jennings' invitation is different. Marianne is too eager to go to London, and hence shows impatience, while Elinor hesitates to make a decision. Marianne is even prepared to tolerate Mrs. Jennings' company in London, as long as she has the opportunity to meet Willoughby. Her reason for going to London is entirely selfish. Elinor characteristically weighs the pros and cons before making a decision. She hesitates to leave for London because she has to part with her mother. Also, she is apprehensive about staying in London with Mrs. Jennings, whose constant company might prove irksome. Left to herself, she neither desires nor dislikes going to London. However, when she becomes aware of Marianne's enthusiasm, she decides to accompany her sister to the city.

novelguide

all_chapterized_books/110-chapters/44.txt

finished_summaries/novelguide/Tess of the d'Urbervilles/section_5_part_9.txt

Tess of the d'Urbervilles.chapter xliii

chapter xliii

{"name": "Chapter XLIII", "url": "https://web.archive.org/web/20210213065711/https://www.novelguide.com/tess-of-the-durbervilles/summaries/phase5-chapter35-44", "summary": "The two women work side by side, digging up turnips from the near frozen ground. Soon, Izz Huett arrives. After the full winter sets in, the women work in the barn where, to Tess's dismay, the owner of the farm appears. He turns out to be the man who insulted Tess, and he takes vicious delight in having the upper hand. Tess has to work even harder. One afternoon, a drunken Marian tells Tess that Angel invited Izz to accompany him to Brazil", "analysis": ""}

There was no exaggeration in Marian's definition of Flintcomb-Ash farm as a starve-acre place. The single fat thing on the soil was Marian herself; and she was an importation. Of the three classes of village, the village cared for by its lord, the village cared for by itself, and the village uncared for either by itself or by its lord (in other words, the village of a resident squires's tenantry, the village of free- or copy-holders, and the absentee-owner's village, farmed with the land) this place, Flintcomb-Ash, was the third. But Tess set to work. Patience, that blending of moral courage with physical timidity, was now no longer a minor feature in Mrs Angel Clare; and it sustained her. The swede-field in which she and her companion were set hacking was a stretch of a hundred odd acres in one patch, on the highest ground of the farm, rising above stony lanchets or lynchets--the outcrop of siliceous veins in the chalk formation, composed of myriads of loose white flints in bulbous, cusped, and phallic shapes. The upper half of each turnip had been eaten off by the live-stock, and it was the business of the two women to grub up the lower or earthy half of the root with a hooked fork called a hacker, that it might be eaten also. Every leaf of the vegetable having already been consumed, the whole field was in colour a desolate drab; it was a complexion without features, as if a face, from chin to brow, should be only an expanse of skin. The sky wore, in another colour, the same likeness; a white vacuity of countenance with the lineaments gone. So these two upper and nether visages confronted each other all day long, the white face looking down on the brown face, and the brown face looking up at the white face, without anything standing between them but the two girls crawling over the surface of the former like flies. Nobody came near them, and their movements showed a mechanical regularity; their forms standing enshrouded in Hessian "wroppers"-- sleeved brown pinafores, tied behind to the bottom, to keep their gowns from blowing about--scant skirts revealing boots that reached high up the ankles, and yellow sheepskin gloves with gauntlets. The pensive character which the curtained hood lent to their bent heads would have reminded the observer of some early Italian conception of the two Marys. They worked on hour after hour, unconscious of the forlorn aspect they bore in the landscape, not thinking of the justice or injustice of their lot. Even in such a position as theirs it was possible to exist in a dream. In the afternoon the rain came on again, and Marian said that they need not work any more. But if they did not work they would not be paid; so they worked on. It was so high a situation, this field, that the rain had no occasion to fall, but raced along horizontally upon the yelling wind, sticking into them like glass splinters till they were wet through. Tess had not known till now what was really meant by that. There are degrees of dampness, and a very little is called being wet through in common talk. But to stand working slowly in a field, and feel the creep of rain-water, first in legs and shoulders, then on hips and head, then at back, front, and sides, and yet to work on till the leaden light diminishes and marks that the sun is down, demands a distinct modicum of stoicism, even of valour. Yet they did not feel the wetness so much as might be supposed. They were both young, and they were talking of the time when they lived and loved together at Talbothays Dairy, that happy green tract of land where summer had been liberal in her gifts; in substance to all, emotionally to these. Tess would fain not have conversed with Marian of the man who was legally, if not actually, her husband; but the irresistible fascination of the subject betrayed her into reciprocating Marian's remarks. And thus, as has been said, though the damp curtains of their bonnets flapped smartly into their faces, and their wrappers clung about them to wearisomeness, they lived all this afternoon in memories of green, sunny, romantic Talbothays. "You can see a gleam of a hill within a few miles o' Froom Valley from here when 'tis fine," said Marian. "Ah! Can you?" said Tess, awake to the new value of this locality. So the two forces were at work here as everywhere, the inherent will to enjoy, and the circumstantial will against enjoyment. Marian's will had a method of assisting itself by taking from her pocket as the afternoon wore on a pint bottle corked with white rag, from which she invited Tess to drink. Tess's unassisted power of dreaming, however, being enough for her sublimation at present, she declined except the merest sip, and then Marian took a pull from the spirits. "I've got used to it," she said, "and can't leave it off now. 'Tis my only comfort--You see I lost him: you didn't; and you can do without it perhaps." Tess thought her loss as great as Marian's, but upheld by the dignity of being Angel's wife, in the letter at least, she accepted Marian's differentiation. Amid this scene Tess slaved in the morning frosts and in the afternoon rains. When it was not swede-grubbing it was swede-trimming, in which process they sliced off the earth and the fibres with a bill-hook before storing the roots for future use. At this occupation they could shelter themselves by a thatched hurdle if it rained; but if it was frosty even their thick leather gloves could not prevent the frozen masses they handled from biting their fingers. Still Tess hoped. She had a conviction that sooner or later the magnanimity which she persisted in reckoning as a chief ingredient of Clare's character would lead him to rejoin her. Marian, primed to a humorous mood, would discover the queer-shaped flints aforesaid, and shriek with laughter, Tess remaining severely obtuse. They often looked across the country to where the Var or Froom was know to stretch, even though they might not be able to see it; and, fixing their eyes on the cloaking gray mist, imagined the old times they had spent out there. "Ah," said Marian, "how I should like another or two of our old set to come here! Then we could bring up Talbothays every day here afield, and talk of he, and of what nice times we had there, and o' the old things we used to know, and make it all come back a'most, in seeming!" Marian's eyes softened, and her voice grew vague as the visions returned. "I'll write to Izz Huett," she said. "She's biding at home doing nothing now, I know, and I'll tell her we be here, and ask her to come; and perhaps Retty is well enough now." Tess had nothing to say against the proposal, and the next she heard of this plan for importing old Talbothays' joys was two or three days later, when Marian informed her that Izz had replied to her inquiry, and had promised to come if she could. There had not been such a winter for years. It came on in stealthy and measured glides, like the moves of a chess-player. One morning the few lonely trees and the thorns of the hedgerows appeared as if they had put off a vegetable for an animal integument. Every twig was covered with a white nap as of fur grown from the rind during the night, giving it four times its usual stoutness; the whole bush or tree forming a staring sketch in white lines on the mournful gray of the sky and horizon. Cobwebs revealed their presence on sheds and walls where none had ever been observed till brought out into visibility by the crystallizing atmosphere, hanging like loops of white worsted from salient points of the out-houses, posts, and gates. After this season of congealed dampness came a spell of dry frost, when strange birds from behind the North Pole began to arrive silently on the upland of Flintcomb-Ash; gaunt spectral creatures with tragical eyes--eyes which had witnessed scenes of cataclysmal horror in inaccessible polar regions of a magnitude such as no human being had ever conceived, in curdling temperatures that no man could endure; which had beheld the crash of icebergs and the slide of snow-hills by the shooting light of the Aurora; been half blinded by the whirl of colossal storms and terraqueous distortions; and retained the expression of feature that such scenes had engendered. These nameless birds came quite near to Tess and Marian, but of all they had seen which humanity would never see, they brought no account. The traveller's ambition to tell was not theirs, and, with dumb impassivity, they dismissed experiences which they did not value for the immediate incidents of this homely upland--the trivial movements of the two girls in disturbing the clods with their hackers so as to uncover something or other that these visitants relished as food. Then one day a peculiar quality invaded the air of this open country. There came a moisture which was not of rain, and a cold which was not of frost. It chilled the eyeballs of the twain, made their brows ache, penetrated to their skeletons, affecting the surface of the body less than its core. They knew that it meant snow, and in the night the snow came. Tess, who continued to live at the cottage with the warm gable that cheered any lonely pedestrian who paused beside it, awoke in the night, and heard above the thatch noises which seemed to signify that the roof had turned itself into a gymnasium of all the winds. When she lit her lamp to get up in the morning she found that the snow had blown through a chink in the casement, forming a white cone of the finest powder against the inside, and had also come down the chimney, so that it lay sole-deep upon the floor, on which her shoes left tracks when she moved about. Without, the storm drove so fast as to create a snow-mist in the kitchen; but as yet it was too dark out-of-doors to see anything. Tess knew that it was impossible to go on with the swedes; and by the time she had finished breakfast beside the solitary little lamp, Marian arrived to tell her that they were to join the rest of the women at reed-drawing in the barn till the weather changed. As soon, therefore, as the uniform cloak of darkness without began to turn to a disordered medley of grays, they blew out the lamp, wrapped themselves up in their thickest pinners, tied their woollen cravats round their necks and across their chests, and started for the barn. The snow had followed the birds from the polar basin as a white pillar of a cloud, and individual flakes could not be seen. The blast smelt of icebergs, arctic seas, whales, and white bears, carrying the snow so that it licked the land but did not deepen on it. They trudged onwards with slanted bodies through the flossy fields, keeping as well as they could in the shelter of hedges, which, however, acted as strainers rather than screens. The air, afflicted to pallor with the hoary multitudes that infested it, twisted and spun them eccentrically, suggesting an achromatic chaos of things. But both the young women were fairly cheerful; such weather on a dry upland is not in itself dispiriting. "Ha-ha! the cunning northern birds knew this was coming," said Marian. "Depend upon't, they keep just in front o't all the way from the North Star. Your husband, my dear, is, I make no doubt, having scorching weather all this time. Lord, if he could only see his pretty wife now! Not that this weather hurts your beauty at all--in fact, it rather does it good." "You mustn't talk about him to me, Marian," said Tess severely. "Well, but--surely you care for'n! Do you?" Instead of answering, Tess, with tears in her eyes, impulsively faced in the direction in which she imagined South America to lie, and, putting up her lips, blew out a passionate kiss upon the snowy wind. "Well, well, I know you do. But 'pon my body, it is a rum life for a married couple! There--I won't say another word! Well, as for the weather, it won't hurt us in the wheat-barn; but reed-drawing is fearful hard work--worse than swede-hacking. I can stand it because I'm stout; but you be slimmer than I. I can't think why maister should have set 'ee at it." They reached the wheat-barn and entered it. One end of the long structure was full of corn; the middle was where the reed-drawing was carried on, and there had already been placed in the reed-press the evening before as many sheaves of wheat as would be sufficient for the women to draw from during the day. "Why, here's Izz!" said Marian. Izz it was, and she came forward. She had walked all the way from her mother's home on the previous afternoon, and, not deeming the distance so great, had been belated, arriving, however, just before the snow began, and sleeping at the alehouse. The farmer had agreed with her mother at market to take her on if she came to-day, and she had been afraid to disappoint him by delay. In addition to Tess, Marian, and Izz, there were two women from a neighbouring village; two Amazonian sisters, whom Tess with a start remembered as Dark Car, the Queen of Spades, and her junior, the Queen of Diamonds--those who had tried to fight with her in the midnight quarrel at Trantridge. They showed no recognition of her, and possibly had none, for they had been under the influence of liquor on that occasion, and were only temporary sojourners there as here. They did all kinds of men's work by preference, including well-sinking, hedging, ditching, and excavating, without any sense of fatigue. Noted reed-drawers were they too, and looked round upon the other three with some superciliousness. Putting on their gloves, all set to work in a row in front of the press, an erection formed of two posts connected by a cross-beam, under which the sheaves to be drawn from were laid ears outward, the beam being pegged down by pins in the uprights, and lowered as the sheaves diminished. The day hardened in colour, the light coming in at the barndoors upwards from the snow instead of downwards from the sky. The girls pulled handful after handful from the press; but by reason of the presence of the strange women, who were recounting scandals, Marian and Izz could not at first talk of old times as they wished to do. Presently they heard the muffled tread of a horse, and the farmer rode up to the barndoor. When he had dismounted he came close to Tess, and remained looking musingly at the side of her face. She had not turned at first, but his fixed attitude led her to look round, when she perceived that her employer was the native of Trantridge from whom she had taken flight on the high-road because of his allusion to her history. He waited till she had carried the drawn bundles to the pile outside, when he said, "So you be the young woman who took my civility in such ill part? Be drowned if I didn't think you might be as soon as I heard of your being hired! Well, you thought you had got the better of me the first time at the inn with your fancy-man, and the second time on the road, when you bolted; but now I think I've got the better you." He concluded with a hard laugh. Tess, between the Amazons and the farmer, like a bird caught in a clap-net, returned no answer, continuing to pull the straw. She could read character sufficiently well to know by this time that she had nothing to fear from her employer's gallantry; it was rather the tyranny induced by his mortification at Clare's treatment of him. Upon the whole she preferred that sentiment in man and felt brave enough to endure it. "You thought I was in love with 'ee I suppose? Some women are such fools, to take every look as serious earnest. But there's nothing like a winter afield for taking that nonsense out o' young wenches' heads; and you've signed and agreed till Lady-Day. Now, are you going to beg my pardon?" "I think you ought to beg mine." "Very well--as you like. But we'll see which is master here. Be they all the sheaves you've done to-day?" "Yes, sir." "'Tis a very poor show. Just see what they've done over there" (pointing to the two stalwart women). "The rest, too, have done better than you." "They've all practised it before, and I have not. And I thought it made no difference to you as it is task work, and we are only paid for what we do." "Oh, but it does. I want the barn cleared." "I am going to work all the afternoon instead of leaving at two as the others will do." He looked sullenly at her and went away. Tess felt that she could not have come to a much worse place; but anything was better than gallantry. When two o'clock arrived the professional reed-drawers tossed off the last half-pint in their flagon, put down their hooks, tied their last sheaves, and went away. Marian and Izz would have done likewise, but on hearing that Tess meant to stay, to make up by longer hours for her lack of skill, they would not leave her. Looking out at the snow, which still fell, Marian exclaimed, "Now, we've got it all to ourselves." And so at last the conversation turned to their old experiences at the dairy; and, of course, the incidents of their affection for Angel Clare. "Izz and Marian," said Mrs Angel Clare, with a dignity which was extremely touching, seeing how very little of a wife she was: "I can't join in talk with you now, as I used to do, about Mr Clare; you will see that I cannot; because, although he is gone away from me for the present, he is my husband." Izz was by nature the sauciest and most caustic of all the four girls who had loved Clare. "He was a very splendid lover, no doubt," she said; "but I don't think he is a too fond husband to go away from you so soon." "He had to go--he was obliged to go, to see about the land over there!" pleaded Tess. "He might have tided 'ee over the winter." "Ah--that's owing to an accident--a misunderstanding; and we won't argue it," Tess answered, with tearfulness in her words. "Perhaps there's a good deal to be said for him! He did not go away, like some husbands, without telling me; and I can always find out where he is." After this they continued for some long time in a reverie, as they went on seizing the ears of corn, drawing out the straw, gathering it under their arms, and cutting off the ears with their bill-hooks, nothing sounding in the barn but the swish of the straw and the crunch of the hook. Then Tess suddenly flagged, and sank down upon the heap of wheat-ears at her feet. "I knew you wouldn't be able to stand it!" cried Marian. "It wants harder flesh than yours for this work." Just then the farmer entered. "Oh, that's how you get on when I am away," he said to her. "But it is my own loss," she pleaded. "Not yours." "I want it finished," he said doggedly, as he crossed the barn and went out at the other door. "Don't 'ee mind him, there's a dear," said Marian. "I've worked here before. Now you go and lie down there, and Izz and I will make up your number." "I don't like to let you do that. I'm taller than you, too." However, she was so overcome that she consented to lie down awhile, and reclined on a heap of pull-tails--the refuse after the straight straw had been drawn--thrown up at the further side of the barn. Her succumbing had been as largely owning to agitation at the re-opening the subject of her separation from her husband as to the hard work. She lay in a state of percipience without volition, and the rustle of the straw and the cutting of the ears by the others had the weight of bodily touches. She could hear from her corner, in addition to these noises, the murmur of their voices. She felt certain that they were continuing the subject already broached, but their voices were so low that she could not catch the words. At last Tess grew more and more anxious to know what they were saying, and, persuading herself that she felt better, she got up and resumed work. Then Izz Huett broke down. She had walked more than a dozen miles the previous evening, had gone to bed at midnight, and had risen again at five o'clock. Marian alone, thanks to her bottle of liquor and her stoutness of build, stood the strain upon back and arms without suffering. Tess urged Izz to leave off, agreeing, as she felt better, to finish the day without her, and make equal division of the number of sheaves. Izz accepted the offer gratefully, and disappeared through the great door into the snowy track to her lodging. Marian, as was the case every afternoon at this time on account of the bottle, began to feel in a romantic vein. "I should not have thought it of him--never!" she said in a dreamy tone. "And I loved him so! I didn't mind his having YOU. But this about Izz is too bad!" Tess, in her start at the words, narrowly missed cutting off a finger with the bill-hook. "Is it about my husband?" she stammered. "Well, yes. Izz said, 'Don't 'ee tell her'; but I am sure I can't help it! It was what he wanted Izz to do. He wanted her to go off to Brazil with him." Tess's face faded as white as the scene without, and its curves straightened. "And did Izz refuse to go?" she asked. "I don't know. Anyhow he changed his mind." "Pooh--then he didn't mean it! 'Twas just a man's jest!" "Yes he did; for he drove her a good-ways towards the station." "He didn't take her!" They pulled on in silence till Tess, without any premonitory symptoms, burst out crying. "There!" said Marian. "Now I wish I hadn't told 'ee!" "No. It is a very good thing that you have done! I have been living on in a thirtover, lackaday way, and have not seen what it may lead to! I ought to have sent him a letter oftener. He said I could not go to him, but he didn't say I was not to write as often as I liked. I won't dally like this any longer! I have been very wrong and neglectful in leaving everything to be done by him!" The dim light in the barn grew dimmer, and they could see to work no longer. When Tess had reached home that evening, and had entered into the privacy of her little white-washed chamber, she began impetuously writing a letter to Clare. But falling into doubt, she could not finish it. Afterwards she took the ring from the ribbon on which she wore it next her heart, and retained it on her finger all night, as if to fortify herself in the sensation that she was really the wife of this elusive lover of hers, who could propose that Izz should go with him abroad, so shortly after he had left her. Knowing that, how could she write entreaties to him, or show that she cared for him any more?

Chapter XLIII

https://web.archive.org/web/20210213065711/https://www.novelguide.com/tess-of-the-durbervilles/summaries/phase5-chapter35-44

The two women work side by side, digging up turnips from the near frozen ground. Soon, Izz Huett arrives. After the full winter sets in, the women work in the barn where, to Tess's dismay, the owner of the farm appears. He turns out to be the man who insulted Tess, and he takes vicious delight in having the upper hand. Tess has to work even harder. One afternoon, a drunken Marian tells Tess that Angel invited Izz to accompany him to Brazil

pinkmonkey

all_chapterized_books/161-chapters/17.txt

finished_summaries/pinkmonkey/Sense and Sensibility/section_16_part_0.txt

Sense and Sensibility.chapter 17

chapter 17

{"name": "Chapter 17", "url": "https://web.archive.org/web/20180820034609/http://www.pinkmonkey.com/booknotes/monkeynotes/pmSenseSensibility33.asp", "summary": "Edward's presence cheers the atmosphere of Barton cottage. Mrs. Dashwood is happy to see him and inquires about his family. Edward is overwhelmed by her hospitality and kindness. Although he does not display high spirits, he feels comfortable in their company. The girls draw him into an animated conversation, and he participates with enthusiasm. He teases Marianne, but when she calls him reserved, he is offended.", "analysis": "Notes The Dashwoods present themselves as a happy and harmonious family. They are delighted to entertain special guests like Edward. Edward's arrival at Barton Cottage subdues the gloom caused by Willoughby's departure. Mrs. Dashwood and the girls do their best to make Edward feel at home. They talk to him like good friends and jest with him. The conversation between Edward and the girls exposes the attitude of each participant. Marianne reveals her idealism when she mocks wealth and grandeur. She is frank and blunt in expressing her views. Elinor's remarks emphasize her pragmatism and common sense. She is cautious but firm in expressing her thoughts. Margaret represents the bubbly teenager with stars in her eyes and fancy wishes in her heart. Edward is frank in his views but is sensitive to others' remarks about him. CHAPTER 18 Summary Elinor is disturbed to see Edward looking forlorn. She begins to doubt his affection for her. During lunch, Marianne notices a lock of hair in Edward's ring and comments on it. Edward puts forward an unconvincing reply. John Middleton pays them a visit and gets acquainted with Edward. He also realizes that Edward is the same man Margaret had mentioned as her elder sister's love. He invites all of them to tea followed by dinner at the Park. At the party John Middleton refers to Willoughby, much to Marianne's delight. Edward is able to guess the extent of the relationship between Marianne and Willoughby. Notes Elinor is observant. She notices the change in Edward's behavior. His forced reserve and aloof manner arouse her suspicions. She is no longer sure of Edward's feelings for herself. She is disturbed but hides her emotions cleverly and behaves normally with Edward. Edward's disturbed mind affects his speech and manner. He is cautious in his behavior towards the family, and he sounds bitter during their conversations. He is critical about himself and confesses his inability to appreciate the beauty of the countryside or to express it in words. His statements shock Marianne, but Elinor looks amused. Marianne is blunt and indiscreet. She inquires about the lock of hair on Edward's ring, much to his and Elinor's embarrassment. The situation is saved by Edward's diplomacy and Elinor's cool manner. CHAPTER 19 Summary Edward spends a pleasant week with the Dashwood family. During one of their conversations, Mrs. Dashwood suggests that Edward to pursue a profession of his choice to keep himself occupied. Edward expresses his helplessness in the matter. When he takes their leave, he looks depressed. Elinor feels disturbed but is discreet enough not to reveal her emotions to others. She keeps herself busy doing household work. One day the Middletons bring two new guests to the cottage. They are Mr. and Mrs. Palmer, the daughter and son-in-law of Mrs. Jennings. Mr. Palmer keeps himself aloof from others. As they leave, Sir John extends an invitation to the Dashwoods to spend the next day at the Park. Notes Jane Austen keeps introducing new guests at Barton. Willoughby, Edward and the Palmers arrive one after the other. Also, each party makes an appearance only after the previous one has left the scene. This device enables the author to direct the reader's attention in a controlled fashion. Edward displays sadness while expressing his thoughts to the Dashwoods and appears dejected before leaving the cottage. He does not appear his normal self; he is inhibited in his behavior. Elinor, unlike Marianne, keeps her sorrow well concealed from the others. Edward's departure from Barton does affect her emotionally, but she does not brood over it, like her sister would. Instead of wallowing in self-pity, she keeps her mind occupied by performing household duties. In contrast to Edward's cautious reserve is Mrs. Palmer's uninhibited manner. She is delighted to meet the Dashwood girls and appreciates the decor of the cottage. She is overexcited, shows enthusiasm and looks cheerful. Mr. Palmer is exactly her opposite in temperament. He is sober and reserved, keeping his thoughts to himself. They make an interesting couple and amuse the readers with their idiosyncrasies. Sir John takes pleasure in entertaining guests and introducing them to the Dashwoods. He is proud of his cultured tenants and is overjoyed at having invited them to the Park. Elinor understands his nature and accepts his hospitality with good- humor, but Marianne is evidently irked by his frequent invitations."}

Mrs. Dashwood was surprised only for a moment at seeing him; for his coming to Barton was, in her opinion, of all things the most natural. Her joy and expression of regard long outlived her wonder. He received the kindest welcome from her; and shyness, coldness, reserve could not stand against such a reception. They had begun to fail him before he entered the house, and they were quite overcome by the captivating manners of Mrs. Dashwood. Indeed a man could not very well be in love with either of her daughters, without extending the passion to her; and Elinor had the satisfaction of seeing him soon become more like himself. His affections seemed to reanimate towards them all, and his interest in their welfare again became perceptible. He was not in spirits, however; he praised their house, admired its prospect, was attentive, and kind; but still he was not in spirits. The whole family perceived it, and Mrs. Dashwood, attributing it to some want of liberality in his mother, sat down to table indignant against all selfish parents. "What are Mrs. Ferrars's views for you at present, Edward?" said she, when dinner was over and they had drawn round the fire; "are you still to be a great orator in spite of yourself?" "No. I hope my mother is now convinced that I have no more talents than inclination for a public life!" "But how is your fame to be established? for famous you must be to satisfy all your family; and with no inclination for expense, no affection for strangers, no profession, and no assurance, you may find it a difficult matter." "I shall not attempt it. I have no wish to be distinguished; and have every reason to hope I never shall. Thank Heaven! I cannot be forced into genius and eloquence." "You have no ambition, I well know. Your wishes are all moderate." "As moderate as those of the rest of the world, I believe. I wish as well as every body else to be perfectly happy; but, like every body else it must be in my own way. Greatness will not make me so." "Strange that it would!" cried Marianne. "What have wealth or grandeur to do with happiness?" "Grandeur has but little," said Elinor, "but wealth has much to do with it." "Elinor, for shame!" said Marianne, "money can only give happiness where there is nothing else to give it. Beyond a competence, it can afford no real satisfaction, as far as mere self is concerned." "Perhaps," said Elinor, smiling, "we may come to the same point. YOUR competence and MY wealth are very much alike, I dare say; and without them, as the world goes now, we shall both agree that every kind of external comfort must be wanting. Your ideas are only more noble than mine. Come, what is your competence?" "About eighteen hundred or two thousand a year; not more than THAT." Elinor laughed. "TWO thousand a year! ONE is my wealth! I guessed how it would end." "And yet two thousand a-year is a very moderate income," said Marianne. "A family cannot well be maintained on a smaller. I am sure I am not extravagant in my demands. A proper establishment of servants, a carriage, perhaps two, and hunters, cannot be supported on less." Elinor smiled again, to hear her sister describing so accurately their future expenses at Combe Magna. "Hunters!" repeated Edward--"but why must you have hunters? Every body does not hunt." Marianne coloured as she replied, "But most people do." "I wish," said Margaret, striking out a novel thought, "that somebody would give us all a large fortune apiece!" "Oh that they would!" cried Marianne, her eyes sparkling with animation, and her cheeks glowing with the delight of such imaginary happiness. "We are all unanimous in that wish, I suppose," said Elinor, "in spite of the insufficiency of wealth." "Oh dear!" cried Margaret, "how happy I should be! I wonder what I should do with it!" Marianne looked as if she had no doubt on that point. "I should be puzzled to spend so large a fortune myself," said Mrs. Dashwood, "if my children were all to be rich without my help." "You must begin your improvements on this house," observed Elinor, "and your difficulties will soon vanish." "What magnificent orders would travel from this family to London," said Edward, "in such an event! What a happy day for booksellers, music-sellers, and print-shops! You, Miss Dashwood, would give a general commission for every new print of merit to be sent you--and as for Marianne, I know her greatness of soul, there would not be music enough in London to content her. And books!--Thomson, Cowper, Scott--she would buy them all over and over again: she would buy up every copy, I believe, to prevent their falling into unworthy hands; and she would have every book that tells her how to admire an old twisted tree. Should not you, Marianne? Forgive me, if I am very saucy. But I was willing to shew you that I had not forgot our old disputes." "I love to be reminded of the past, Edward--whether it be melancholy or gay, I love to recall it--and you will never offend me by talking of former times. You are very right in supposing how my money would be spent--some of it, at least--my loose cash would certainly be employed in improving my collection of music and books." "And the bulk of your fortune would be laid out in annuities on the authors or their heirs." "No, Edward, I should have something else to do with it." "Perhaps, then, you would bestow it as a reward on that person who wrote the ablest defence of your favourite maxim, that no one can ever be in love more than once in their life--your opinion on that point is unchanged, I presume?" "Undoubtedly. At my time of life opinions are tolerably fixed. It is not likely that I should now see or hear any thing to change them." "Marianne is as steadfast as ever, you see," said Elinor, "she is not at all altered." "She is only grown a little more grave than she was." "Nay, Edward," said Marianne, "you need not reproach me. You are not very gay yourself." "Why should you think so!" replied he, with a sigh. "But gaiety never was a part of MY character." "Nor do I think it a part of Marianne's," said Elinor; "I should hardly call her a lively girl--she is very earnest, very eager in all she does--sometimes talks a great deal and always with animation--but she is not often really merry." "I believe you are right," he replied, "and yet I have always set her down as a lively girl." "I have frequently detected myself in such kind of mistakes," said Elinor, "in a total misapprehension of character in some point or other: fancying people so much more gay or grave, or ingenious or stupid than they really are, and I can hardly tell why or in what the deception originated. Sometimes one is guided by what they say of themselves, and very frequently by what other people say of them, without giving oneself time to deliberate and judge." "But I thought it was right, Elinor," said Marianne, "to be guided wholly by the opinion of other people. I thought our judgments were given us merely to be subservient to those of neighbours. This has always been your doctrine, I am sure." "No, Marianne, never. My doctrine has never aimed at the subjection of the understanding. All I have ever attempted to influence has been the behaviour. You must not confound my meaning. I am guilty, I confess, of having often wished you to treat our acquaintance in general with greater attention; but when have I advised you to adopt their sentiments or to conform to their judgment in serious matters?" "You have not been able to bring your sister over to your plan of general civility," said Edward to Elinor. "Do you gain no ground?" "Quite the contrary," replied Elinor, looking expressively at Marianne. "My judgment," he returned, "is all on your side of the question; but I am afraid my practice is much more on your sister's. I never wish to offend, but I am so foolishly shy, that I often seem negligent, when I am only kept back by my natural awkwardness. I have frequently thought that I must have been intended by nature to be fond of low company, I am so little at my ease among strangers of gentility!" "Marianne has not shyness to excuse any inattention of hers," said Elinor. "She knows her own worth too well for false shame," replied Edward. "Shyness is only the effect of a sense of inferiority in some way or other. If I could persuade myself that my manners were perfectly easy and graceful, I should not be shy." "But you would still be reserved," said Marianne, "and that is worse." Edward started--"Reserved! Am I reserved, Marianne?" "Yes, very." "I do not understand you," replied he, colouring. "Reserved!--how, in what manner? What am I to tell you? What can you suppose?" Elinor looked surprised at his emotion; but trying to laugh off the subject, she said to him, "Do not you know my sister well enough to understand what she means? Do not you know she calls every one reserved who does not talk as fast, and admire what she admires as rapturously as herself?" Edward made no answer. His gravity and thoughtfulness returned on him in their fullest extent--and he sat for some time silent and dull.

Chapter 17

https://web.archive.org/web/20180820034609/http://www.pinkmonkey.com/booknotes/monkeynotes/pmSenseSensibility33.asp

Edward's presence cheers the atmosphere of Barton cottage. Mrs. Dashwood is happy to see him and inquires about his family. Edward is overwhelmed by her hospitality and kindness. Although he does not display high spirits, he feels comfortable in their company. The girls draw him into an animated conversation, and he participates with enthusiasm. He teases Marianne, but when she calls him reserved, he is offended.

Notes The Dashwoods present themselves as a happy and harmonious family. They are delighted to entertain special guests like Edward. Edward's arrival at Barton Cottage subdues the gloom caused by Willoughby's departure. Mrs. Dashwood and the girls do their best to make Edward feel at home. They talk to him like good friends and jest with him. The conversation between Edward and the girls exposes the attitude of each participant. Marianne reveals her idealism when she mocks wealth and grandeur. She is frank and blunt in expressing her views. Elinor's remarks emphasize her pragmatism and common sense. She is cautious but firm in expressing her thoughts. Margaret represents the bubbly teenager with stars in her eyes and fancy wishes in her heart. Edward is frank in his views but is sensitive to others' remarks about him. CHAPTER 18 Summary Elinor is disturbed to see Edward looking forlorn. She begins to doubt his affection for her. During lunch, Marianne notices a lock of hair in Edward's ring and comments on it. Edward puts forward an unconvincing reply. John Middleton pays them a visit and gets acquainted with Edward. He also realizes that Edward is the same man Margaret had mentioned as her elder sister's love. He invites all of them to tea followed by dinner at the Park. At the party John Middleton refers to Willoughby, much to Marianne's delight. Edward is able to guess the extent of the relationship between Marianne and Willoughby. Notes Elinor is observant. She notices the change in Edward's behavior. His forced reserve and aloof manner arouse her suspicions. She is no longer sure of Edward's feelings for herself. She is disturbed but hides her emotions cleverly and behaves normally with Edward. Edward's disturbed mind affects his speech and manner. He is cautious in his behavior towards the family, and he sounds bitter during their conversations. He is critical about himself and confesses his inability to appreciate the beauty of the countryside or to express it in words. His statements shock Marianne, but Elinor looks amused. Marianne is blunt and indiscreet. She inquires about the lock of hair on Edward's ring, much to his and Elinor's embarrassment. The situation is saved by Edward's diplomacy and Elinor's cool manner. CHAPTER 19 Summary Edward spends a pleasant week with the Dashwood family. During one of their conversations, Mrs. Dashwood suggests that Edward to pursue a profession of his choice to keep himself occupied. Edward expresses his helplessness in the matter. When he takes their leave, he looks depressed. Elinor feels disturbed but is discreet enough not to reveal her emotions to others. She keeps herself busy doing household work. One day the Middletons bring two new guests to the cottage. They are Mr. and Mrs. Palmer, the daughter and son-in-law of Mrs. Jennings. Mr. Palmer keeps himself aloof from others. As they leave, Sir John extends an invitation to the Dashwoods to spend the next day at the Park. Notes Jane Austen keeps introducing new guests at Barton. Willoughby, Edward and the Palmers arrive one after the other. Also, each party makes an appearance only after the previous one has left the scene. This device enables the author to direct the reader's attention in a controlled fashion. Edward displays sadness while expressing his thoughts to the Dashwoods and appears dejected before leaving the cottage. He does not appear his normal self; he is inhibited in his behavior. Elinor, unlike Marianne, keeps her sorrow well concealed from the others. Edward's departure from Barton does affect her emotionally, but she does not brood over it, like her sister would. Instead of wallowing in self-pity, she keeps her mind occupied by performing household duties. In contrast to Edward's cautious reserve is Mrs. Palmer's uninhibited manner. She is delighted to meet the Dashwood girls and appreciates the decor of the cottage. She is overexcited, shows enthusiasm and looks cheerful. Mr. Palmer is exactly her opposite in temperament. He is sober and reserved, keeping his thoughts to himself. They make an interesting couple and amuse the readers with their idiosyncrasies. Sir John takes pleasure in entertaining guests and introducing them to the Dashwoods. He is proud of his cultured tenants and is overjoyed at having invited them to the Park. Elinor understands his nature and accepts his hospitality with good- humor, but Marianne is evidently irked by his frequent invitations.

novelguide

all_chapterized_books/14328-chapters/book_ii.txt

finished_summaries/novelguide/Consolation of Philosophy/section_2_part_0.txt

Consolation of Philosophy.book ii

book ii

{"name": "Summary of Book II Part I-III", "url": "https://web.archive.org/web/20210212221439/https://www.novelguide.com/consolation-of-philosophy/summaries/book2-parti-iii", "summary": "of Part I Philosophy speaks to Boethius explaining he is pining away for his former good fortune, and his imagination has distorted his mind with longing for what he lost. Philosophy knows the many guises of Fortune and how she seduces people with friendship and then overwhelms them with grief when she deserts them. Fortune was not his true friend. He is wrong if he thinks Fortune has changed towards him, because change is Fortune's normal behavior. Fortune is a \"random goddess\" . She is unreliable and dangerous and gives false happiness. The kind of happiness that passes away is not true happiness. Once you enter Fortune's playground, you must bear with patience whatever she gives you, like a farmer who has to bear good years and bad years with his crop.", "analysis": "Commentary on Part I Philosophy begins her cure by helping Boethius understand the true nature of Fortune, a random goddess, who gives and takes away at her whim. She is never a true friend and completely unreliable. Philosophy speaks of Fortune's Wheel, always turning and turning. When a man is on top, he is happy. When the wheel turns, and a man is on the bottom, he is miserable: \"Such is the game she plays\" . She has a heart of steel and laughs even at kings. She does not respond to the misery of men. Humans cannot keep the wheel from turning. It is a wheel of chance. This description of Fortune became famous in the medieval writers influenced by Boethius. His own life was a perfect example of the cruel game of Fortune. He was a patrician in Rome, of ancient and royal family, who also happened to be a virtuous and scholarly man, hoping to benefit humanity with his wisdom and learning. He had a good wife, two sons who were Roman consuls; he had wealth and fame and a comfortable home. He was still young enough to have his health. He had produced voluminous translations of precious Greek texts, preserving them for future generations. Without warning or just cause, he was thrown into prison and executed on the pretext he had committed some treason. How can Boethius think of Fortune as a friend or pine after her gifts? It is a game that cannot be won by humans. Summary of Part II Philosophy now plays the part of Fortune, speaking in Fortune's voice to show humans how they misunderstand her. Fortune argues that she has not stolen any gifts from Boethius because none of them belonged to him in the first place, nor to any humans. He came naked from the womb, and Fortune fed him from her own resources. She was indulgent, and when she withdrew her hand, he cried out as though she had stolen something from him. Everything else in creation is allowed to be itself. All Fortune's gifts come and go with her. Are humans so greedy that they demand Fortune to be constant, when inconstancy is her nature? Fortune gives examples of humans who fell from her wheel. Croesus, king of Lydia, went from wealth to misery. Perses, the last king of Macedonia, was also a tragic figure. Tragedy is a literary form that acknowledges these reversals of Fortune. Commentary on Part II Philosophy in Fortune's voice reminds Boethius of the story in Homer about the two jars in God's house, one full of evil and one full of good. Boethius has had more than his share of the good, and now it is time to taste the bad. Fortune's very changefulness should give him hope, because nothing stays the same. She sings a song about the greed of humans, always wanting more, never satisfied, no matter how much they get. They will always complain. Summary of Part III Now Philosophy invites Boethius to reply. He says her words are sweet but do not help the mind weighed down by \"deep seated melancholy\" . Philosophy counters that Boethius has forgotten his many blessings as \"the luckiest man in the world\" , adopted by Symmachus, married to a modest wife, having two sons and worldly honors. The culmination of his fortune, however, was the day his two sons became consuls together, and the senators appreciated the glorious oratory of Boethius on this honor. This is the only time Fortune has been unfriendly to him. The things he moans about are passing away, that is all. He knows there is no permanence. Commentary on Part III Philosophy speaking for the goddess Fortune tries to explain to Boethius that it makes no difference whether Fortune deserts him at some point, or that he deserts her by dying. These honors and gifts are never permanent. She sings a song about the instability of the world: \"In law eternal it lies decreed/ That naught from change is ever freed\" . He has been one of the lucky ones in life, but he cannot expect to be exempt from change, when it is the whole way Nature functions in different cycles; in spring, winter, storm, and calm. Book II of Part I Philosophy speaks to Boethius explaining he is pining away for his former good fortune, and his imagination has distorted his mind with longing for what he lost. Philosophy knows the many guises of Fortune and how she seduces people with friendship and then overwhelms them with grief when she deserts them. Fortune was not his true friend. He is wrong if he thinks Fortune has changed towards him, because change is Fortune's normal behavior. Fortune is a \"random goddess\" . She is unreliable and dangerous and gives false happiness. The kind of happiness that passes away is not true happiness. Once you enter Fortune's playground, you must bear with patience whatever she gives you, like a farmer who has to bear good years and bad years with his crop. Commentary on Part I Commentary on Part I Philosophy begins her cure by helping Boethius understand the true nature of Fortune, a random goddess, who gives and takes away at her whim. She is never a true friend and completely unreliable. Philosophy speaks of Fortune's Wheel, always turning and turning. When a man is on top, he is happy. When the wheel turns, and a man is on the bottom, he is miserable: \"Such is the game she plays\" . She has a heart of steel and laughs even at kings. She does not respond to the misery of men. Humans cannot keep the wheel from turning. It is a wheel of chance. This description of Fortune became famous in the medieval writers influenced by Boethius. His own life was a perfect example of the cruel game of Fortune. He was a patrician in Rome, of ancient and royal family, who also happened to be a virtuous and scholarly man, hoping to benefit humanity with his wisdom and learning. He had a good wife, two sons who were Roman consuls; he had wealth and fame and a comfortable home. He was still young enough to have his health. He had produced voluminous translations of precious Greek texts, preserving them for future generations. Without warning or just cause, he was thrown into prison and executed on the pretext he had committed some treason. How can Boethius think of Fortune as a friend or pine after her gifts? It is a game that cannot be won by humans. of Part II Philosophy now plays the part of Fortune, speaking in Fortune's voice to show humans how they misunderstand her. Fortune argues that she has not stolen any gifts from Boethius because none of them belonged to him in the first place, nor to any humans. He came naked from the womb, and Fortune fed him from her own resources. She was indulgent, and when she withdrew her hand, he cried out as though she had stolen something from him. Everything else in creation is allowed to be itself. All Fortune's gifts come and go with her. Are humans so greedy that they demand Fortune to be constant, when inconstancy is her nature? Fortune gives examples of humans who fell from her wheel. Croesus, king of Lydia, went from wealth to misery. Perses, the last king of Macedonia, was also a tragic figure. Tragedy is a literary form that acknowledges these reversals of Fortune. Commentary on Part II Commentary on Part II Philosophy in Fortune's voice reminds Boethius of the story in Homer about the two jars in God's house, one full of evil and one full of good. Boethius has had more than his share of the good, and now it is time to taste the bad. Fortune's very changefulness should give him hope, because nothing stays the same. She sings a song about the greed of humans, always wanting more, never satisfied, no matter how much they get. They will always complain. of Part III Now Philosophy invites Boethius to reply. He says her words are sweet but do not help the mind weighed down by \"deep seated melancholy\" . Philosophy counters that Boethius has forgotten his many blessings as \"the luckiest man in the world\" , adopted by Symmachus, married to a modest wife, having two sons and worldly honors. The culmination of his fortune, however, was the day his two sons became consuls together, and the senators appreciated the glorious oratory of Boethius on this honor. This is the only time Fortune has been unfriendly to him. The things he moans about are passing away, that is all. He knows there is no permanence. Commentary on Part III Commentary on Part III Philosophy speaking for the goddess Fortune tries to explain to Boethius that it makes no difference whether Fortune deserts him at some point, or that he deserts her by dying. These honors and gifts are never permanent. She sings a song about the instability of the world: \"In law eternal it lies decreed/ That naught from change is ever freed\" . He has been one of the lucky ones in life, but he cannot expect to be exempt from change, when it is the whole way Nature functions in different cycles; in spring, winter, storm, and calm. Novel Author Boethius Novel Author Boethius"}

<CHAPTER> BOOK II. I. Thereafter for awhile she remained silent; and when she had restored my flagging attention by a moderate pause in her discourse, she thus began: 'If I have thoroughly ascertained the character and causes of thy sickness, thou art pining with regretful longing for thy former fortune. It is the change, as thou deemest, of this fortune that hath so wrought upon thy mind. Well do I understand that Siren's manifold wiles, the fatal charm of the friendship she pretends for her victims, so long as she is scheming to entrap them--how she unexpectedly abandons them and leaves them overwhelmed with insupportable grief. Bethink thee of her nature, character, and deserts, and thou wilt soon acknowledge that in her thou hast neither possessed, nor hast thou lost, aught of any worth. Methinks I need not spend much pains in bringing this to thy mind, since, even when she was still with thee, even while she was caressing thee, thou usedst to assail her in manly terms, to rebuke her, with maxims drawn from my holy treasure-house. But all sudden changes of circumstances bring inevitably a certain commotion of spirit. Thus it hath come to pass that thou also for awhile hast been parted from thy mind's tranquillity. But it is time for thee to take and drain a draught, soft and pleasant to the taste, which, as it penetrates within, may prepare the way for stronger potions. Wherefore I call to my aid the sweet persuasiveness of Rhetoric, who then only walketh in the right way when she forsakes not my instructions, and Music, my handmaid, I bid to join with her singing, now in lighter, now in graver strain. 'What is it, then, poor mortal, that hath cast thee into lamentation and mourning? Some strange, unwonted sight, methinks, have thine eyes seen. Thou deemest Fortune to have changed towards thee; thou mistakest. Such ever were her ways, ever such her nature. Rather in her very mutability hath she preserved towards thee her true constancy. Such was she when she loaded thee with caresses, when she deluded thee with the allurements of a false happiness. Thou hast found out how changeful is the face of the blind goddess. She who still veils herself from others hath fully discovered to thee her whole character. If thou likest her, take her as she is, and do not complain. If thou abhorrest her perfidy, turn from her in disdain, renounce her, for baneful are her delusions. The very thing which is now the cause of thy great grief ought to have brought thee tranquillity. Thou hast been forsaken by one of whom no one can be sure that she will not forsake him. Or dost thou indeed set value on a happiness that is certain to depart? Again I ask, Is Fortune's presence dear to thee if she cannot be trusted to stay, and though she will bring sorrow when she is gone? Why, if she cannot be kept at pleasure, and if her flight overwhelms with calamity, what is this fleeting visitant but a token of coming trouble? Truly it is not enough to look only at what lies before the eyes; wisdom gauges the issues of things, and this same mutability, with its two aspects, makes the threats of Fortune void of terror, and her caresses little to be desired. Finally, thou oughtest to bear with whatever takes place within the boundaries of Fortune's demesne, when thou hast placed thy head beneath her yoke. But if thou wishest to impose a law of staying and departing on her whom thou hast of thine own accord chosen for thy mistress, art thou not acting wrongfully, art thou not embittering by impatience a lot which thou canst not alter? Didst thou commit thy sails to the winds, thou wouldst voyage not whither thy intention was to go, but whither the winds drave thee; didst thou entrust thy seed to the fields, thou wouldst set off the fruitful years against the barren. Thou hast resigned thyself to the sway of Fortune; thou must submit to thy mistress's caprices. What! art thou verily striving to stay the swing of the revolving wheel? Oh, stupidest of mortals, if it takes to standing still, it ceases to be the wheel of Fortune.' SONG I. FORTUNE'S MALICE. Mad Fortune sweeps along in wanton pride, Uncertain as Euripus' surging tide; Now tramples mighty kings beneath her feet; Now sets the conquered in the victor's seat. She heedeth not the wail of hapless woe, But mocks the griefs that from her mischief flow. Such is her sport; so proveth she her power; And great the marvel, when in one brief hour She shows her darling lifted high in bliss, Then headlong plunged in misery's abyss. II. 'Now I would fain also reason with thee a little in Fortune's own words. Do thou observe whether her contentions be just. "Man," she might say, "why dost thou pursue me with thy daily complainings? What wrong have I done thee? What goods of thine have I taken from thee? Choose an thou wilt a judge, and let us dispute before him concerning the rightful ownership of wealth and rank. If thou succeedest in showing that any one of these things is the true property of mortal man, I freely grant those things to be thine which thou claimest. When nature brought thee forth out of thy mother's womb, I took thee, naked and destitute as thou wast, I cherished thee with my substance, and, in the partiality of my favour for thee, I brought thee up somewhat too indulgently, and this it is which now makes thee rebellious against me. I surrounded thee with a royal abundance of all those things that are in my power. Now it is my pleasure to draw back my hand. Thou hast reason to thank me for the use of what was not thine own; thou hast no right to complain, as if thou hadst lost what was wholly thine. Why, then, dost bemoan thyself? I have done thee no violence. Wealth, honour, and all such things are placed under my control. My handmaidens know their mistress; with me they come, and at my going they depart. I might boldly affirm that if those things the loss of which thou lamentest had been thine, thou couldst never have lost them. Am I alone to be forbidden to do what I will with my own? Unrebuked, the skies now reveal the brightness of day, now shroud the daylight in the darkness of night; the year may now engarland the face of the earth with flowers and fruits, now disfigure it with storms and cold. The sea is permitted to invite with smooth and tranquil surface to-day, to-morrow to roughen with wave and storm. Shall man's insatiate greed bind _me_ to a constancy foreign to my character? This is my art, this the game I never cease to play. I turn the wheel that spins. I delight to see the high come down and the low ascend. Mount up, if thou wilt, but only on condition that thou wilt not think it a hardship to come down when the rules of my game require it. Wert thou ignorant of my character? Didst not know how Croesus, King of the Lydians, erstwhile the dreaded rival of Cyrus, was afterwards pitiably consigned to the flame of the pyre, and only saved by a shower sent from heaven? Has it 'scaped thee how Paullus paid a meed of pious tears to the misfortunes of King Perseus, his prisoner? What else do tragedies make such woeful outcry over save the overthrow of kingdoms by the indiscriminate strokes of Fortune? Didst thou not learn in thy childhood how there stand at the threshold of Zeus 'two jars,' 'the one full of blessings, the other of calamities'? How if thou hast drawn over-liberally from the good jar? What if not even now have I departed wholly from thee? What if this very mutability of mine is a just ground for hoping better things? But listen now, and cease to let thy heart consume away with fretfulness, nor expect to live on thine own terms in a realm that is common to all.' SONG II. MAN'S COVETOUSNESS. What though Plenty pour her gifts With a lavish hand, Numberless as are the stars, Countless as the sand, Will the race of man, content, Cease to murmur and lament? Nay, though God, all-bounteous, give Gold at man's desire-- Honours, rank, and fame--content Not a whit is nigher; But an all-devouring greed Yawns with ever-widening need. Then what bounds can e'er restrain This wild lust of having, When with each new bounty fed Grows the frantic craving? He is never rich whose fear Sees grim Want forever near. III. 'If Fortune should plead thus against thee, assuredly thou wouldst not have one word to offer in reply; or, if thou canst find any justification of thy complainings, thou must show what it is. I will give thee space to speak.' Then said I: 'Verily, thy pleas are plausible--yea, steeped in the honeyed sweetness of music and rhetoric. But their charm lasts only while they are sounding in the ear; the sense of his misfortunes lies deeper in the heart of the wretched. So, when the sound ceases to vibrate upon the air, the heart's indwelling sorrow is felt with renewed bitterness.' Then said she: 'It is indeed as thou sayest, for we have not yet come to the curing of thy sickness; as yet these are but lenitives conducing to the treatment of a malady hitherto obstinate. The remedies which go deep I will apply in due season. Nevertheless, to deprecate thy determination to be thought wretched, I ask thee, Hast thou forgotten the extent and bounds of thy felicity? I say nothing of how, when orphaned and desolate, thou wast taken into the care of illustrious men; how thou wast chosen for alliance with the highest in the state--and even before thou wert bound to their house by marriage, wert already dear to their love--which is the most precious of all ties. Did not all pronounce thee most happy in the virtues of thy wife, the splendid honours of her father, and the blessing of male issue? I pass over--for I care not to speak of blessings in which others also have shared--the distinctions often denied to age which thou enjoyedst in thy youth. I choose rather to come to the unparalleled culmination of thy good fortune. If the fruition of any earthly success has weight in the scale of happiness, can the memory of that splendour be swept away by any rising flood of troubles? That day when thou didst see thy two sons ride forth from home joint consuls, followed by a train of senators, and welcomed by the good-will of the people; when these two sat in curule chairs in the Senate-house, and thou by thy panegyric on the king didst earn the fame of eloquence and ability; when in the Circus, seated between the two consuls, thou didst glut the multitude thronging around with the triumphal largesses for which they looked--methinks thou didst cozen Fortune while she caressed thee, and made thee her darling. Thou didst bear off a boon which she had never before granted to any private person. Art thou, then, minded to cast up a reckoning with Fortune? Now for the first time she has turned a jealous glance upon thee. If thou compare the extent and bounds of thy blessings and misfortunes, thou canst not deny that thou art still fortunate. Or if thou esteem not thyself favoured by Fortune in that thy then seeming prosperity hath departed, deem not thyself wretched, since what thou now believest to be calamitous passeth also. What! art thou but now come suddenly and a stranger to the scene of this life? Thinkest thou there is any stability in human affairs, when man himself vanishes away in the swift course of time? It is true that there is little trust that the gifts of chance will abide; yet the last day of life is in a manner the death of all remaining Fortune. What difference, then, thinkest thou, is there, whether thou leavest her by dying, or she leave thee by fleeing away?' SONG III. ALL PASSES. When, in rosy chariot drawn, Phoebus 'gins to light the dawn, By his flaming beams assailed, Every glimmering star is paled. When the grove, by Zephyrs fed, With rose-blossom blushes red;-- Doth rude Auster breathe thereon, Bare it stands, its glory gone. Smooth and tranquil lies the deep While the winds are hushed in sleep. Soon, when angry tempests lash, Wild and high the billows dash. Thus if Nature's changing face Holds not still a moment's space, Fleeting deem man's fortunes; deem Bliss as transient as a dream. One law only standeth fast: Things created may not last. IV. Then said I: 'True are thine admonishings, thou nurse of all excellence; nor can I deny the wonder of my fortune's swift career. Yet it is this which chafes me the more cruelly in the recalling. For truly in adverse fortune the worst sting of misery is to _have been_ happy.' 'Well,' said she, 'if thou art paying the penalty of a mistaken belief, thou canst not rightly impute the fault to circumstances. If it is the felicity which Fortune gives that moves thee--mere name though it be--come reckon up with me how rich thou art in the number and weightiness of thy blessings. Then if, by the blessing of Providence, thou hast still preserved unto thee safe and inviolate that which, howsoever thou mightest reckon thy fortune, thou wouldst have thought thy most precious possession, what right hast thou to talk of ill-fortune whilst keeping all Fortune's better gifts? Yet Symmachus, thy wife's father--a man whose splendid character does honour to the human race--is safe and unharmed; and while he bewails thy wrongs, this rare nature, in whom wisdom and virtue are so nobly blended, is himself out of danger--a boon thou wouldst have been quick to purchase at the price of life itself. Thy wife yet lives, with her gentle disposition, her peerless modesty and virtue--this the epitome of all her graces, that she is the true daughter of her sire--she lives, I say, and for thy sake only preserves the breath of life, though she loathes it, and pines away in grief and tears for thy absence, wherein, if in naught else, I would allow some marring of thy felicity. What shall I say of thy sons and their consular dignity--how in them, so far as may be in youths of their age, the example of their father's and grandfather's character shines out? Since, then, the chief care of mortal man is to preserve his life, how happy art thou, couldst thou but recognise thy blessings, who possessest even now what no one doubts to be dearer than life! Wherefore, now dry thy tears. Fortune's hate hath not involved all thy dear ones; the stress of the storm that has assailed thee is not beyond measure intolerable, since there are anchors still holding firm which suffer thee not to lack either consolation in the present or hope for the future.' 'I pray that they still may hold. For while they still remain, however things may go, I shall ride out the storm. Yet thou seest how much is shorn of the splendour of my fortunes.' 'We are gaining a little ground,' said she, 'if there is something in thy lot wherewith thou art not yet altogether discontented. But I cannot stomach thy daintiness when thou complainest with such violence of grief and anxiety because thy happiness falls short of completeness. Why, who enjoys such settled felicity as not to have some quarrel with the circumstances of his lot? A troublous matter are the conditions of human bliss; either they are never realized in full, or never stay permanently. One has abundant riches, but is shamed by his ignoble birth. Another is conspicuous for his nobility, but through the embarrassments of poverty would prefer to be obscure. A third, richly endowed with both, laments the loneliness of an unwedded life. Another, though happily married, is doomed to childlessness, and nurses his wealth for a stranger to inherit. Yet another, blest with children, mournfully bewails the misdeeds of son or daughter. Wherefore, it is not easy for anyone to be at perfect peace with the circumstances of his lot. There lurks in each several portion something which they who experience it not know nothing of, but which makes the sufferer wince. Besides, the more favoured a man is by Fortune, the more fastidiously sensitive is he; and, unless all things answer to his whim, he is overwhelmed by the most trifling misfortunes, because utterly unschooled in adversity. So petty are the trifles which rob the most fortunate of perfect happiness! How many are there, dost thou imagine, who would think themselves nigh heaven, if but a small portion from the wreck of thy fortune should fall to them? This very place which thou callest exile is to them that dwell therein their native land. So true is it that nothing is wretched, but thinking makes it so, and conversely every lot is happy if borne with equanimity. Who is so blest by Fortune as not to wish to change his state, if once he gives rein to a rebellious spirit? With how many bitternesses is the sweetness of human felicity blent! And even if that sweetness seem to him to bring delight in the enjoying, yet he cannot keep it from departing when it will. How manifestly wretched, then, is the bliss of earthly fortune, which lasts not for ever with those whose temper is equable, and can give no perfect satisfaction to the anxious-minded! 'Why, then, ye children of mortality, seek ye from without that happiness whose seat is only within us? Error and ignorance bewilder you. I will show thee, in brief, the hinge on which perfect happiness turns. Is there anything more precious to thee than thyself? Nothing, thou wilt say. If, then, thou art master of thyself, thou wilt possess that which thou wilt never be willing to lose, and which Fortune cannot take from thee. And that thou mayst see that happiness cannot possibly consist in these things which are the sport of chance, reflect that, if happiness is the highest good of a creature living in accordance with reason, and if a thing which can in any wise be reft away is not the highest good, since that which cannot be taken away is better than it, it is plain that Fortune cannot aspire to bestow happiness by reason of its instability. And, besides, a man borne along by this transitory felicity must either know or not know its unstability. If he knows not, how poor is a happiness which depends on the blindness of ignorance! If he knows it, he needs must fear to lose a happiness whose loss he believes to be possible. Wherefore, a never-ceasing fear suffers him not to be happy. Or does he count the possibility of this loss a trifling matter? Insignificant, then, must be the good whose loss can be borne so equably. And, further, I know thee to be one settled in the belief that the souls of men certainly die not with them, and convinced thereof by numerous proofs; it is clear also that the felicity which Fortune bestows is brought to an end with the death of the body: therefore, it cannot be doubted but that, if happiness is conferred in this way, the whole human race sinks into misery when death brings the close of all. But if we know that many have sought the joy of happiness not through death only, but also through pain and suffering, how can life make men happy by its presence when it makes them not wretched by its loss?' SONG IV. THE GOLDEN MEAN. Who founded firm and sure Would ever live secure, In spite of storm and blast Immovable and fast; Whoso would fain deride The ocean's threatening tide;-- His dwelling should not seek On sands or mountain-peak. Upon the mountain's height The storm-winds wreak their spite: The shifting sands disdain Their burden to sustain. Do thou these perils flee, Fair though the prospect be, And fix thy resting-place On some low rock's sure base. Then, though the tempests roar, Seas thunder on the shore, Thou in thy stronghold blest And undisturbed shalt rest; Live all thy days serene, And mock the heavens' spleen. V. 'But since my reasonings begin to work a soothing effect within thy mind, methinks I may resort to remedies somewhat stronger. Come, suppose, now, the gifts of Fortune were not fleeting and transitory, what is there in them capable of ever becoming truly thine, or which does not lose value when looked at steadily and fairly weighed in the balance? Are riches, I pray thee, precious either through thy nature or in their own? What are they but mere gold and heaps of money? Yet these fine things show their quality better in the spending than in the hoarding; for I suppose 'tis plain that greed Alva's makes men hateful, while liberality brings fame. But that which is transferred to another cannot remain in one's own possession; and if that be so, then money is only precious when it is given away, and, by being transferred to others, ceases to be one's own. Again, if all the money in the world were heaped up in one man's possession, all others would be made poor. Sound fills the ears of many at the same time without being broken into parts, but your riches cannot pass to many without being lessened in the process. And when this happens, they must needs impoverish those whom they leave. How poor and cramped a thing, then, is riches, which more than one cannot possess as an unbroken whole, which falls not to any one man's lot without the impoverishment of everyone else! Or is it the glitter of gems that allures the eye? Yet, how rarely excellent soever may be their splendour, remember the flashing light is in the jewels, not in the man. Indeed, I greatly marvel at men's admiration of them; for what can rightly seem beautiful to a being endowed with life and reason, if it lack the movement and structure of life? And although such things do in the end take on them more beauty from their Maker's care and their own brilliancy, still they in no wise merit your admiration since their excellence is set at a lower grade than your own. 'Does the beauty of the fields delight you? Surely, yes; it is a beautiful part of a right beautiful whole. Fitly indeed do we at times enjoy the serene calm of the sea, admire the sky, the stars, the moon, the sun. Yet is any of these thy concern? Dost thou venture to boast thyself of the beauty of any one of them? Art _thou_ decked with spring's flowers? is it _thy_ fertility that swelleth in the fruits of autumn? Why art thou moved with empty transports? why embracest thou an alien excellence as thine own? Never will fortune make thine that which the nature of things has excluded from thy ownership. Doubtless the fruits of the earth are given for the sustenance of living creatures. But if thou art content to supply thy wants so far as suffices nature, there is no need to resort to fortune's bounty. Nature is content with few things, and with a very little of these. If thou art minded to force superfluities upon her when she is satisfied, that which thou addest will prove either unpleasant or harmful. But, now, thou thinkest it fine to shine in raiment of divers colours; yet--if, indeed, there is any pleasure in the sight of such things--it is the texture or the artist's skill which I shall admire. 'Or perhaps it is a long train of servants that makes thee happy? Why, if they behave viciously, they are a ruinous burden to thy house, and exceeding dangerous to their own master; while if they are honest, how canst thou count other men's virtue in the sum of thy possessions? From all which 'tis plainly proved that not one of these things which thou reckonest in the number of thy possessions is really thine. And if there is in them no beauty to be desired, why shouldst thou either grieve for their loss or find joy in their continued possession? While if they are beautiful in their own nature, what is that to thee? They would have been not less pleasing in themselves, though never included among thy possessions. For they derive not their preciousness from being counted in thy riches, but rather thou hast chosen to count them in thy riches because they seemed to thee precious. 'Then, what seek ye by all this noisy outcry about fortune? To chase away poverty, I ween, by means of abundance. And yet ye find the result just contrary. Why, this varied array of precious furniture needs more accessories for its protection; it is a true saying that they want most who possess most, and, conversely, they want very little who measure their abundance by nature's requirements, not by the superfluity of vain display. Have ye no good of your own implanted within you, that ye seek your good in things external and separate? Is the nature of things so reversed that a creature divine by right of reason can in no other way be splendid in his own eyes save by the possession of lifeless chattels? Yet, while other things are content with their own, ye who in your intellect are God-like seek from the lowest of things adornment for a nature of supreme excellence, and perceive not how great a wrong ye do your Maker. His will was that mankind should excel all things on earth. Ye thrust down your worth beneath the lowest of things. For if that in which each thing finds its good is plainly more precious than that whose good it is, by your own estimation ye put yourselves below the vilest of things, when ye deem these vile things to be your good: nor does this fall out undeservedly. Indeed, man is so constituted that he then only excels other things when he knows himself; but he is brought lower than the beasts if he lose this self-knowledge. For that other creatures should be ignorant of themselves is natural; in man it shows as a defect. How extravagant, then, is this error of yours, in thinking that anything can be embellished by adornments not its own. It cannot be. For if such accessories add any lustre, it is the accessories that get the praise, while that which they veil and cover remains in its pristine ugliness. And again I say, That is no _good_, which injures its possessor. Is this untrue? No, quite true, thou sayest. And yet riches have often hurt those that possessed them, since the worst of men, who are all the more covetous by reason of their wickedness, think none but themselves worthy to possess all the gold and gems the world contains. So thou, who now dreadest pike and sword, mightest have trolled a carol "in the robber's face," hadst thou entered the road of life with empty pockets. Oh, wondrous blessedness of perishable wealth, whose acquisition robs thee of security!' SONG V. THE FORMER AGE. Too blest the former age, their life Who in the fields contented led, And still, by luxury unspoiled, On frugal acorns sparely fed. No skill was theirs the luscious grape With honey's sweetness to confuse; Nor China's soft and sheeny silks T' empurple with brave Tyrian hues. The grass their wholesome couch, their drink The stream, their roof the pine's tall shade; Not theirs to cleave the deep, nor seek In strange far lands the spoils of trade. The trump of war was heard not yet, Nor soiled the fields by bloodshed's stain; For why should war's fierce madness arm When strife brought wound, but brought not gain? Ah! would our hearts might still return To following in those ancient ways. Alas! the greed of getting glows More fierce than Etna's fiery blaze. Woe, woe for him, whoe'er it was, Who first gold's hidden store revealed, And--perilous treasure-trove--dug out The gems that fain would be concealed! VI. 'What now shall I say of rank and power, whereby, because ye know not true power and dignity, ye hope to reach the sky? Yet, when rank and power have fallen to the worst of men, did ever an Etna, belching forth flame and fiery deluge, work such mischief? Verily, as I think, thou dost remember how thine ancestors sought to abolish the consular power, which had been the foundation of their liberties, on account of the overweening pride of the consuls, and how for that self-same pride they had already abolished the kingly title! And if, as happens but rarely, these prerogatives are conferred on virtuous men, it is only the virtue of those who exercise them that pleases. So it appears that honour cometh not to virtue from rank, but to rank from virtue. Look, too, at the nature of that power which ye find so attractive and glorious! Do ye never consider, ye creatures of earth, what ye are, and over whom ye exercise your fancied lordship? Suppose, now, that in the mouse tribe there should rise up one claiming rights and powers for himself above the rest, would ye not laugh consumedly? Yet if thou lookest to his body alone, what creature canst thou find more feeble than man, who oftentimes is killed by the bite of a fly, or by some insect creeping into the inner passage of his system! Yet what rights can one exercise over another, save only as regards the body, and that which is lower than the body--I mean fortune? What! wilt thou bind with thy mandates the free spirit? Canst thou force from its due tranquillity the mind that is firmly composed by reason? A tyrant thought to drive a man of free birth to reveal his accomplices in a conspiracy, but the prisoner bit off his tongue and threw it into the furious tyrant's face; thus, the tortures which the tyrant thought the instrument of his cruelty the sage made an opportunity for heroism. Moreover, what is there that one man can do to another which he himself may not have to undergo in his turn? We are told that Busiris, who used to kill his guests, was himself slain by his guest, Hercules. Regulus had thrown into bonds many of the Carthaginians whom he had taken in war; soon after he himself submitted his hands to the chains of the vanquished. Then, thinkest thou that man hath any power who cannot prevent another's being able to do to him what he himself can do to others? 'Besides, if there were any element of natural and proper good in rank and power, they would never come to the utterly bad, since opposites are not wont to be associated. Nature brooks not the union of contraries. So, seeing there is no doubt that wicked wretches are oftentimes set in high places, it is also clear that things which suffer association with the worst of men cannot be good in their own nature. Indeed, this judgment may with some reason be passed concerning all the gifts of fortune which fall so plentifully to all the most wicked. This ought also to be considered here, I think: No one doubts a man to be brave in whom he has observed a brave spirit residing. It is plain that one who is endowed with speed is swift-footed. So also music makes men musical, the healing art physicians, rhetoric public speakers. For each of these has naturally its own proper working; there is no confusion with the effects of contrary things--nay, even of itself it rejects what is incompatible. And yet wealth cannot extinguish insatiable greed, nor has power ever made him master of himself whom vicious lusts kept bound in indissoluble fetters; dignity conferred on the wicked not only fails to make them worthy, but contrarily reveals and displays their unworthiness. Why does it so happen? Because ye take pleasure in calling by false names things whose nature is quite incongruous thereto--by names which are easily proved false by the very effects of the things themselves; even so it is; these riches, that power, this dignity, are none of them rightly so called. Finally, we may draw the same conclusion concerning the whole sphere of Fortune, within which there is plainly nothing to be truly desired, nothing of intrinsic excellence; for she neither always joins herself to the good, nor does she make good men of those to whom she is united.' SONG VI. NERO'S INFAMY. We know what mischief dire he wrought-- Rome fired, the Fathers slain-- Whose hand with brother's slaughter wet A mother's blood did stain. No pitying tear his cheek bedewed, As on the corse he gazed; That mother's beauty, once so fair, A critic's voice appraised. Yet far and wide, from East to West, His sway the nations own; And scorching South and icy North Obey his will alone. Did, then, high power a curb impose On Nero's phrenzied will? Ah, woe when to the evil heart Is joined the sword to kill! VII. Then said I: 'Thou knowest thyself that ambition for worldly success hath but little swayed me. Yet I have desired opportunity for action, lest virtue, in default of exercise, should languish away.' Then she: 'This is that "last infirmity" which is able to allure minds which, though of noble quality, have not yet been moulded to any exquisite refinement by the perfecting of the virtues--I mean, the love of glory--and fame for high services rendered to the commonweal. And yet consider with me how poor and unsubstantial a thing this glory is! The whole of this earth's globe, as thou hast learnt from the demonstration of astronomy, compared with the expanse of heaven, is found no bigger than a point; that is to say, if measured by the vastness of heaven's sphere, it is held to occupy absolutely no space at all. Now, of this so insignificant portion of the universe, it is about a fourth part, as Ptolemy's proofs have taught us, which is inhabited by living creatures known to us. If from this fourth part you take away in thought all that is usurped by seas and marshes, or lies a vast waste of waterless desert, barely is an exceeding narrow area left for human habitation. You, then, who are shut in and prisoned in this merest fraction of a point's space, do ye take thought for the blazoning of your fame, for the spreading abroad of your renown? Why, what amplitude or magnificence has glory when confined to such narrow and petty limits? 'Besides, the straitened bounds of this scant dwelling-place are inhabited by many nations differing widely in speech, in usages, in mode of life; to many of these, from the difficulty of travel, from diversities of speech, from want of commercial intercourse, the fame not only of individual men, but even of cities, is unable to reach. Why, in Cicero's days, as he himself somewhere points out, the fame of the Roman Republic had not yet crossed the Caucasus, and yet by that time her name had grown formidable to the Parthians and other nations of those parts. Seest thou, then, how narrow, how confined, is the glory ye take pains to spread abroad and extend! Can the fame of a single Roman penetrate where the glory of the Roman name fails to pass? Moreover, the customs and institutions of different races agree not together, so that what is deemed praise worthy in one country is thought punishable in another. Wherefore, if any love the applause of fame, it shall not profit him to publish his name among many peoples. Then, each must be content to have the range of his glory limited to his own people; the splendid immortality of fame must be confined within the bounds of a single race. 'Once more, how many of high renown in their own times have been lost in oblivion for want of a record! Indeed, of what avail are written records even, which, with their authors, are overtaken by the dimness of age after a somewhat longer time? But ye, when ye think on future fame, fancy it an immortality that ye are begetting for yourselves. Why, if thou scannest the infinite spaces of eternity, what room hast thou left for rejoicing in the durability of thy name? Verily, if a single moment's space be compared with ten thousand years, it has a certain relative duration, however little, since each period is definite. But this same number of years--ay, and a number many times as great--cannot even be compared with endless duration; for, indeed, finite periods may in a sort be compared one with another, but a finite and an infinite never. So it comes to pass that fame, though it extend to ever so wide a space of years, if it be compared to never-lessening eternity, seems not short-lived merely, but altogether nothing. But as for you, ye know not how to act aright, unless it be to court the popular breeze, and win the empty applause of the multitude--nay, ye abandon the superlative worth of conscience and virtue, and ask a recompense from the poor words of others. Let me tell thee how wittily one did mock the shallowness of this sort of arrogance. A certain man assailed one who had put on the name of philosopher as a cloak to pride and vain-glory, not for the practice of real virtue, and added: "Now shall I know if thou art a philosopher if thou bearest reproaches calmly and patiently." The other for awhile affected to be patient, and, having endured to be abused, cried out derisively: "_Now_, do you see that I am a philosopher?" The other, with biting sarcasm, retorted: "I should have hadst thou held thy peace." Moreover, what concern have choice spirits--for it is of such men we speak, men who seek glory by virtue--what concern, I say, have these with fame after the dissolution of the body in death's last hour? For if men die wholly--which our reasonings forbid us to believe--there is no such thing as glory at all, since he to whom the glory is said to belong is altogether non-existent. But if the mind, conscious of its own rectitude, is released from its earthly prison, and seeks heaven in free flight, doth it not despise all earthly things when it rejoices in its deliverance from earthly bonds, and enters upon the joys of heaven?' SONG VII. GLORY MAY NOT LAST. Oh, let him, who pants for glory's guerdon, Deeming glory all in all, Look and see how wide the heaven expandeth, Earth's enclosing bounds how small! Shame it is, if your proud-swelling glory May not fill this narrow room! Why, then, strive so vainly, oh, ye proud ones! To escape your mortal doom? Though your name, to distant regions bruited, O'er the earth be widely spread, Though full many a lofty-sounding title On your house its lustre shed, Death at all this pomp and glory spurneth When his hour draweth nigh, Shrouds alike th' exalted and the humble, Levels lowest and most high. Where are now the bones of stanch Fabricius? Brutus, Cato--where are they? Lingering fame, with a few graven letters, Doth their empty name display. But to know the great dead is not given From a gilded name alone; Nay, ye all alike must lie forgotten, 'Tis not _you_ that fame makes known. Fondly do ye deem life's little hour Lengthened by fame's mortal breath; There but waits you--when this, too, is taken-- At the last a second death. VIII. 'But that thou mayst not think that I wage implacable warfare against Fortune, I own there is a time when the deceitful goddess serves men well--I mean when she reveals herself, uncovers her face, and confesses her true character. Perhaps thou dost not yet grasp my meaning. Strange is the thing I am trying to express, and for this cause I can scarce find words to make clear my thought. For truly I believe that Ill Fortune is of more use to men than Good Fortune. For Good Fortune, when she wears the guise of happiness, and most seems to caress, is always lying; Ill Fortune is always truthful, since, in changing, she shows her inconstancy. The one deceives, the other teaches; the one enchains the minds of those who enjoy her favour by the semblance of delusive good, the other delivers them by the knowledge of the frail nature of happiness. Accordingly, thou mayst see the one fickle, shifting as the breeze, and ever self-deceived; the other sober-minded, alert, and wary, by reason of the very discipline of adversity. Finally, Good Fortune, by her allurements, draws men far from the true good; Ill Fortune ofttimes draws men back to true good with grappling-irons. Again, should it be esteemed a trifling boon, thinkest thou, that this cruel, this odious Fortune hath discovered to thee the hearts of thy faithful friends--that other hid from thee alike the faces of the true friends and of the false, but in departing she hath taken away _her_ friends, and left thee _thine_? What price wouldst thou not have given for this service in the fulness of thy prosperity when thou seemedst to thyself fortunate? Cease, then, to seek the wealth thou hast lost, since in true friends thou hast found the most precious of all riches.' SONG VIII. LOVE IS LORD OF ALL. Why are Nature's changes bound To a fixed and ordered round? What to leagued peace hath bent Every warring element? Wherefore doth the rosy morn Rise on Phoebus' car upborne? Why should Phoebe rule the night, Led by Hesper's guiding light? What the power that doth restrain In his place the restless main, That within fixed bounds he keeps, Nor o'er earth in deluge sweeps? Love it is that holds the chains, Love o'er sea and earth that reigns; Love--whom else but sovereign Love?-- Love, high lord in heaven above! Yet should he his care remit, All that now so close is knit In sweet love and holy peace, Would no more from conflict cease, But with strife's rude shock and jar All the world's fair fabric mar. Tribes and nations Love unites By just treaty's sacred rites; Wedlock's bonds he sanctifies By affection's softest ties. Love appointeth, as is due, Faithful laws to comrades true-- Love, all-sovereign Love!--oh, then, Ye are blest, ye sons of men, If the love that rules the sky In your hearts is throned on high! </CHAPTER> BOOK III. TRUE HAPPINESS AND FALSE. SUMMARY CH. I. Boethius beseeches Philosophy to continue. She promises to lead him to true happiness.--CH. II. Happiness is the one end which all created beings seek. They aim variously at (_a_) wealth, or (_b_) rank, or (_c_) sovereignty, or (_d_) glory, or (_e_) pleasure, because they think thereby to attain either (_a_) contentment, (_b_) reverence, (_c_) power, (_d_) renown, or (_e_) gladness of heart, in one or other of which they severally imagine happiness to consist.--CH. III. Philosophy proceeds to consider whether happiness can really be secured in any of these ways, (_a_) So far from bringing contentment, riches only add to men's wants.--CH. IV. (_b_) High position cannot of itself win respect. Titles command no reverence in distant and barbarous lands. They even fall into contempt through lapse of time.--CH. V. (_c_) Sovereignty cannot even bestow safety. History tells of the downfall of kings and their ministers. Tyrants go in fear of their lives. --CH. VI. (_d_) Fame conferred on the unworthy is but disgrace. The splendour of noble birth is not a man's own, but his ancestors'.--CH. VII. (_e_) Pleasure begins in the restlessness of desire, and ends in repentance. Even the pure pleasures of home may turn to gall and bitterness.--CH. VIII. All fail, then, to give what they promise. There is, moreover, some accompanying evil involved in each of these aims. Beauty and bodily strength are likewise of little worth. In strength man is surpassed by the brutes; beauty is but outward show.--CH. IX. The source of men's error in following these phantoms of good is that _they break up and separate that which is in its nature one and indivisible_. Contentment, power, reverence, renown, and joy are essentially bound up one with the other, and, if they are to be attained at all, must be attained _together_. True happiness, if it can be found, will include them all. But it cannot be found among the perishable things hitherto considered.--CH. X. Such a happiness necessarily exists. Its seat is in God. Nay, God is very happiness, and in a manner, therefore, the happy man partakes also of the Divine nature. All other ends are relative to this good, since they are all pursued only for the sake of good; it is _good_ which is the sole ultimate end. And since the sole end is also happiness, it is plain that this good and happiness are in essence the same.--CH. XI. Unity is another aspect of goodness. Now, all things subsist so long only as they preserve the unity of their being; when they lose this unity, they perish. But the bent of nature forces all things (plants and inanimate things, as well as animals) to strive to continue in life. Therefore, all things desire unity, for unity is essential to life. But unity and goodness were shown to be the same. Therefore, good is proved to be the end towards which the whole universe tends.[E]--CH. XII. Boethius acknowledges that he is but recollecting truths he once knew. Philosophy goes on to show that it is goodness also by which the whole world is governed.[F] Boethius professes compunction for his former folly. But the paradox of evil is introduced, and he is once more perplexed. FOOTNOTES: [E] This solves the second of the points left in doubt at the end of bk. i., ch. vi. [F] This solves the third. No distinct account is given of the first, but an answer may be gathered from the general argument of bks. ii., iii., and iv.

Summary of Book II Part I-III

https://web.archive.org/web/20210212221439/https://www.novelguide.com/consolation-of-philosophy/summaries/book2-parti-iii

of Part I Philosophy speaks to Boethius explaining he is pining away for his former good fortune, and his imagination has distorted his mind with longing for what he lost. Philosophy knows the many guises of Fortune and how she seduces people with friendship and then overwhelms them with grief when she deserts them. Fortune was not his true friend. He is wrong if he thinks Fortune has changed towards him, because change is Fortune's normal behavior. Fortune is a "random goddess" . She is unreliable and dangerous and gives false happiness. The kind of happiness that passes away is not true happiness. Once you enter Fortune's playground, you must bear with patience whatever she gives you, like a farmer who has to bear good years and bad years with his crop.

Commentary on Part I Philosophy begins her cure by helping Boethius understand the true nature of Fortune, a random goddess, who gives and takes away at her whim. She is never a true friend and completely unreliable. Philosophy speaks of Fortune's Wheel, always turning and turning. When a man is on top, he is happy. When the wheel turns, and a man is on the bottom, he is miserable: "Such is the game she plays" . She has a heart of steel and laughs even at kings. She does not respond to the misery of men. Humans cannot keep the wheel from turning. It is a wheel of chance. This description of Fortune became famous in the medieval writers influenced by Boethius. His own life was a perfect example of the cruel game of Fortune. He was a patrician in Rome, of ancient and royal family, who also happened to be a virtuous and scholarly man, hoping to benefit humanity with his wisdom and learning. He had a good wife, two sons who were Roman consuls; he had wealth and fame and a comfortable home. He was still young enough to have his health. He had produced voluminous translations of precious Greek texts, preserving them for future generations. Without warning or just cause, he was thrown into prison and executed on the pretext he had committed some treason. How can Boethius think of Fortune as a friend or pine after her gifts? It is a game that cannot be won by humans. Summary of Part II Philosophy now plays the part of Fortune, speaking in Fortune's voice to show humans how they misunderstand her. Fortune argues that she has not stolen any gifts from Boethius because none of them belonged to him in the first place, nor to any humans. He came naked from the womb, and Fortune fed him from her own resources. She was indulgent, and when she withdrew her hand, he cried out as though she had stolen something from him. Everything else in creation is allowed to be itself. All Fortune's gifts come and go with her. Are humans so greedy that they demand Fortune to be constant, when inconstancy is her nature? Fortune gives examples of humans who fell from her wheel. Croesus, king of Lydia, went from wealth to misery. Perses, the last king of Macedonia, was also a tragic figure. Tragedy is a literary form that acknowledges these reversals of Fortune. Commentary on Part II Philosophy in Fortune's voice reminds Boethius of the story in Homer about the two jars in God's house, one full of evil and one full of good. Boethius has had more than his share of the good, and now it is time to taste the bad. Fortune's very changefulness should give him hope, because nothing stays the same. She sings a song about the greed of humans, always wanting more, never satisfied, no matter how much they get. They will always complain. Summary of Part III Now Philosophy invites Boethius to reply. He says her words are sweet but do not help the mind weighed down by "deep seated melancholy" . Philosophy counters that Boethius has forgotten his many blessings as "the luckiest man in the world" , adopted by Symmachus, married to a modest wife, having two sons and worldly honors. The culmination of his fortune, however, was the day his two sons became consuls together, and the senators appreciated the glorious oratory of Boethius on this honor. This is the only time Fortune has been unfriendly to him. The things he moans about are passing away, that is all. He knows there is no permanence. Commentary on Part III Philosophy speaking for the goddess Fortune tries to explain to Boethius that it makes no difference whether Fortune deserts him at some point, or that he deserts her by dying. These honors and gifts are never permanent. She sings a song about the instability of the world: "In law eternal it lies decreed/ That naught from change is ever freed" . He has been one of the lucky ones in life, but he cannot expect to be exempt from change, when it is the whole way Nature functions in different cycles; in spring, winter, storm, and calm. Book II of Part I Philosophy speaks to Boethius explaining he is pining away for his former good fortune, and his imagination has distorted his mind with longing for what he lost. Philosophy knows the many guises of Fortune and how she seduces people with friendship and then overwhelms them with grief when she deserts them. Fortune was not his true friend. He is wrong if he thinks Fortune has changed towards him, because change is Fortune's normal behavior. Fortune is a "random goddess" . She is unreliable and dangerous and gives false happiness. The kind of happiness that passes away is not true happiness. Once you enter Fortune's playground, you must bear with patience whatever she gives you, like a farmer who has to bear good years and bad years with his crop. Commentary on Part I Commentary on Part I Philosophy begins her cure by helping Boethius understand the true nature of Fortune, a random goddess, who gives and takes away at her whim. She is never a true friend and completely unreliable. Philosophy speaks of Fortune's Wheel, always turning and turning. When a man is on top, he is happy. When the wheel turns, and a man is on the bottom, he is miserable: "Such is the game she plays" . She has a heart of steel and laughs even at kings. She does not respond to the misery of men. Humans cannot keep the wheel from turning. It is a wheel of chance. This description of Fortune became famous in the medieval writers influenced by Boethius. His own life was a perfect example of the cruel game of Fortune. He was a patrician in Rome, of ancient and royal family, who also happened to be a virtuous and scholarly man, hoping to benefit humanity with his wisdom and learning. He had a good wife, two sons who were Roman consuls; he had wealth and fame and a comfortable home. He was still young enough to have his health. He had produced voluminous translations of precious Greek texts, preserving them for future generations. Without warning or just cause, he was thrown into prison and executed on the pretext he had committed some treason. How can Boethius think of Fortune as a friend or pine after her gifts? It is a game that cannot be won by humans. of Part II Philosophy now plays the part of Fortune, speaking in Fortune's voice to show humans how they misunderstand her. Fortune argues that she has not stolen any gifts from Boethius because none of them belonged to him in the first place, nor to any humans. He came naked from the womb, and Fortune fed him from her own resources. She was indulgent, and when she withdrew her hand, he cried out as though she had stolen something from him. Everything else in creation is allowed to be itself. All Fortune's gifts come and go with her. Are humans so greedy that they demand Fortune to be constant, when inconstancy is her nature? Fortune gives examples of humans who fell from her wheel. Croesus, king of Lydia, went from wealth to misery. Perses, the last king of Macedonia, was also a tragic figure. Tragedy is a literary form that acknowledges these reversals of Fortune. Commentary on Part II Commentary on Part II Philosophy in Fortune's voice reminds Boethius of the story in Homer about the two jars in God's house, one full of evil and one full of good. Boethius has had more than his share of the good, and now it is time to taste the bad. Fortune's very changefulness should give him hope, because nothing stays the same. She sings a song about the greed of humans, always wanting more, never satisfied, no matter how much they get. They will always complain. of Part III Now Philosophy invites Boethius to reply. He says her words are sweet but do not help the mind weighed down by "deep seated melancholy" . Philosophy counters that Boethius has forgotten his many blessings as "the luckiest man in the world" , adopted by Symmachus, married to a modest wife, having two sons and worldly honors. The culmination of his fortune, however, was the day his two sons became consuls together, and the senators appreciated the glorious oratory of Boethius on this honor. This is the only time Fortune has been unfriendly to him. The things he moans about are passing away, that is all. He knows there is no permanence. Commentary on Part III Commentary on Part III Philosophy speaking for the goddess Fortune tries to explain to Boethius that it makes no difference whether Fortune deserts him at some point, or that he deserts her by dying. These honors and gifts are never permanent. She sings a song about the instability of the world: "In law eternal it lies decreed/ That naught from change is ever freed" . He has been one of the lucky ones in life, but he cannot expect to be exempt from change, when it is the whole way Nature functions in different cycles; in spring, winter, storm, and calm. Novel Author Boethius Novel Author Boethius

shmoop

all_chapterized_books/28054-chapters/31.txt

finished_summaries/shmoop/The Brothers Karamazov/section_30_part_0.txt

The Brothers Karamazov.book 4.chapter 7

book 4, chapter 7

{"name": "Book 4, Chapter 7", "url": "https://web.archive.org/web/20201023112808/https://www.shmoop.com/study-guides/literature/brothers-karamazov/summary/book-4-chapter-7", "summary": "Snegiryov then starts rambling on to Alyosha about the back-story behind his dispute with Dmitri. He had been some kind of servant to Dmitri but had cheated him on Grushenka's and Fyodor's orders. On discovering this, Dmitri had turned him out of the tavern by his beard, mockingly called the \"whiskbroom,\" in front of his own son and the other children. His son continues to be mocked by the children and is constantly getting into fights with them even though he's frail. Alyosha then offers him the 200 roubles. Snegiryov seems genuinely grateful and goes on about all the wonderful things he can do for his family. But all of a sudden, Snegiryov's mood seems to change. He flings the roubles on the ground and announces that his honor can't be bought. But as he runs away, he also asks Alyosha what his son would say if he knew that he had accepted money from a Karamazov.", "analysis": ""}

Chapter VII. And In The Open Air "The air is fresh, but in my apartment it is not so in any sense of the word. Let us walk slowly, sir. I should be glad of your kind interest." "I too have something important to say to you," observed Alyosha, "only I don't know how to begin." "To be sure you must have business with me. You would never have looked in upon me without some object. Unless you come simply to complain of the boy, and that's hardly likely. And, by the way, about the boy: I could not explain to you in there, but here I will describe that scene to you. My tow was thicker a week ago--I mean my beard. That's the nickname they give to my beard, the schoolboys most of all. Well, your brother Dmitri Fyodorovitch was pulling me by my beard, I'd done nothing, he was in a towering rage and happened to come upon me. He dragged me out of the tavern into the market-place; at that moment the boys were coming out of school, and with them Ilusha. As soon as he saw me in such a state he rushed up to me. 'Father,' he cried, 'father!' He caught hold of me, hugged me, tried to pull me away, crying to my assailant, 'Let go, let go, it's my father, forgive him!'--yes, he actually cried 'forgive him.' He clutched at that hand, that very hand, in his little hands and kissed it.... I remember his little face at that moment, I haven't forgotten it and I never shall!" "I swear," cried Alyosha, "that my brother will express his most deep and sincere regret, even if he has to go down on his knees in that same market-place.... I'll make him or he is no brother of mine!" "Aha, then it's only a suggestion! And it does not come from him but simply from the generosity of your own warm heart. You should have said so. No, in that case allow me to tell you of your brother's highly chivalrous soldierly generosity, for he did give expression to it at the time. He left off dragging me by my beard and released me: 'You are an officer,' he said, 'and I am an officer, if you can find a decent man to be your second send me your challenge. I will give satisfaction, though you are a scoundrel.' That's what he said. A chivalrous spirit indeed! I retired with Ilusha, and that scene is a family record imprinted for ever on Ilusha's soul. No, it's not for us to claim the privileges of noblemen. Judge for yourself. You've just been in our mansion, what did you see there? Three ladies, one a cripple and weak-minded, another a cripple and hunchback and the third not crippled but far too clever. She is a student, dying to get back to Petersburg, to work for the emancipation of the Russian woman on the banks of the Neva. I won't speak of Ilusha, he is only nine. I am alone in the world, and if I die, what will become of all of them? I simply ask you that. And if I challenge him and he kills me on the spot, what then? What will become of them? And worse still, if he doesn't kill me but only cripples me: I couldn't work, but I should still be a mouth to feed. Who would feed it and who would feed them all? Must I take Ilusha from school and send him to beg in the streets? That's what it means for me to challenge him to a duel. It's silly talk and nothing else." "He will beg your forgiveness, he will bow down at your feet in the middle of the market-place," cried Alyosha again, with glowing eyes. "I did think of prosecuting him," the captain went on, "but look in our code, could I get much compensation for a personal injury? And then Agrafena Alexandrovna(3) sent for me and shouted at me: 'Don't dare to dream of it! If you proceed against him, I'll publish it to all the world that he beat you for your dishonesty, and then you will be prosecuted.' I call God to witness whose was the dishonesty and by whose commands I acted, wasn't it by her own and Fyodor Pavlovitch's? 'And what's more,' she went on, 'I'll dismiss you for good and you'll never earn another penny from me. I'll speak to my merchant too' (that's what she calls her old man) 'and he will dismiss you!' And if he dismisses me, what can I earn then from any one? Those two are all I have to look to, for your Fyodor Pavlovitch has not only given over employing me, for another reason, but he means to make use of papers I've signed to go to law against me. And so I kept quiet, and you have seen our retreat. But now let me ask you: did Ilusha hurt your finger much? I didn't like to go into it in our mansion before him." "Yes, very much, and he was in a great fury. He was avenging you on me as a Karamazov, I see that now. But if only you had seen how he was throwing stones at his school-fellows! It's very dangerous. They might kill him. They are children and stupid. A stone may be thrown and break somebody's head." "That's just what has happened. He has been bruised by a stone to-day. Not on the head but on the chest, just above the heart. He came home crying and groaning and now he is ill." "And you know he attacks them first. He is bitter against them on your account. They say he stabbed a boy called Krassotkin with a pen-knife not long ago." "I've heard about that too, it's dangerous. Krassotkin is an official here, we may hear more about it." "I would advise you," Alyosha went on warmly, "not to send him to school at all for a time till he is calmer ... and his anger is passed." "Anger!" the captain repeated, "that's just what it is. He is a little creature, but it's a mighty anger. You don't know all, sir. Let me tell you more. Since that incident all the boys have been teasing him about the 'wisp of tow.' Schoolboys are a merciless race, individually they are angels, but together, especially in schools, they are often merciless. Their teasing has stirred up a gallant spirit in Ilusha. An ordinary boy, a weak son, would have submitted, have felt ashamed of his father, sir, but he stood up for his father against them all. For his father and for truth and justice. For what he suffered when he kissed your brother's hand and cried to him 'Forgive father, forgive him,'--that only God knows--and I, his father. For our children--not your children, but ours--the children of the poor gentlemen looked down upon by every one--know what justice means, sir, even at nine years old. How should the rich know? They don't explore such depths once in their lives. But at that moment in the square when he kissed his hand, at that moment my Ilusha had grasped all that justice means. That truth entered into him and crushed him for ever, sir," the captain said hotly again with a sort of frenzy, and he struck his right fist against his left palm as though he wanted to show how "the truth" crushed Ilusha. "That very day, sir, he fell ill with fever and was delirious all night. All that day he hardly said a word to me, but I noticed he kept watching me from the corner, though he turned to the window and pretended to be learning his lessons. But I could see his mind was not on his lessons. Next day I got drunk to forget my troubles, sinful man as I am, and I don't remember much. Mamma began crying, too--I am very fond of mamma--well, I spent my last penny drowning my troubles. Don't despise me for that, sir, in Russia men who drink are the best. The best men amongst us are the greatest drunkards. I lay down and I don't remember about Ilusha, though all that day the boys had been jeering at him at school. 'Wisp of tow,' they shouted, 'your father was pulled out of the tavern by his wisp of tow, you ran by and begged forgiveness.' " "On the third day when he came back from school, I saw he looked pale and wretched. 'What is it?' I asked. He wouldn't answer. Well, there's no talking in our mansion without mamma and the girls taking part in it. What's more, the girls had heard about it the very first day. Varvara had begun snarling. 'You fools and buffoons, can you ever do anything rational?' 'Quite so,' I said, 'can we ever do anything rational?' For the time I turned it off like that. So in the evening I took the boy out for a walk, for you must know we go for a walk every evening, always the same way, along which we are going now--from our gate to that great stone which lies alone in the road under the hurdle, which marks the beginning of the town pasture. A beautiful and lonely spot, sir. Ilusha and I walked along hand in hand as usual. He has a little hand, his fingers are thin and cold--he suffers with his chest, you know. 'Father,' said he, 'father!' 'Well?' said I. I saw his eyes flashing. 'Father, how he treated you then!' 'It can't be helped, Ilusha,' I said. 'Don't forgive him, father, don't forgive him! At school they say that he has paid you ten roubles for it.' 'No, Ilusha,' said I, 'I would not take money from him for anything.' Then he began trembling all over, took my hand in both his and kissed it again. 'Father,' he said, 'father, challenge him to a duel, at school they say you are a coward and won't challenge him, and that you'll accept ten roubles from him.' 'I can't challenge him to a duel, Ilusha,' I answered. And I told briefly what I've just told you. He listened. 'Father,' he said, 'anyway don't forgive it. When I grow up I'll call him out myself and kill him.' His eyes shone and glowed. And of course I am his father, and I had to put in a word: 'It's a sin to kill,' I said, 'even in a duel.' 'Father,' he said, 'when I grow up, I'll knock him down, knock the sword out of his hand, I'll fall on him, wave my sword over him and say: "I could kill you, but I forgive you, so there!" ' You see what the workings of his little mind have been during these two days; he must have been planning that vengeance all day, and raving about it at night. "But he began to come home from school badly beaten, I found out about it the day before yesterday, and you are right, I won't send him to that school any more. I heard that he was standing up against all the class alone and defying them all, that his heart was full of resentment, of bitterness--I was alarmed about him. We went for another walk. 'Father,' he asked, 'are the rich people stronger than any one else on earth?' 'Yes, Ilusha,' I said, 'there are no people on earth stronger than the rich.' 'Father,' he said, 'I will get rich, I will become an officer and conquer everybody. The Tsar will reward me, I will come back here and then no one will dare--' Then he was silent and his lips still kept trembling. 'Father,' he said, 'what a horrid town this is.' 'Yes, Ilusha,' I said, 'it isn't a very nice town.' 'Father, let us move into another town, a nice one,' he said, 'where people don't know about us.' 'We will move, we will, Ilusha,' said I, 'only I must save up for it.' I was glad to be able to turn his mind from painful thoughts, and we began to dream of how we would move to another town, how we would buy a horse and cart. 'We will put mamma and your sisters inside, we will cover them up and we'll walk, you shall have a lift now and then, and I'll walk beside, for we must take care of our horse, we can't all ride. That's how we'll go.' He was enchanted at that, most of all at the thought of having a horse and driving him. For of course a Russian boy is born among horses. We chattered a long while. Thank God, I thought, I have diverted his mind and comforted him. "That was the day before yesterday, in the evening, but last night everything was changed. He had gone to school in the morning, he came back depressed, terribly depressed. In the evening I took him by the hand and we went for a walk; he would not talk. There was a wind blowing and no sun, and a feeling of autumn; twilight was coming on. We walked along, both of us depressed. 'Well, my boy,' said I, 'how about our setting off on our travels?' I thought I might bring him back to our talk of the day before. He didn't answer, but I felt his fingers trembling in my hand. Ah, I thought, it's a bad job; there's something fresh. We had reached the stone where we are now. I sat down on the stone. And in the air there were lots of kites flapping and whirling. There were as many as thirty in sight. Of course, it's just the season for the kites. 'Look, Ilusha,' said I, 'it's time we got out our last year's kite again. I'll mend it, where have you put it away?' My boy made no answer. He looked away and turned sideways to me. And then a gust of wind blew up the sand. He suddenly fell on me, threw both his little arms round my neck and held me tight. You know, when children are silent and proud, and try to keep back their tears when they are in great trouble and suddenly break down, their tears fall in streams. With those warm streams of tears, he suddenly wetted my face. He sobbed and shook as though he were in convulsions, and squeezed up against me as I sat on the stone. 'Father,' he kept crying, 'dear father, how he insulted you!' And I sobbed too. We sat shaking in each other's arms. 'Ilusha,' I said to him, 'Ilusha darling.' No one saw us then. God alone saw us, I hope He will record it to my credit. You must thank your brother, Alexey Fyodorovitch. No, sir, I won't thrash my boy for your satisfaction." He had gone back to his original tone of resentful buffoonery. Alyosha felt though that he trusted him, and that if there had been some one else in his, Alyosha's place, the man would not have spoken so openly and would not have told what he had just told. This encouraged Alyosha, whose heart was trembling on the verge of tears. "Ah, how I would like to make friends with your boy!" he cried. "If you could arrange it--" "Certainly, sir," muttered the captain. "But now listen to something quite different!" Alyosha went on. "I have a message for you. That same brother of mine, Dmitri, has insulted his betrothed, too, a noble-hearted girl of whom you have probably heard. I have a right to tell you of her wrong; I ought to do so, in fact, for hearing of the insult done to you and learning all about your unfortunate position, she commissioned me at once--just now--to bring you this help from her--but only from her alone, not from Dmitri, who has abandoned her. Nor from me, his brother, nor from any one else, but from her, only from her! She entreats you to accept her help.... You have both been insulted by the same man. She thought of you only when she had just received a similar insult from him--similar in its cruelty, I mean. She comes like a sister to help a brother in misfortune.... She told me to persuade you to take these two hundred roubles from her, as from a sister, knowing that you are in such need. No one will know of it, it can give rise to no unjust slander. There are the two hundred roubles, and I swear you must take them unless--unless all men are to be enemies on earth! But there are brothers even on earth.... You have a generous heart ... you must see that, you must," and Alyosha held out two new rainbow-colored hundred-rouble notes. They were both standing at the time by the great stone close to the fence, and there was no one near. The notes seemed to produce a tremendous impression on the captain. He started, but at first only from astonishment. Such an outcome of their conversation was the last thing he expected. Nothing could have been farther from his dreams than help from any one--and such a sum! He took the notes, and for a minute he was almost unable to answer, quite a new expression came into his face. "That for me? So much money--two hundred roubles! Good heavens! Why, I haven't seen so much money for the last four years! Mercy on us! And she says she is a sister.... And is that the truth?" "I swear that all I told you is the truth," cried Alyosha. The captain flushed red. "Listen, my dear, listen. If I take it, I shan't be behaving like a scoundrel? In your eyes, Alexey Fyodorovitch, I shan't be a scoundrel? No, Alexey Fyodorovitch, listen, listen," he hurried, touching Alyosha with both his hands. "You are persuading me to take it, saying that it's a sister sends it, but inwardly, in your heart won't you feel contempt for me if I take it, eh?" "No, no, on my salvation I swear I shan't! And no one will ever know but me--I, you and she, and one other lady, her great friend." "Never mind the lady! Listen, Alexey Fyodorovitch, at a moment like this you must listen, for you can't understand what these two hundred roubles mean to me now." The poor fellow went on rising gradually into a sort of incoherent, almost wild enthusiasm. He was thrown off his balance and talked extremely fast, as though afraid he would not be allowed to say all he had to say. "Besides its being honestly acquired from a 'sister,' so highly respected and revered, do you know that now I can look after mamma and Nina, my hunchback angel daughter? Doctor Herzenstube came to me in the kindness of his heart and was examining them both for a whole hour. 'I can make nothing of it,' said he, but he prescribed a mineral water which is kept at a chemist's here. He said it would be sure to do her good, and he ordered baths, too, with some medicine in them. The mineral water costs thirty copecks, and she'd need to drink forty bottles perhaps; so I took the prescription and laid it on the shelf under the ikons, and there it lies. And he ordered hot baths for Nina with something dissolved in them, morning and evening. But how can we carry out such a cure in our mansion, without servants, without help, without a bath, and without water? Nina is rheumatic all over, I don't think I told you that. All her right side aches at night, she is in agony, and, would you believe it, the angel bears it without groaning for fear of waking us. We eat what we can get, and she'll only take the leavings, what you'd scarcely give to a dog. 'I am not worth it, I am taking it from you, I am a burden on you,' that's what her angel eyes try to express. We wait on her, but she doesn't like it. 'I am a useless cripple, no good to any one.' As though she were not worth it, when she is the saving of all of us with her angelic sweetness. Without her, without her gentle word it would be hell among us! She softens even Varvara. And don't judge Varvara harshly either, she is an angel too, she, too, has suffered wrong. She came to us for the summer, and she brought sixteen roubles she had earned by lessons and saved up, to go back with to Petersburg in September, that is now. But we took her money and lived on it, so now she has nothing to go back with. Though indeed she couldn't go back, for she has to work for us like a slave. She is like an overdriven horse with all of us on her back. She waits on us all, mends and washes, sweeps the floor, puts mamma to bed. And mamma is capricious and tearful and insane! And now I can get a servant with this money, you understand, Alexey Fyodorovitch, I can get medicines for the dear creatures, I can send my student to Petersburg, I can buy beef, I can feed them properly. Good Lord, but it's a dream!" Alyosha was delighted that he had brought him such happiness and that the poor fellow had consented to be made happy. "Stay, Alexey Fyodorovitch, stay," the captain began to talk with frenzied rapidity, carried away by a new day-dream. "Do you know that Ilusha and I will perhaps really carry out our dream. We will buy a horse and cart, a black horse, he insists on its being black, and we will set off as we pretended the other day. I have an old friend, a lawyer in K. province, and I heard through a trustworthy man that if I were to go he'd give me a place as clerk in his office, so, who knows, maybe he would. So I'd just put mamma and Nina in the cart, and Ilusha could drive, and I'd walk, I'd walk.... Why, if I only succeed in getting one debt paid that's owing me, I should have perhaps enough for that too!" "There would be enough!" cried Alyosha. "Katerina Ivanovna will send you as much more as you need, and you know, I have money too, take what you want, as you would from a brother, from a friend, you can give it back later.... (You'll get rich, you'll get rich!) And you know you couldn't have a better idea than to move to another province! It would be the saving of you, especially of your boy--and you ought to go quickly, before the winter, before the cold. You must write to us when you are there, and we will always be brothers.... No, it's not a dream!" Alyosha could have hugged him, he was so pleased. But glancing at him he stopped short. The man was standing with his neck outstretched and his lips protruding, with a pale and frenzied face. His lips were moving as though trying to articulate something; no sound came, but still his lips moved. It was uncanny. "What is it?" asked Alyosha, startled. "Alexey Fyodorovitch ... I ... you," muttered the captain, faltering, looking at him with a strange, wild, fixed stare, and an air of desperate resolution. At the same time there was a sort of grin on his lips. "I ... you, sir ... wouldn't you like me to show you a little trick I know?" he murmured, suddenly, in a firm rapid whisper, his voice no longer faltering. "What trick?" "A pretty trick," whispered the captain. His mouth was twisted on the left side, his left eye was screwed up. He still stared at Alyosha. "What is the matter? What trick?" Alyosha cried, now thoroughly alarmed. "Why, look," squealed the captain suddenly, and showing him the two notes which he had been holding by one corner between his thumb and forefinger during the conversation, he crumpled them up savagely and squeezed them tight in his right hand. "Do you see, do you see?" he shrieked, pale and infuriated. And suddenly flinging up his hand, he threw the crumpled notes on the sand. "Do you see?" he shrieked again, pointing to them. "Look there!" And with wild fury he began trampling them under his heel, gasping and exclaiming as he did so: "So much for your money! So much for your money! So much for your money! So much for your money!" Suddenly he darted back and drew himself up before Alyosha, and his whole figure expressed unutterable pride. "Tell those who sent you that the wisp of tow does not sell his honor," he cried, raising his arm in the air. Then he turned quickly and began to run; but he had not run five steps before he turned completely round and kissed his hand to Alyosha. He ran another five paces and then turned round for the last time. This time his face was not contorted with laughter, but quivering all over with tears. In a tearful, faltering, sobbing voice he cried: "What should I say to my boy if I took money from you for our shame?" And then he ran on without turning. Alyosha looked after him, inexpressibly grieved. Oh, he saw that till the very last moment the man had not known he would crumple up and fling away the notes. He did not turn back. Alyosha knew he would not. He would not follow him and call him back, he knew why. When he was out of sight, Alyosha picked up the two notes. They were very much crushed and crumpled, and had been pressed into the sand, but were uninjured and even rustled like new ones when Alyosha unfolded them and smoothed them out. After smoothing them out, he folded them up, put them in his pocket and went to Katerina Ivanovna to report on the success of her commission.

Book 4, Chapter 7

https://web.archive.org/web/20201023112808/https://www.shmoop.com/study-guides/literature/brothers-karamazov/summary/book-4-chapter-7

Snegiryov then starts rambling on to Alyosha about the back-story behind his dispute with Dmitri. He had been some kind of servant to Dmitri but had cheated him on Grushenka's and Fyodor's orders. On discovering this, Dmitri had turned him out of the tavern by his beard, mockingly called the "whiskbroom," in front of his own son and the other children. His son continues to be mocked by the children and is constantly getting into fights with them even though he's frail. Alyosha then offers him the 200 roubles. Snegiryov seems genuinely grateful and goes on about all the wonderful things he can do for his family. But all of a sudden, Snegiryov's mood seems to change. He flings the roubles on the ground and announces that his honor can't be bought. But as he runs away, he also asks Alyosha what his son would say if he knew that he had accepted money from a Karamazov.

shmoop

all_chapterized_books/44747-chapters/45.txt

finished_summaries/shmoop/The Red and the Black/section_44_part_0.txt

The Red and the Black.part 2.chapter 15

part 2, chapter 15

{"name": "Part 2, Chapter 15", "url": "https://web.archive.org/web/20200920104425/https://www.shmoop.com/study-guides/literature/red-and-the-black/summary/part-2-chapter-15", "summary": "Julien paces in his room, wondering if he should go see Mathilde in her room. On the one hand, it's probably a trap. On the other, he'll never have a chance to be with such a beautiful, rich young woman again. He decides to visit Mathilde, but to keep two loaded pistols in his pockets just in case. Then he sends a copy of Mathilde's letter to Fouqe. He spends the rest of the evening looking for some clue of knowledge in the faces of the servants in the house. He can't help but feel that there's a conspiracy against him. Why else would a girl like Mathilde ask him to her room in the middle of the night?", "analysis": ""}

CHAPTER XLV IS IT A PLOT? Oh, how cruel is the interval between the conception and the execution of a great project. What vain fears, what fits of irresolution! It is a matter of life and death--even more is at stake honour!--_Schiller_. "This is getting serious," thought Julien, "and a little too clear," he added after thinking a little. "Why to be sure! This fine young lady can talk to me in the library with a freedom which, thank heaven, is absolutely complete; the marquis, frightened as he is that I show him accounts, never sets foot in it. Why! M. de la Mole and the comte Norbert, the only persons who ever come here, are absent nearly the whole day, and the sublime Mathilde for whom a sovereign prince would not be too noble a suitor, wants me to commit an abominable indiscretion. "It is clear they want to ruin me, or at the least make fun of me. First they wanted to ruin me by my own letters; they happen to be discreet; well, they want some act which is clearer than daylight. These handsome little gentlemen think I am too silly or too conceited. The devil! To think of climbing like this up a ladder to a storey twenty-five feet high in the finest moonlight. They would have time to see me, even from the neighbouring houses. I shall cut a pretty figure to be sure on my ladder!" Julien went up to his room again and began to pack his trunk whistling. He had decided to leave and not even to answer. But this wise resolution did not give him peace of mind. "If by chance," he suddenly said to himself after he had closed his trunk, "Mathilde is in good faith, why then I cut the figure of an arrant coward in her eyes. I have no birth myself, so I need great qualities attested straight away by speaking actions--money down--no charitable credit." He spent a quarter-of-an-hour in reflecting. "What is the good of denying it?" he said at last. "She will think me a coward. I shall lose not only the most brilliant person in high society, as they all said at M. the duke de Retz's ball, but also the heavenly pleasure of seeing the marquis de Croisenois, the son of a duke, who will be one day a duke himself, sacrificed to me. A charming young man who has all the qualities I lack. A happy wit, birth, fortune.... "This regret will haunt me all my life, not on her account, 'there are so many mistresses!... but there is only one honour!' says old don Diego. And here am I clearly and palpably shrinking from the first danger that presents itself; for the duel with M. de Beauvoisis was simply a joke. This is quite different. A servant may fire at me point blank, but that is the least danger; I may be disgraced. "This is getting serious, my boy," he added with a Gascon gaiety and accent. "Honour is at stake. A poor devil flung by chance into as low a grade as I am will never find such an opportunity again. I shall have my conquests, but they will be inferior ones...." He reflected for a long time, he walked up and down hurriedly, and then from time to time would suddenly stop. A magnificent marble bust of cardinal de Richelieu had been placed in his room. It attracted his gaze in spite of himself. This bust seemed to look at him severely as though reproaching him with the lack of that audacity which ought to be so natural to the French character. "Would I have hesitated in your age great man?" "At the worst," said Julien to himself, "suppose all this is a trap, it is pretty black and pretty compromising for a young girl. They know that I am not the man to hold my tongue. They will therefore have to kill me. That was right enough in 1574 in the days of Boniface de la Mole, but nobody today would ever have the pluck. They are not the same men. Mademoiselle de la Mole is the object of so much jealousy. Four hundred salons would ring with her disgrace to-morrow, and how pleased they would all be. "The servants gossip among themselves about marked the favours of which I am the recipient. I know it, I have heard them.... "On the other hand they're her letters. They may think that I have them on me. They may surprise me in her room and take them from me. I shall have to deal with two, three, or four men. How can I tell? But where are they going to find these men? Where are they to find discreet subordinates in Paris? Justice frightens them.... By God! It may be the Caylus's, the Croisenois', the de Luz's themselves. The idea of the ludicrous figure I should cut in the middle of them at the particular minute may have attracted them. Look out for the fate of Abelard, M. the secretary. "Well, by heaven, I'll mark you. I'll strike at your faces like Caesar's soldiers at Pharsalia. As for the letters, I can put them in a safe place." Julien copied out the two last, hid them in a fine volume of Voltaire in the library and himself took the originals to the post. "What folly am I going to rush into," he said to himself with surprise and terror when he returned. He had been a quarter of an hour without contemplating what he was to do on this coming night. "But if I refuse, I am bound to despise myself afterwards. This matter will always occasion me great doubt during my whole life, and to a man like me such doubts are the most poignant unhappiness. Did I not feel like that for Amanda's lover! I think I would find it easier to forgive myself for a perfectly clear crime; once admitted, I could leave off thinking of it. "Why! I shall have been the rival of a man who bears one of the finest names in France, and then out of pure light-heartedness, declared myself his inferior! After all, it is cowardly not to go; these words clinch everything," exclaimed Julien as he got up ... "besides she is quite pretty." "If this is not a piece of treachery, what a folly is she not committing for my sake. If it's a piece of mystification, by heaven, gentlemen, it only depends on me to turn the jest into earnest and that I will do. "But supposing they tie my hands together at the moment I enter the room: they may have placed some ingenious machine there. "It's like a duel," he said to himself with a laugh. "Everyone makes a full parade, says my _maitre d'armes_, but the good God, who wishes the thing to end, makes one of them forget to parry. Besides, here's something to answer them with." He drew his pistols out of his pocket, and although the priming was shining, he renewed it. There was still several hours to wait. Julien wrote to Fouque in order to have something to do. "My friend, do not open the enclosed letter except in the event of an accident, if you hear that something strange has happened to me. In that case blot out the proper names in the manuscript which I am sending you, make eight copies of it, and send it to the papers of Marseilles, Bordeaux, Lyons, Brussels, etc. Ten days later have the manuscript printed, send the first copy to M. the marquis de la Mole, and a fortnight after that throw the other copies at night into the streets of Verrieres." Julien made this little memoir in defence of his position as little compromising as possible for mademoiselle de la Mole. Fouque was only to open it in the event of an accident. It was put in the form of a story, but in fact it exactly described his situation. Julien had just fastened his packet when the dinner bell rang. It made his heart beat. His imagination was distracted by the story which he had just composed, and fell a prey to tragic presentiments. He saw himself seized by servants, trussed, and taken into a cellar with a gag in his mouth. A servant was stationed there, who never let him out of sight, and if the family honour required that the adventure should have a tragic end, it was easy to finish everything with those poisons which leave no trace. They could then say that he had died of an illness and would carry his dead body back into his room. Thrilled like a dramatic author by his own story, Julien was really afraid when he entered the dining-room. He looked at all those liveried servants--he studied their faces. "Which ones are chosen for to-night's expedition?" he said to himself. "The memories of the court of Henri III. are so vivid in this family, and so often recalled, that if they think they have been insulted they will show more resolution than other persons of the same rank." He looked at mademoiselle de la Mole in order to read the family plans in her eyes; she was pale and looked quite middle-aged. He thought that she had never looked so great: she was really handsome and imposing; he almost fell in love with her. "_Pallida morte futura_," he said to himself (her pallor indicates her great plans). It was in vain that after dinner he made a point of walking for a long time in the garden, mademoiselle did not appear. Speaking to her at that moment would have lifted a great weight off his heart. Why not admit it? he was afraid. As he had resolved to act, he was not ashamed to abandon himself to this emotion. "So long as I show the necessary courage at the actual moment," he said to himself, "what does it matter what I feel at this particular moment?" He went to reconnoitre the situation and find out the weight of the ladder. "This is an instrument," he said to himself with a smile, "which I am fated to use both here and at Verrieres. What a difference! In those days," he added with a sigh, "I was not obliged to distrust the person for whom I exposed myself to danger. What a difference also in the danger!" "There would have been no dishonour for me if I had been killed in M. de Renal's gardens. It would have been easy to have made my death into a mystery. But here all kinds of abominable scandal will be talked in the salons of the Hotel de Chaulnes, the Hotel de Caylus, de Retz, etc., everywhere in fact. I shall go down to posterity as a monster." "For two or three years," he went on with a laugh, making fun of himself; but the idea paralysed him. "And how am I going to manage to get justified? Suppose that Fouque does print my posthumous pamphlet, it will only be taken for an additional infamy. Why! I get received into a house, and I reward the hospitality which I have received, the kindness with which I have been loaded by printing a pamphlet about what has happened and attacking the honour of women! Nay! I'd a thousand times rather be duped." The evening was awful.

Part 2, Chapter 15

https://web.archive.org/web/20200920104425/https://www.shmoop.com/study-guides/literature/red-and-the-black/summary/part-2-chapter-15

Julien paces in his room, wondering if he should go see Mathilde in her room. On the one hand, it's probably a trap. On the other, he'll never have a chance to be with such a beautiful, rich young woman again. He decides to visit Mathilde, but to keep two loaded pistols in his pockets just in case. Then he sends a copy of Mathilde's letter to Fouqe. He spends the rest of the evening looking for some clue of knowledge in the faces of the servants in the house. He can't help but feel that there's a conspiracy against him. Why else would a girl like Mathilde ask him to her room in the middle of the night?

cliffnotes

all_chapterized_books/107-chapters/40.txt

finished_summaries/cliffnotes/Far from the Madding Crowd/section_39_part_0.txt

Far from the Madding Crowd.chapter 40

chapter 40

{"name": "Chapter 40", "url": "https://web.archive.org/web/20201101052914/https://www.cliffsnotes.com/literature/f/far-from-the-madding-crowd/summary-and-analysis/chapter-40", "summary": "The woman continued on her slow way, stopping to rest from time to time and praying for strength. She counted the milestones to encourage herself to proceed. A carriage passing in the darkness lighted her face, \"young in the groundwork, old in the finish; the general contours were flexuous and childlike, but the finer lineaments had begun to be sharp and thin.\" At a lone copsewood she paused. Groping, she selected two Y-shaped sticks and used them as crutches. These helped her to the last milestone, where she swayed, fell, lay for a while, then crawled and fell again. A dog licked the woman's cheek. \"In her reclining position she looked up to him just as . . . she had, when standing, looked up to a man.\" The animal, as homeless as she, withdrew a step, then returned, sensing her need. Using him as a prop, the woman slowly moved ahead. They reached a shabby building, so overgrown with ivy that it had become one of the attractions of the town. The woman managed to pull the bell before falling down. A man emerged and went for help to get her into the building. The woman revived enough to ask for the dog. \"'I stoned him away,' said the man. The little procession then moved forward -- the man in front bearing the light, two bony women next, supporting between them the small and supple one. Thus they entered the house and disappeared.\"", "analysis": "Some critics find this chapter less effective than most -- citing, for example, the interrupting discourse on the manufacturer of a Swiss prosthetic device, which is compared to the woman's improvisation of a crutch. The agonies of Fanny's journey have been called melodramatic. Animal lovers protest the use of the dog, although it seems that Hardy's point was that at times animals have more humanity than people. Hardy's succinct descriptions remain effective, as in the description of the ivy-covered almshouse to which the force of \"Nature, as if offended, lent a hand.\""}

ON CASTERBRIDGE HIGHWAY For a considerable time the woman walked on. Her steps became feebler, and she strained her eyes to look afar upon the naked road, now indistinct amid the penumbrae of night. At length her onward walk dwindled to the merest totter, and she opened a gate within which was a haystack. Underneath this she sat down and presently slept. When the woman awoke it was to find herself in the depths of a moonless and starless night. A heavy unbroken crust of cloud stretched across the sky, shutting out every speck of heaven; and a distant halo which hung over the town of Casterbridge was visible against the black concave, the luminosity appearing the brighter by its great contrast with the circumscribing darkness. Towards this weak, soft glow the woman turned her eyes. "If I could only get there!" she said. "Meet him the day after to-morrow: God help me! Perhaps I shall be in my grave before then." A manor-house clock from the far depths of shadow struck the hour, one, in a small, attenuated tone. After midnight the voice of a clock seems to lose in breadth as much as in length, and to diminish its sonorousness to a thin falsetto. Afterwards a light--two lights--arose from the remote shade, and grew larger. A carriage rolled along the road, and passed the gate. It probably contained some late diners-out. The beams from one lamp shone for a moment upon the crouching woman, and threw her face into vivid relief. The face was young in the groundwork, old in the finish; the general contours were flexuous and childlike, but the finer lineaments had begun to be sharp and thin. The pedestrian stood up, apparently with revived determination, and looked around. The road appeared to be familiar to her, and she carefully scanned the fence as she slowly walked along. Presently there became visible a dim white shape; it was another milestone. She drew her fingers across its face to feel the marks. "Two more!" she said. She leant against the stone as a means of rest for a short interval, then bestirred herself, and again pursued her way. For a slight distance she bore up bravely, afterwards flagging as before. This was beside a lone copsewood, wherein heaps of white chips strewn upon the leafy ground showed that woodmen had been faggoting and making hurdles during the day. Now there was not a rustle, not a breeze, not the faintest clash of twigs to keep her company. The woman looked over the gate, opened it, and went in. Close to the entrance stood a row of faggots, bound and un-bound, together with stakes of all sizes. For a few seconds the wayfarer stood with that tense stillness which signifies itself to be not the end, but merely the suspension, of a previous motion. Her attitude was that of a person who listens, either to the external world of sound, or to the imagined discourse of thought. A close criticism might have detected signs proving that she was intent on the latter alternative. Moreover, as was shown by what followed, she was oddly exercising the faculty of invention upon the speciality of the clever Jacquet Droz, the designer of automatic substitutes for human limbs. By the aid of the Casterbridge aurora, and by feeling with her hands, the woman selected two sticks from the heaps. These sticks were nearly straight to the height of three or four feet, where each branched into a fork like the letter Y. She sat down, snapped off the small upper twigs, and carried the remainder with her into the road. She placed one of these forks under each arm as a crutch, tested them, timidly threw her whole weight upon them--so little that it was--and swung herself forward. The girl had made for herself a material aid. The crutches answered well. The pat of her feet, and the tap of her sticks upon the highway, were all the sounds that came from the traveller now. She had passed the last milestone by a good long distance, and began to look wistfully towards the bank as if calculating upon another milestone soon. The crutches, though so very useful, had their limits of power. Mechanism only transfers labour, being powerless to supersede it, and the original amount of exertion was not cleared away; it was thrown into the body and arms. She was exhausted, and each swing forward became fainter. At last she swayed sideways, and fell. Here she lay, a shapeless heap, for ten minutes and more. The morning wind began to boom dully over the flats, and to move afresh dead leaves which had lain still since yesterday. The woman desperately turned round upon her knees, and next rose to her feet. Steadying herself by the help of one crutch, she essayed a step, then another, then a third, using the crutches now as walking-sticks only. Thus she progressed till descending Mellstock Hill another milestone appeared, and soon the beginning of an iron-railed fence came into view. She staggered across to the first post, clung to it, and looked around. The Casterbridge lights were now individually visible. It was getting towards morning, and vehicles might be hoped for, if not expected soon. She listened. There was not a sound of life save that acme and sublimation of all dismal sounds, the bark of a fox, its three hollow notes being rendered at intervals of a minute with the precision of a funeral bell. "Less than a mile!" the woman murmured. "No; more," she added, after a pause. "The mile is to the county hall, and my resting-place is on the other side Casterbridge. A little over a mile, and there I am!" After an interval she again spoke. "Five or six steps to a yard--six perhaps. I have to go seventeen hundred yards. A hundred times six, six hundred. Seventeen times that. O pity me, Lord!" Holding to the rails, she advanced, thrusting one hand forward upon the rail, then the other, then leaning over it whilst she dragged her feet on beneath. This woman was not given to soliloquy; but extremity of feeling lessens the individuality of the weak, as it increases that of the strong. She said again in the same tone, "I'll believe that the end lies five posts forward, and no further, and so get strength to pass them." This was a practical application of the principle that a half-feigned and fictitious faith is better than no faith at all. She passed five posts and held on to the fifth. "I'll pass five more by believing my longed-for spot is at the next fifth. I can do it." She passed five more. "It lies only five further." She passed five more. "But it is five further." She passed them. "That stone bridge is the end of my journey," she said, when the bridge over the Froom was in view. She crawled to the bridge. During the effort each breath of the woman went into the air as if never to return again. "Now for the truth of the matter," she said, sitting down. "The truth is, that I have less than half a mile." Self-beguilement with what she had known all the time to be false had given her strength to come over half a mile that she would have been powerless to face in the lump. The artifice showed that the woman, by some mysterious intuition, had grasped the paradoxical truth that blindness may operate more vigorously than prescience, and the short-sighted effect more than the far-seeing; that limitation, and not comprehensiveness, is needed for striking a blow. The half-mile stood now before the sick and weary woman like a stolid Juggernaut. It was an impassive King of her world. The road here ran across Durnover Moor, open to the road on either side. She surveyed the wide space, the lights, herself, sighed, and lay down against a guard-stone of the bridge. Never was ingenuity exercised so sorely as the traveller here exercised hers. Every conceivable aid, method, stratagem, mechanism, by which these last desperate eight hundred yards could be overpassed by a human being unperceived, was revolved in her busy brain, and dismissed as impracticable. She thought of sticks, wheels, crawling--she even thought of rolling. But the exertion demanded by either of these latter two was greater than to walk erect. The faculty of contrivance was worn out. Hopelessness had come at last. "No further!" she whispered, and closed her eyes. From the stripe of shadow on the opposite side of the bridge a portion of shade seemed to detach itself and move into isolation upon the pale white of the road. It glided noiselessly towards the recumbent woman. She became conscious of something touching her hand; it was softness and it was warmth. She opened her eyes, and the substance touched her face. A dog was licking her cheek. He was a huge, heavy, and quiet creature, standing darkly against the low horizon, and at least two feet higher than the present position of her eyes. Whether Newfoundland, mastiff, bloodhound, or what not, it was impossible to say. He seemed to be of too strange and mysterious a nature to belong to any variety among those of popular nomenclature. Being thus assignable to no breed, he was the ideal embodiment of canine greatness--a generalization from what was common to all. Night, in its sad, solemn, and benevolent aspect, apart from its stealthy and cruel side, was personified in this form. Darkness endows the small and ordinary ones among mankind with poetical power, and even the suffering woman threw her idea into figure. In her reclining position she looked up to him just as in earlier times she had, when standing, looked up to a man. The animal, who was as homeless as she, respectfully withdrew a step or two when the woman moved, and, seeing that she did not repulse him, he licked her hand again. A thought moved within her like lightning. "Perhaps I can make use of him--I might do it then!" She pointed in the direction of Casterbridge, and the dog seemed to misunderstand: he trotted on. Then, finding she could not follow, he came back and whined. The ultimate and saddest singularity of woman's effort and invention was reached when, with a quickened breathing, she rose to a stooping posture, and, resting her two little arms upon the shoulders of the dog, leant firmly thereon, and murmured stimulating words. Whilst she sorrowed in her heart she cheered with her voice, and what was stranger than that the strong should need encouragement from the weak was that cheerfulness should be so well stimulated by such utter dejection. Her friend moved forward slowly, and she with small mincing steps moved forward beside him, half her weight being thrown upon the animal. Sometimes she sank as she had sunk from walking erect, from the crutches, from the rails. The dog, who now thoroughly understood her desire and her incapacity, was frantic in his distress on these occasions; he would tug at her dress and run forward. She always called him back, and it was now to be observed that the woman listened for human sounds only to avoid them. It was evident that she had an object in keeping her presence on the road and her forlorn state unknown. Their progress was necessarily very slow. They reached the bottom of the town, and the Casterbridge lamps lay before them like fallen Pleiads as they turned to the left into the dense shade of a deserted avenue of chestnuts, and so skirted the borough. Thus the town was passed, and the goal was reached. On this much-desired spot outside the town rose a picturesque building. Originally it had been a mere case to hold people. The shell had been so thin, so devoid of excrescence, and so closely drawn over the accommodation granted, that the grim character of what was beneath showed through it, as the shape of a body is visible under a winding-sheet. Then Nature, as if offended, lent a hand. Masses of ivy grew up, completely covering the walls, till the place looked like an abbey; and it was discovered that the view from the front, over the Casterbridge chimneys, was one of the most magnificent in the county. A neighbouring earl once said that he would give up a year's rental to have at his own door the view enjoyed by the inmates from theirs--and very probably the inmates would have given up the view for his year's rental. This stone edifice consisted of a central mass and two wings, whereon stood as sentinels a few slim chimneys, now gurgling sorrowfully to the slow wind. In the wall was a gate, and by the gate a bellpull formed of a hanging wire. The woman raised herself as high as possible upon her knees, and could just reach the handle. She moved it and fell forwards in a bowed attitude, her face upon her bosom. It was getting on towards six o'clock, and sounds of movement were to be heard inside the building which was the haven of rest to this wearied soul. A little door by the large one was opened, and a man appeared inside. He discerned the panting heap of clothes, went back for a light, and came again. He entered a second time, and returned with two women. These lifted the prostrate figure and assisted her in through the doorway. The man then closed the door. "How did she get here?" said one of the women. "The Lord knows," said the other. "There is a dog outside," murmured the overcome traveller. "Where is he gone? He helped me." "I stoned him away," said the man. The little procession then moved forward--the man in front bearing the light, the two bony women next, supporting between them the small and supple one. Thus they entered the house and disappeared.

Chapter 40

https://web.archive.org/web/20201101052914/https://www.cliffsnotes.com/literature/f/far-from-the-madding-crowd/summary-and-analysis/chapter-40

The woman continued on her slow way, stopping to rest from time to time and praying for strength. She counted the milestones to encourage herself to proceed. A carriage passing in the darkness lighted her face, "young in the groundwork, old in the finish; the general contours were flexuous and childlike, but the finer lineaments had begun to be sharp and thin." At a lone copsewood she paused. Groping, she selected two Y-shaped sticks and used them as crutches. These helped her to the last milestone, where she swayed, fell, lay for a while, then crawled and fell again. A dog licked the woman's cheek. "In her reclining position she looked up to him just as . . . she had, when standing, looked up to a man." The animal, as homeless as she, withdrew a step, then returned, sensing her need. Using him as a prop, the woman slowly moved ahead. They reached a shabby building, so overgrown with ivy that it had become one of the attractions of the town. The woman managed to pull the bell before falling down. A man emerged and went for help to get her into the building. The woman revived enough to ask for the dog. "'I stoned him away,' said the man. The little procession then moved forward -- the man in front bearing the light, two bony women next, supporting between them the small and supple one. Thus they entered the house and disappeared."

Some critics find this chapter less effective than most -- citing, for example, the interrupting discourse on the manufacturer of a Swiss prosthetic device, which is compared to the woman's improvisation of a crutch. The agonies of Fanny's journey have been called melodramatic. Animal lovers protest the use of the dog, although it seems that Hardy's point was that at times animals have more humanity than people. Hardy's succinct descriptions remain effective, as in the description of the ivy-covered almshouse to which the force of "Nature, as if offended, lent a hand."

cliffnotes

all_chapterized_books/107-chapters/52.txt

finished_summaries/cliffnotes/Far from the Madding Crowd/section_51_part_0.txt

Far from the Madding Crowd.chapter 52

chapter 52

{"name": "Chapter 52", "url": "https://web.archive.org/web/20201101052914/https://www.cliffsnotes.com/literature/f/far-from-the-madding-crowd/summary-and-analysis/chapter-52", "summary": "The story builds toward a focal point on Christmas Eve. The chapter is divided into seven parts: Boldwood, surprisingly, had planned a Christmas party. Mistletoe, garlands, and decorations were brought in from the woods, and elaborate preparations were made. Bathsheba was agitated and reluctant to go. She admitted to Liddy that she was the cause for the party. To avoid gossip, she would wear her widow's weeds. Boldwood fussed over his newly tailored clothes. When Oak arrived to report on the day's work, Boldwood reminded him that he was expected at the party. \"Make yourself merry. I am determined that neither expense nor trouble shall be spared.\" Gabriel replied that he might be late. He was glad to see Boldwood in better spirits. Boldwood asked whether women keep promises. Oak replied, \"If it is not inconvenient to her she may.\" Boldwood, feverishly cheerful, commented that Oak had become quite cynical lately. Troy was in a tavern in Casterbridge with Pennyways, who reminded him that his deceit was punishable by law. He could not answer Troy's question about Bathsheba's relationship with Boldwood. This was to be Bathsheba's first appearance at Boldwood's home. Pennyways still bore her a grudge. He told Troy that Oak was still the boss and that Bathsheba couldn't manage without him. Bathsheba, though plainly dressed, looked very well. Liddy suggested it was because of her excitement. Bathsheba admitted that she was vacillating between feeling buoyant and feeling wretched. When Liddy joked about Boldwood's imminent proposal, Bathsheba gravely silenced her. As Oak helped Boldwood tie his cravat, he urged him to be cautious and not to count on Bathsheba. Boldwood said he knew of Oak's love, and he wished to reward him for his decency. He would increase the extent of his partnership. When Oak had gone, Boldwood pulled out a small box and regarded a handsome ring. Hearing wheels in the distance, he put the box in his pocket and went to greet his guests. While Troy was attiring himself in a high-collared greatcoat and traveling cap, Pennyways counseled against his going to Boldwood's party. Troy argued angrily, \"There she is with plenty of money, and a house and farm . . . and here am I still living from hand to mouth -- a needy adventurer.\" In addition, Troy knew he had been seen and recognized in town. Pennyways realized he would have to get back into Bathsheba's good graces in the event of a reconciliation, and so, as a first step, he suggested to Troy, \"I sometimes think she likes you yet, and is a good woman at bottom.\" Troy announced that he would be at Boldwood's before nine.", "analysis": "Hardy has kept strict account of the threads running through the novel and here arranges them so that they can be tucked into the complicated tapestry. Structurally, this chapter is carefully outlined in seven sections that indicate what must follow. Troy has a premonition of tragedy, but, characteristically, he shrugs it off and sends for more brandy. Boldwood is keyed up but confident. Bathsheba's feelings vacillate, and Oak is gloomy and apprehensive."}

CONVERGING COURSES Christmas-eve came, and a party that Boldwood was to give in the evening was the great subject of talk in Weatherbury. It was not that the rarity of Christmas parties in the parish made this one a wonder, but that Boldwood should be the giver. The announcement had had an abnormal and incongruous sound, as if one should hear of croquet-playing in a cathedral aisle, or that some much-respected judge was going upon the stage. That the party was intended to be a truly jovial one there was no room for doubt. A large bough of mistletoe had been brought from the woods that day, and suspended in the hall of the bachelor's home. Holly and ivy had followed in armfuls. From six that morning till past noon the huge wood fire in the kitchen roared and sparkled at its highest, the kettle, the saucepan, and the three-legged pot appearing in the midst of the flames like Shadrach, Meshach, and Abednego; moreover, roasting and basting operations were continually carried on in front of the genial blaze. As it grew later the fire was made up in the large long hall into which the staircase descended, and all encumbrances were cleared out for dancing. The log which was to form the back-brand of the evening fire was the uncleft trunk of a tree, so unwieldy that it could be neither brought nor rolled to its place; and accordingly two men were to be observed dragging and heaving it in by chains and levers as the hour of assembly drew near. In spite of all this, the spirit of revelry was wanting in the atmosphere of the house. Such a thing had never been attempted before by its owner, and it was now done as by a wrench. Intended gaieties would insist upon appearing like solemn grandeurs, the organization of the whole effort was carried out coldly, by hirelings, and a shadow seemed to move about the rooms, saying that the proceedings were unnatural to the place and the lone man who lived therein, and hence not good. Bathsheba was at this time in her room, dressing for the event. She had called for candles, and Liddy entered and placed one on each side of her mistress's glass. "Don't go away, Liddy," said Bathsheba, almost timidly. "I am foolishly agitated--I cannot tell why. I wish I had not been obliged to go to this dance; but there's no escaping now. I have not spoken to Mr. Boldwood since the autumn, when I promised to see him at Christmas on business, but I had no idea there was to be anything of this kind." "But I would go now," said Liddy, who was going with her; for Boldwood had been indiscriminate in his invitations. "Yes, I shall make my appearance, of course," said Bathsheba. "But I am THE CAUSE of the party, and that upsets me!--Don't tell, Liddy." "Oh no, ma'am. You the cause of it, ma'am?" "Yes. I am the reason of the party--I. If it had not been for me, there would never have been one. I can't explain any more--there's no more to be explained. I wish I had never seen Weatherbury." "That's wicked of you--to wish to be worse off than you are." "No, Liddy. I have never been free from trouble since I have lived here, and this party is likely to bring me more. Now, fetch my black silk dress, and see how it sits upon me." "But you will leave off that, surely, ma'am? You have been a widow-lady fourteen months, and ought to brighten up a little on such a night as this." "Is it necessary? No; I will appear as usual, for if I were to wear any light dress people would say things about me, and I should seem to be rejoicing when I am solemn all the time. The party doesn't suit me a bit; but never mind, stay and help to finish me off." Boldwood was dressing also at this hour. A tailor from Casterbridge was with him, assisting him in the operation of trying on a new coat that had just been brought home. Never had Boldwood been so fastidious, unreasonable about the fit, and generally difficult to please. The tailor walked round and round him, tugged at the waist, pulled the sleeve, pressed out the collar, and for the first time in his experience Boldwood was not bored. Times had been when the farmer had exclaimed against all such niceties as childish, but now no philosophic or hasty rebuke whatever was provoked by this man for attaching as much importance to a crease in the coat as to an earthquake in South America. Boldwood at last expressed himself nearly satisfied, and paid the bill, the tailor passing out of the door just as Oak came in to report progress for the day. "Oh, Oak," said Boldwood. "I shall of course see you here to-night. Make yourself merry. I am determined that neither expense nor trouble shall be spared." "I'll try to be here, sir, though perhaps it may not be very early," said Gabriel, quietly. "I am glad indeed to see such a change in 'ee from what it used to be." "Yes--I must own it--I am bright to-night: cheerful and more than cheerful--so much so that I am almost sad again with the sense that all of it is passing away. And sometimes, when I am excessively hopeful and blithe, a trouble is looming in the distance: so that I often get to look upon gloom in me with content, and to fear a happy mood. Still this may be absurd--I feel that it is absurd. Perhaps my day is dawning at last." "I hope it 'ill be a long and a fair one." "Thank you--thank you. Yet perhaps my cheerfulness rests on a slender hope. And yet I trust my hope. It is faith, not hope. I think this time I reckon with my host.--Oak, my hands are a little shaky, or something; I can't tie this neckerchief properly. Perhaps you will tie it for me. The fact is, I have not been well lately, you know." "I am sorry to hear that, sir." "Oh, it's nothing. I want it done as well as you can, please. Is there any late knot in fashion, Oak?" "I don't know, sir," said Oak. His tone had sunk to sadness. Boldwood approached Gabriel, and as Oak tied the neckerchief the farmer went on feverishly-- "Does a woman keep her promise, Gabriel?" "If it is not inconvenient to her she may." "--Or rather an implied promise." "I won't answer for her implying," said Oak, with faint bitterness. "That's a word as full o' holes as a sieve with them." "Oak, don't talk like that. You have got quite cynical lately--how is it? We seem to have shifted our positions: I have become the young and hopeful man, and you the old and unbelieving one. However, does a woman keep a promise, not to marry, but to enter on an engagement to marry at some time? Now you know women better than I--tell me." "I am afeard you honour my understanding too much. However, she may keep such a promise, if it is made with an honest meaning to repair a wrong." "It has not gone far yet, but I think it will soon--yes, I know it will," he said, in an impulsive whisper. "I have pressed her upon the subject, and she inclines to be kind to me, and to think of me as a husband at a long future time, and that's enough for me. How can I expect more? She has a notion that a woman should not marry within seven years of her husband's disappearance--that her own self shouldn't, I mean--because his body was not found. It may be merely this legal reason which influences her, or it may be a religious one, but she is reluctant to talk on the point. Yet she has promised--implied--that she will ratify an engagement to-night." "Seven years," murmured Oak. "No, no--it's no such thing!" he said, with impatience. "Five years, nine months, and a few days. Fifteen months nearly have passed since he vanished, and is there anything so wonderful in an engagement of little more than five years?" "It seems long in a forward view. Don't build too much upon such promises, sir. Remember, you have once be'n deceived. Her meaning may be good; but there--she's young yet." "Deceived? Never!" said Boldwood, vehemently. "She never promised me at that first time, and hence she did not break her promise! If she promises me, she'll marry me. Bathsheba is a woman to her word." Troy was sitting in a corner of The White Hart tavern at Casterbridge, smoking and drinking a steaming mixture from a glass. A knock was given at the door, and Pennyways entered. "Well, have you seen him?" Troy inquired, pointing to a chair. "Boldwood?" "No--Lawyer Long." "He wadn' at home. I went there first, too." "That's a nuisance." "'Tis rather, I suppose." "Yet I don't see that, because a man appears to be drowned and was not, he should be liable for anything. I shan't ask any lawyer--not I." "But that's not it, exactly. If a man changes his name and so forth, and takes steps to deceive the world and his own wife, he's a cheat, and that in the eye of the law is ayless a rogue, and that is ayless a lammocken vagabond; and that's a punishable situation." "Ha-ha! Well done, Pennyways," Troy had laughed, but it was with some anxiety that he said, "Now, what I want to know is this, do you think there's really anything going on between her and Boldwood? Upon my soul, I should never have believed it! How she must detest me! Have you found out whether she has encouraged him?" "I haen't been able to learn. There's a deal of feeling on his side seemingly, but I don't answer for her. I didn't know a word about any such thing till yesterday, and all I heard then was that she was gwine to the party at his house to-night. This is the first time she has ever gone there, they say. And they say that she've not so much as spoke to him since they were at Greenhill Fair: but what can folk believe o't? However, she's not fond of him--quite offish and quite careless, I know." "I'm not so sure of that.... She's a handsome woman, Pennyways, is she not? Own that you never saw a finer or more splendid creature in your life. Upon my honour, when I set eyes upon her that day I wondered what I could have been made of to be able to leave her by herself so long. And then I was hampered with that bothering show, which I'm free of at last, thank the stars." He smoked on awhile, and then added, "How did she look when you passed by yesterday?" "Oh, she took no great heed of me, ye may well fancy; but she looked well enough, far's I know. Just flashed her haughty eyes upon my poor scram body, and then let them go past me to what was yond, much as if I'd been no more than a leafless tree. She had just got off her mare to look at the last wring-down of cider for the year; she had been riding, and so her colours were up and her breath rather quick, so that her bosom plimmed and fell--plimmed and fell--every time plain to my eye. Ay, and there were the fellers round her wringing down the cheese and bustling about and saying, 'Ware o' the pommy, ma'am: 'twill spoil yer gown.' 'Never mind me,' says she. Then Gabe brought her some of the new cider, and she must needs go drinking it through a strawmote, and not in a nateral way at all. 'Liddy,' says she, 'bring indoors a few gallons, and I'll make some cider-wine.' Sergeant, I was no more to her than a morsel of scroff in the fuel-house!" "I must go and find her out at once--O yes, I see that--I must go. Oak is head man still, isn't he?" "Yes, 'a b'lieve. And at Little Weatherbury Farm too. He manages everything." "'Twill puzzle him to manage her, or any other man of his compass!" "I don't know about that. She can't do without him, and knowing it well he's pretty independent. And she've a few soft corners to her mind, though I've never been able to get into one, the devil's in't!" "Ah, baily, she's a notch above you, and you must own it: a higher class of animal--a finer tissue. However, stick to me, and neither this haughty goddess, dashing piece of womanhood, Juno-wife of mine (Juno was a goddess, you know), nor anybody else shall hurt you. But all this wants looking into, I perceive. What with one thing and another, I see that my work is well cut out for me." "How do I look to-night, Liddy?" said Bathsheba, giving a final adjustment to her dress before leaving the glass. "I never saw you look so well before. Yes--I'll tell you when you looked like it--that night, a year and a half ago, when you came in so wildlike, and scolded us for making remarks about you and Mr. Troy." "Everybody will think that I am setting myself to captivate Mr. Boldwood, I suppose," she murmured. "At least they'll say so. Can't my hair be brushed down a little flatter? I dread going--yet I dread the risk of wounding him by staying away." "Anyhow, ma'am, you can't well be dressed plainer than you are, unless you go in sackcloth at once. 'Tis your excitement is what makes you look so noticeable to-night." "I don't know what's the matter, I feel wretched at one time, and buoyant at another. I wish I could have continued quite alone as I have been for the last year or so, with no hopes and no fears, and no pleasure and no grief." "Now just suppose Mr. Boldwood should ask you--only just suppose it--to run away with him, what would you do, ma'am?" "Liddy--none of that," said Bathsheba, gravely. "Mind, I won't hear joking on any such matter. Do you hear?" "I beg pardon, ma'am. But knowing what rum things we women be, I just said--however, I won't speak of it again." "No marrying for me yet for many a year; if ever, 'twill be for reasons very, very different from those you think, or others will believe! Now get my cloak, for it is time to go." "Oak," said Boldwood, "before you go I want to mention what has been passing in my mind lately--that little arrangement we made about your share in the farm I mean. That share is small, too small, considering how little I attend to business now, and how much time and thought you give to it. Well, since the world is brightening for me, I want to show my sense of it by increasing your proportion in the partnership. I'll make a memorandum of the arrangement which struck me as likely to be convenient, for I haven't time to talk about it now; and then we'll discuss it at our leisure. My intention is ultimately to retire from the management altogether, and until you can take all the expenditure upon your shoulders, I'll be a sleeping partner in the stock. Then, if I marry her--and I hope--I feel I shall, why--" "Pray don't speak of it, sir," said Oak, hastily. "We don't know what may happen. So many upsets may befall 'ee. There's many a slip, as they say--and I would advise you--I know you'll pardon me this once--not to be TOO SURE." "I know, I know. But the feeling I have about increasing your share is on account of what I know of you. Oak, I have learnt a little about your secret: your interest in her is more than that of bailiff for an employer. But you have behaved like a man, and I, as a sort of successful rival--successful partly through your goodness of heart--should like definitely to show my sense of your friendship under what must have been a great pain to you." "O that's not necessary, thank 'ee," said Oak, hurriedly. "I must get used to such as that; other men have, and so shall I." Oak then left him. He was uneasy on Boldwood's account, for he saw anew that this constant passion of the farmer made him not the man he once had been. As Boldwood continued awhile in his room alone--ready and dressed to receive his company--the mood of anxiety about his appearance seemed to pass away, and to be succeeded by a deep solemnity. He looked out of the window, and regarded the dim outline of the trees upon the sky, and the twilight deepening to darkness. Then he went to a locked closet, and took from a locked drawer therein a small circular case the size of a pillbox, and was about to put it into his pocket. But he lingered to open the cover and take a momentary glance inside. It contained a woman's finger-ring, set all the way round with small diamonds, and from its appearance had evidently been recently purchased. Boldwood's eyes dwelt upon its many sparkles a long time, though that its material aspect concerned him little was plain from his manner and mien, which were those of a mind following out the presumed thread of that jewel's future history. The noise of wheels at the front of the house became audible. Boldwood closed the box, stowed it away carefully in his pocket, and went out upon the landing. The old man who was his indoor factotum came at the same moment to the foot of the stairs. "They be coming, sir--lots of 'em--a-foot and a-driving!" "I was coming down this moment. Those wheels I heard--is it Mrs. Troy?" "No, sir--'tis not she yet." A reserved and sombre expression had returned to Boldwood's face again, but it poorly cloaked his feelings when he pronounced Bathsheba's name; and his feverish anxiety continued to show its existence by a galloping motion of his fingers upon the side of his thigh as he went down the stairs. "How does this cover me?" said Troy to Pennyways. "Nobody would recognize me now, I'm sure." He was buttoning on a heavy grey overcoat of Noachian cut, with cape and high collar, the latter being erect and rigid, like a girdling wall, and nearly reaching to the verge of a travelling cap which was pulled down over his ears. Pennyways snuffed the candle, and then looked up and deliberately inspected Troy. "You've made up your mind to go then?" he said. "Made up my mind? Yes; of course I have." "Why not write to her? 'Tis a very queer corner that you have got into, sergeant. You see all these things will come to light if you go back, and they won't sound well at all. Faith, if I was you I'd even bide as you be--a single man of the name of Francis. A good wife is good, but the best wife is not so good as no wife at all. Now that's my outspoke mind, and I've been called a long-headed feller here and there." "All nonsense!" said Troy, angrily. "There she is with plenty of money, and a house and farm, and horses, and comfort, and here am I living from hand to mouth--a needy adventurer. Besides, it is no use talking now; it is too late, and I am glad of it; I've been seen and recognized here this very afternoon. I should have gone back to her the day after the fair, if it hadn't been for you talking about the law, and rubbish about getting a separation; and I don't put it off any longer. What the deuce put it into my head to run away at all, I can't think! Humbugging sentiment--that's what it was. But what man on earth was to know that his wife would be in such a hurry to get rid of his name!" "I should have known it. She's bad enough for anything." "Pennyways, mind who you are talking to." "Well, sergeant, all I say is this, that if I were you I'd go abroad again where I came from--'tisn't too late to do it now. I wouldn't stir up the business and get a bad name for the sake of living with her--for all that about your play-acting is sure to come out, you know, although you think otherwise. My eyes and limbs, there'll be a racket if you go back just now--in the middle of Boldwood's Christmasing!" "H'm, yes. I expect I shall not be a very welcome guest if he has her there," said the sergeant, with a slight laugh. "A sort of Alonzo the Brave; and when I go in the guests will sit in silence and fear, and all laughter and pleasure will be hushed, and the lights in the chamber burn blue, and the worms--Ugh, horrible!--Ring for some more brandy, Pennyways, I felt an awful shudder just then! Well, what is there besides? A stick--I must have a walking-stick." Pennyways now felt himself to be in something of a difficulty, for should Bathsheba and Troy become reconciled it would be necessary to regain her good opinion if he would secure the patronage of her husband. "I sometimes think she likes you yet, and is a good woman at bottom," he said, as a saving sentence. "But there's no telling to a certainty from a body's outside. Well, you'll do as you like about going, of course, sergeant, and as for me, I'll do as you tell me." "Now, let me see what the time is," said Troy, after emptying his glass in one draught as he stood. "Half-past six o'clock. I shall not hurry along the road, and shall be there then before nine."

Chapter 52

https://web.archive.org/web/20201101052914/https://www.cliffsnotes.com/literature/f/far-from-the-madding-crowd/summary-and-analysis/chapter-52

The story builds toward a focal point on Christmas Eve. The chapter is divided into seven parts: Boldwood, surprisingly, had planned a Christmas party. Mistletoe, garlands, and decorations were brought in from the woods, and elaborate preparations were made. Bathsheba was agitated and reluctant to go. She admitted to Liddy that she was the cause for the party. To avoid gossip, she would wear her widow's weeds. Boldwood fussed over his newly tailored clothes. When Oak arrived to report on the day's work, Boldwood reminded him that he was expected at the party. "Make yourself merry. I am determined that neither expense nor trouble shall be spared." Gabriel replied that he might be late. He was glad to see Boldwood in better spirits. Boldwood asked whether women keep promises. Oak replied, "If it is not inconvenient to her she may." Boldwood, feverishly cheerful, commented that Oak had become quite cynical lately. Troy was in a tavern in Casterbridge with Pennyways, who reminded him that his deceit was punishable by law. He could not answer Troy's question about Bathsheba's relationship with Boldwood. This was to be Bathsheba's first appearance at Boldwood's home. Pennyways still bore her a grudge. He told Troy that Oak was still the boss and that Bathsheba couldn't manage without him. Bathsheba, though plainly dressed, looked very well. Liddy suggested it was because of her excitement. Bathsheba admitted that she was vacillating between feeling buoyant and feeling wretched. When Liddy joked about Boldwood's imminent proposal, Bathsheba gravely silenced her. As Oak helped Boldwood tie his cravat, he urged him to be cautious and not to count on Bathsheba. Boldwood said he knew of Oak's love, and he wished to reward him for his decency. He would increase the extent of his partnership. When Oak had gone, Boldwood pulled out a small box and regarded a handsome ring. Hearing wheels in the distance, he put the box in his pocket and went to greet his guests. While Troy was attiring himself in a high-collared greatcoat and traveling cap, Pennyways counseled against his going to Boldwood's party. Troy argued angrily, "There she is with plenty of money, and a house and farm . . . and here am I still living from hand to mouth -- a needy adventurer." In addition, Troy knew he had been seen and recognized in town. Pennyways realized he would have to get back into Bathsheba's good graces in the event of a reconciliation, and so, as a first step, he suggested to Troy, "I sometimes think she likes you yet, and is a good woman at bottom." Troy announced that he would be at Boldwood's before nine.

Hardy has kept strict account of the threads running through the novel and here arranges them so that they can be tucked into the complicated tapestry. Structurally, this chapter is carefully outlined in seven sections that indicate what must follow. Troy has a premonition of tragedy, but, characteristically, he shrugs it off and sends for more brandy. Boldwood is keyed up but confident. Bathsheba's feelings vacillate, and Oak is gloomy and apprehensive.

shmoop

all_chapterized_books/1232-chapters/23.txt

finished_summaries/shmoop/The Prince/section_23_part_0.txt

The Prince.chapter 23

chapter 23

{"name": "Chapter 23", "url": "https://web.archive.org/web/20210420060055/https://www.shmoop.com/study-guides/literature/prince-machiavelli/summary/chapter-23", "summary": "This is a hard one. There are so many people around who will just want to kiss your butt. Think of paparazzi. Everyone wants a piece of you. So what to do? Here it is: get people, but only some people, i.e. your ministers, to understand that you want them to tell the truth. Only when you ask, though. Also, make sure they get that you are the decider here, not them. One Bishop, Luca Rainaldi, never got advice and he also never got anything done, because he was always changing his mind. Don't be like him. Get your advice and make your decisions. Remember that a good minister and good advice won't help you if you are a bad leader, because they will just take over. You have to be a good leader to begin with to take advantage of a good minister.", "analysis": ""}

I do not wish to leave out an important branch of this subject, for it is a danger from which princes are with difficulty preserved, unless they are very careful and discriminating. It is that of flatterers, of whom courts are full, because men are so self-complacent in their own affairs, and in a way so deceived in them, that they are preserved with difficulty from this pest, and if they wish to defend themselves they run the danger of falling into contempt. Because there is no other way of guarding oneself from flatterers except letting men understand that to tell you the truth does not offend you; but when every one may tell you the truth, respect for you abates. Therefore a wise prince ought to hold a third course by choosing the wise men in his state, and giving to them only the liberty of speaking the truth to him, and then only of those things of which he inquires, and of none others; but he ought to question them upon everything, and listen to their opinions, and afterwards form his own conclusions. With these councillors, separately and collectively, he ought to carry himself in such a way that each of them should know that, the more freely he shall speak, the more he shall be preferred; outside of these, he should listen to no one, pursue the thing resolved on, and be steadfast in his resolutions. He who does otherwise is either overthrown by flatterers, or is so often changed by varying opinions that he falls into contempt. I wish on this subject to adduce a modern example. Fra Luca, the man of affairs to Maximilian,(*) the present emperor, speaking of his majesty, said: He consulted with no one, yet never got his own way in anything. This arose because of his following a practice the opposite to the above; for the emperor is a secretive man--he does not communicate his designs to any one, nor does he receive opinions on them. But as in carrying them into effect they become revealed and known, they are at once obstructed by those men whom he has around him, and he, being pliant, is diverted from them. Hence it follows that those things he does one day he undoes the next, and no one ever understands what he wishes or intends to do, and no one can rely on his resolutions. (*) Maximilian I, born in 1459, died 1519, Emperor of the Holy Roman Empire. He married, first, Mary, daughter of Charles the Bold; after her death, Bianca Sforza; and thus became involved in Italian politics. A prince, therefore, ought always to take counsel, but only when he wishes and not when others wish; he ought rather to discourage every one from offering advice unless he asks it; but, however, he ought to be a constant inquirer, and afterwards a patient listener concerning the things of which he inquired; also, on learning that any one, on any consideration, has not told him the truth, he should let his anger be felt. And if there are some who think that a prince who conveys an impression of his wisdom is not so through his own ability, but through the good advisers that he has around him, beyond doubt they are deceived, because this is an axiom which never fails: that a prince who is not wise himself will never take good advice, unless by chance he has yielded his affairs entirely to one person who happens to be a very prudent man. In this case indeed he may be well governed, but it would not be for long, because such a governor would in a short time take away his state from him. But if a prince who is not inexperienced should take counsel from more than one he will never get united counsels, nor will he know how to unite them. Each of the counsellors will think of his own interests, and the prince will not know how to control them or to see through them. And they are not to be found otherwise, because men will always prove untrue to you unless they are kept honest by constraint. Therefore it must be inferred that good counsels, whencesoever they come, are born of the wisdom of the prince, and not the wisdom of the prince from good counsels.

Chapter 23

https://web.archive.org/web/20210420060055/https://www.shmoop.com/study-guides/literature/prince-machiavelli/summary/chapter-23

This is a hard one. There are so many people around who will just want to kiss your butt. Think of paparazzi. Everyone wants a piece of you. So what to do? Here it is: get people, but only some people, i.e. your ministers, to understand that you want them to tell the truth. Only when you ask, though. Also, make sure they get that you are the decider here, not them. One Bishop, Luca Rainaldi, never got advice and he also never got anything done, because he was always changing his mind. Don't be like him. Get your advice and make your decisions. Remember that a good minister and good advice won't help you if you are a bad leader, because they will just take over. You have to be a good leader to begin with to take advantage of a good minister.

gradesaver

all_chapterized_books/161-chapters/36.txt

finished_summaries/gradesaver/Sense and Sensibility/section_3_part_6.txt

Sense and Sensibility.chapter 36

chapter 36

{"name": "Chapter 36", "url": "https://web.archive.org/web/20210419170735/https://www.gradesaver.com/sense-and-sensibility/study-guide/summary-chapters-31-40", "summary": "Mrs. Palmer, Mrs. Jennings' daughter, has a son; Mrs. Jennings is with her daughter most days, which means Elinor and Marianne are obliged to spend their days at the Middletons'. Lady Middleton does not care for them because they do not flatter her or the children, and the Miss Steeles are too jealous of the Dashwood girls to like them. The Dashwood girls are invited to a party, although the invitation is mistakenly sent to their brother's house; Marianne, who is much recovered, goes, although she gets little pleasure from any company in town. Robert Ferrars, Edward's brother, is there; he is arrogant and a fool, like the whole of his family, excepting poor, modest Edward. John wishes to invite the Miss Dashwoods to stay with them; but, as usual, Fanny talks him out of it in favor of inviting the Miss Steeles. Elinor worries that Lucy might be able to gain the favor of the Ferrars family, and marry Edward after all.", "analysis": "How dear, sweet Edward could have sprung from such a miserable, poor-spirited family is a complete mystery; the juxtaposition of Edward with his relations makes him seem even more of a good-hearted, rare sort of man. Robert is as condescending toward her as John is, though he makes far more of an effort to speak to the Dashwood girls than his sister Fanny ever attempts. Austen serves up more of her understated wit to mock Robert; her comment Elinor deems him unworthy of \"the compliment of rational opposition\" perfectly displays how Austen infuses proper diction with irony, to achieve a unique brand of social criticism"}

Within a few days after this meeting, the newspapers announced to the world, that the lady of Thomas Palmer, Esq. was safely delivered of a son and heir; a very interesting and satisfactory paragraph, at least to all those intimate connections who knew it before. This event, highly important to Mrs. Jennings's happiness, produced a temporary alteration in the disposal of her time, and influenced, in a like degree, the engagements of her young friends; for as she wished to be as much as possible with Charlotte, she went thither every morning as soon as she was dressed, and did not return till late in the evening; and the Miss Dashwoods, at the particular request of the Middletons, spent the whole of every day in Conduit Street. For their own comfort they would much rather have remained, at least all the morning, in Mrs. Jennings's house; but it was not a thing to be urged against the wishes of everybody. Their hours were therefore made over to Lady Middleton and the two Miss Steeles, by whom their company, in fact was as little valued, as it was professedly sought. They had too much sense to be desirable companions to the former; and by the latter they were considered with a jealous eye, as intruding on THEIR ground, and sharing the kindness which they wanted to monopolize. Though nothing could be more polite than Lady Middleton's behaviour to Elinor and Marianne, she did not really like them at all. Because they neither flattered herself nor her children, she could not believe them good-natured; and because they were fond of reading, she fancied them satirical: perhaps without exactly knowing what it was to be satirical; but THAT did not signify. It was censure in common use, and easily given. Their presence was a restraint both on her and on Lucy. It checked the idleness of one, and the business of the other. Lady Middleton was ashamed of doing nothing before them, and the flattery which Lucy was proud to think of and administer at other times, she feared they would despise her for offering. Miss Steele was the least discomposed of the three, by their presence; and it was in their power to reconcile her to it entirely. Would either of them only have given her a full and minute account of the whole affair between Marianne and Mr. Willoughby, she would have thought herself amply rewarded for the sacrifice of the best place by the fire after dinner, which their arrival occasioned. But this conciliation was not granted; for though she often threw out expressions of pity for her sister to Elinor, and more than once dropt a reflection on the inconstancy of beaux before Marianne, no effect was produced, but a look of indifference from the former, or of disgust in the latter. An effort even yet lighter might have made her their friend. Would they only have laughed at her about the Doctor! But so little were they, anymore than the others, inclined to oblige her, that if Sir John dined from home, she might spend a whole day without hearing any other raillery on the subject, than what she was kind enough to bestow on herself. All these jealousies and discontents, however, were so totally unsuspected by Mrs. Jennings, that she thought it a delightful thing for the girls to be together; and generally congratulated her young friends every night, on having escaped the company of a stupid old woman so long. She joined them sometimes at Sir John's, sometimes at her own house; but wherever it was, she always came in excellent spirits, full of delight and importance, attributing Charlotte's well doing to her own care, and ready to give so exact, so minute a detail of her situation, as only Miss Steele had curiosity enough to desire. One thing DID disturb her; and of that she made her daily complaint. Mr. Palmer maintained the common, but unfatherly opinion among his sex, of all infants being alike; and though she could plainly perceive, at different times, the most striking resemblance between this baby and every one of his relations on both sides, there was no convincing his father of it; no persuading him to believe that it was not exactly like every other baby of the same age; nor could he even be brought to acknowledge the simple proposition of its being the finest child in the world. I come now to the relation of a misfortune, which about this time befell Mrs. John Dashwood. It so happened that while her two sisters with Mrs. Jennings were first calling on her in Harley Street, another of her acquaintance had dropt in--a circumstance in itself not apparently likely to produce evil to her. But while the imaginations of other people will carry them away to form wrong judgments of our conduct, and to decide on it by slight appearances, one's happiness must in some measure be always at the mercy of chance. In the present instance, this last-arrived lady allowed her fancy to so far outrun truth and probability, that on merely hearing the name of the Miss Dashwoods, and understanding them to be Mr. Dashwood's sisters, she immediately concluded them to be staying in Harley Street; and this misconstruction produced within a day or two afterwards, cards of invitation for them as well as for their brother and sister, to a small musical party at her house. The consequence of which was, that Mrs. John Dashwood was obliged to submit not only to the exceedingly great inconvenience of sending her carriage for the Miss Dashwoods, but, what was still worse, must be subject to all the unpleasantness of appearing to treat them with attention: and who could tell that they might not expect to go out with her a second time? The power of disappointing them, it was true, must always be hers. But that was not enough; for when people are determined on a mode of conduct which they know to be wrong, they feel injured by the expectation of any thing better from them. Marianne had now been brought by degrees, so much into the habit of going out every day, that it was become a matter of indifference to her, whether she went or not: and she prepared quietly and mechanically for every evening's engagement, though without expecting the smallest amusement from any, and very often without knowing, till the last moment, where it was to take her. To her dress and appearance she was grown so perfectly indifferent, as not to bestow half the consideration on it, during the whole of her toilet, which it received from Miss Steele in the first five minutes of their being together, when it was finished. Nothing escaped HER minute observation and general curiosity; she saw every thing, and asked every thing; was never easy till she knew the price of every part of Marianne's dress; could have guessed the number of her gowns altogether with better judgment than Marianne herself, and was not without hopes of finding out before they parted, how much her washing cost per week, and how much she had every year to spend upon herself. The impertinence of these kind of scrutinies, moreover, was generally concluded with a compliment, which though meant as its douceur, was considered by Marianne as the greatest impertinence of all; for after undergoing an examination into the value and make of her gown, the colour of her shoes, and the arrangement of her hair, she was almost sure of being told that upon "her word she looked vastly smart, and she dared to say she would make a great many conquests." With such encouragement as this, was she dismissed on the present occasion, to her brother's carriage; which they were ready to enter five minutes after it stopped at the door, a punctuality not very agreeable to their sister-in-law, who had preceded them to the house of her acquaintance, and was there hoping for some delay on their part that might inconvenience either herself or her coachman. The events of this evening were not very remarkable. The party, like other musical parties, comprehended a great many people who had real taste for the performance, and a great many more who had none at all; and the performers themselves were, as usual, in their own estimation, and that of their immediate friends, the first private performers in England. As Elinor was neither musical, nor affecting to be so, she made no scruple of turning her eyes from the grand pianoforte, whenever it suited her, and unrestrained even by the presence of a harp, and violoncello, would fix them at pleasure on any other object in the room. In one of these excursive glances she perceived among a group of young men, the very he, who had given them a lecture on toothpick-cases at Gray's. She perceived him soon afterwards looking at herself, and speaking familiarly to her brother; and had just determined to find out his name from the latter, when they both came towards her, and Mr. Dashwood introduced him to her as Mr. Robert Ferrars. He addressed her with easy civility, and twisted his head into a bow which assured her as plainly as words could have done, that he was exactly the coxcomb she had heard him described to be by Lucy. Happy had it been for her, if her regard for Edward had depended less on his own merit, than on the merit of his nearest relations! For then his brother's bow must have given the finishing stroke to what the ill-humour of his mother and sister would have begun. But while she wondered at the difference of the two young men, she did not find that the emptiness of conceit of the one, put her out of all charity with the modesty and worth of the other. Why they WERE different, Robert exclaimed to her himself in the course of a quarter of an hour's conversation; for, talking of his brother, and lamenting the extreme GAUCHERIE which he really believed kept him from mixing in proper society, he candidly and generously attributed it much less to any natural deficiency, than to the misfortune of a private education; while he himself, though probably without any particular, any material superiority by nature, merely from the advantage of a public school, was as well fitted to mix in the world as any other man. "Upon my soul," he added, "I believe it is nothing more; and so I often tell my mother, when she is grieving about it. 'My dear Madam,' I always say to her, 'you must make yourself easy. The evil is now irremediable, and it has been entirely your own doing. Why would you be persuaded by my uncle, Sir Robert, against your own judgment, to place Edward under private tuition, at the most critical time of his life? If you had only sent him to Westminster as well as myself, instead of sending him to Mr. Pratt's, all this would have been prevented.' This is the way in which I always consider the matter, and my mother is perfectly convinced of her error." Elinor would not oppose his opinion, because, whatever might be her general estimation of the advantage of a public school, she could not think of Edward's abode in Mr. Pratt's family, with any satisfaction. "You reside in Devonshire, I think,"--was his next observation, "in a cottage near Dawlish." Elinor set him right as to its situation; and it seemed rather surprising to him that anybody could live in Devonshire, without living near Dawlish. He bestowed his hearty approbation however on their species of house. "For my own part," said he, "I am excessively fond of a cottage; there is always so much comfort, so much elegance about them. And I protest, if I had any money to spare, I should buy a little land and build one myself, within a short distance of London, where I might drive myself down at any time, and collect a few friends about me, and be happy. I advise every body who is going to build, to build a cottage. My friend Lord Courtland came to me the other day on purpose to ask my advice, and laid before me three different plans of Bonomi's. I was to decide on the best of them. 'My dear Courtland,' said I, immediately throwing them all into the fire, 'do not adopt either of them, but by all means build a cottage.' And that I fancy, will be the end of it. "Some people imagine that there can be no accommodations, no space in a cottage; but this is all a mistake. I was last month at my friend Elliott's, near Dartford. Lady Elliott wished to give a dance. 'But how can it be done?' said she; 'my dear Ferrars, do tell me how it is to be managed. There is not a room in this cottage that will hold ten couple, and where can the supper be?' I immediately saw that there could be no difficulty in it, so I said, 'My dear Lady Elliott, do not be uneasy. The dining parlour will admit eighteen couple with ease; card-tables may be placed in the drawing-room; the library may be open for tea and other refreshments; and let the supper be set out in the saloon.' Lady Elliott was delighted with the thought. We measured the dining-room, and found it would hold exactly eighteen couple, and the affair was arranged precisely after my plan. So that, in fact, you see, if people do but know how to set about it, every comfort may be as well enjoyed in a cottage as in the most spacious dwelling." Elinor agreed to it all, for she did not think he deserved the compliment of rational opposition. As John Dashwood had no more pleasure in music than his eldest sister, his mind was equally at liberty to fix on any thing else; and a thought struck him during the evening, which he communicated to his wife, for her approbation, when they got home. The consideration of Mrs. Dennison's mistake, in supposing his sisters their guests, had suggested the propriety of their being really invited to become such, while Mrs. Jennings's engagements kept her from home. The expense would be nothing, the inconvenience not more; and it was altogether an attention which the delicacy of his conscience pointed out to be requisite to its complete enfranchisement from his promise to his father. Fanny was startled at the proposal. "I do not see how it can be done," said she, "without affronting Lady Middleton, for they spend every day with her; otherwise I should be exceedingly glad to do it. You know I am always ready to pay them any attention in my power, as my taking them out this evening shews. But they are Lady Middleton's visitors. How can I ask them away from her?" Her husband, but with great humility, did not see the force of her objection. "They had already spent a week in this manner in Conduit Street, and Lady Middleton could not be displeased at their giving the same number of days to such near relations." Fanny paused a moment, and then, with fresh vigor, said, "My love I would ask them with all my heart, if it was in my power. But I had just settled within myself to ask the Miss Steeles to spend a few days with us. They are very well behaved, good kind of girls; and I think the attention is due to them, as their uncle did so very well by Edward. We can ask your sisters some other year, you know; but the Miss Steeles may not be in town any more. I am sure you will like them; indeed, you DO like them, you know, very much already, and so does my mother; and they are such favourites with Harry!" Mr. Dashwood was convinced. He saw the necessity of inviting the Miss Steeles immediately, and his conscience was pacified by the resolution of inviting his sisters another year; at the same time, however, slyly suspecting that another year would make the invitation needless, by bringing Elinor to town as Colonel Brandon's wife, and Marianne as THEIR visitor. Fanny, rejoicing in her escape, and proud of the ready wit that had procured it, wrote the next morning to Lucy, to request her company and her sister's, for some days, in Harley Street, as soon as Lady Middleton could spare them. This was enough to make Lucy really and reasonably happy. Mrs. Dashwood seemed actually working for her, herself; cherishing all her hopes, and promoting all her views! Such an opportunity of being with Edward and his family was, above all things, the most material to her interest, and such an invitation the most gratifying to her feelings! It was an advantage that could not be too gratefully acknowledged, nor too speedily made use of; and the visit to Lady Middleton, which had not before had any precise limits, was instantly discovered to have been always meant to end in two days' time. When the note was shown to Elinor, as it was within ten minutes after its arrival, it gave her, for the first time, some share in the expectations of Lucy; for such a mark of uncommon kindness, vouchsafed on so short an acquaintance, seemed to declare that the good-will towards her arose from something more than merely malice against herself; and might be brought, by time and address, to do every thing that Lucy wished. Her flattery had already subdued the pride of Lady Middleton, and made an entry into the close heart of Mrs. John Dashwood; and these were effects that laid open the probability of greater. The Miss Steeles removed to Harley Street, and all that reached Elinor of their influence there, strengthened her expectation of the event. Sir John, who called on them more than once, brought home such accounts of the favour they were in, as must be universally striking. Mrs. Dashwood had never been so much pleased with any young women in her life, as she was with them; had given each of them a needle book made by some emigrant; called Lucy by her Christian name; and did not know whether she should ever be able to part with them. [At this point in the first and second editions, Volume II ended.]

Chapter 36

https://web.archive.org/web/20210419170735/https://www.gradesaver.com/sense-and-sensibility/study-guide/summary-chapters-31-40

Mrs. Palmer, Mrs. Jennings' daughter, has a son; Mrs. Jennings is with her daughter most days, which means Elinor and Marianne are obliged to spend their days at the Middletons'. Lady Middleton does not care for them because they do not flatter her or the children, and the Miss Steeles are too jealous of the Dashwood girls to like them. The Dashwood girls are invited to a party, although the invitation is mistakenly sent to their brother's house; Marianne, who is much recovered, goes, although she gets little pleasure from any company in town. Robert Ferrars, Edward's brother, is there; he is arrogant and a fool, like the whole of his family, excepting poor, modest Edward. John wishes to invite the Miss Dashwoods to stay with them; but, as usual, Fanny talks him out of it in favor of inviting the Miss Steeles. Elinor worries that Lucy might be able to gain the favor of the Ferrars family, and marry Edward after all.

How dear, sweet Edward could have sprung from such a miserable, poor-spirited family is a complete mystery; the juxtaposition of Edward with his relations makes him seem even more of a good-hearted, rare sort of man. Robert is as condescending toward her as John is, though he makes far more of an effort to speak to the Dashwood girls than his sister Fanny ever attempts. Austen serves up more of her understated wit to mock Robert; her comment Elinor deems him unworthy of "the compliment of rational opposition" perfectly displays how Austen infuses proper diction with irony, to achieve a unique brand of social criticism

gradesaver

all_chapterized_books/5658-chapters/chapters_14_to_18.txt

finished_summaries/gradesaver/Lord Jim/section_5_part_0.txt

Lord Jim.chapters 14-18

chapters 14-18

{"name": "Chapters 14-18", "url": "https://web.archive.org/web/20210422054542/https://www.gradesaver.com/lord-jim/study-guide/summary-chapters-14-18", "summary": "Marlow, detained by his chief mate , attends the final day of the Inquiry, where the judgment is to be announced. The entire thing, he thinks to himself, has the sense of an exaggerated view of a common occurrence--where the crime was a very subtle, yet worse than a beheading. The judgments come in: the ship is deemed not to have been seaworthy, but it was navigated properly at the time of the accident. The result, for Jim, is that his certificates are cancelled; he is effectively exiled from the sea. After the event, Marlow hears a voice behind him say, \"man overboard\" . The man is Chester, a West Australian \"pearler, wrecker, trader, whaler\" in search of a steamer to buy. He nods in Jim's direction and asks Marlow, \"Takes it to heart?\" . Marlow nods, and Chester, along with his partner Captain Robinson, an \"emaciated patriarch in a suit of white drill\" and a white beard, are together embarking in a sordid business scheme on a far-off island, to which Chester suggests that Marlow prod Jim to go and work. Marlow defeats the suggestion, offending Chester and Captain Robinson, but then considers it again in his hotel room as he writes his letters. Jim is with him there, like \"a little child\" . Marlow admits that he can't help but feel responsibility for the young man who, by that point, \"stood on the brink of a vast obscurity, like a lonely figure by the shore of a somber, and hopeless ocean\" . The reader learns that Chester and his crew, en route for the sordid business, disappeared into a hurricane. The story continues with a storm, a growl of thunder, and Jim in Marlow's hotel room finally taking his seat. Marlow explains that the letter he is writing is to an old friend of his, one who will give him a home and good work. \"You must let me help you,\" Marlow says. Jim likewise at first resists, but he eventually recognizes the value of chance and this chance. He is grateful, and the scene is described through a tangle of weather and emotion. Six months later, Marlow receives a happy letter from his friend, the owner of a rice mill, who has been enjoying Jim's company thoroughly. Marlow describes it as an \"active liking,\" though the friend is very curious about the nature of Jim's guilt . After a trip north, upon returning to Hong Kong harbor, Marlow finds another letter, this time carrying the news that Jim has gone. Yet another letter in the pile is from Jim himself, who explains that the second engineer of the Patna had appeared to take a temporary job overseeing the machinery of the mill. Jim could not stand to be near him, so he left, and he was now employed with Egstrom & Blake, ship-chandlers, as their water-clerk. Marlow eventually finds himself in those parts, and when he sees Jim, Jim expresses how bad he felt having deserted the man who had become \"like a father\" . On his next trip to the region, however, Marlow finds that Jim left Egstrom & Blake three weeks earlier, when the Sarah W. Granger came in with pilgrims from the Red Sea. Marlow asks if there was talk of the Patna, and Egstrom, surprised, says that there was. Captain O'Brien called the incident a \"disgrace to human nature,\" and he called all the seamen involved \"Skunks!\" . He followed this with the comment that \"it stinks here now,\" an ambiguous insinuation that he knew exactly who Jim was, though Egstrom had not understood his meaning at the time. Just after the company departed, Jim set his sandwich down and announced that he would be off. Egstrom says it seemed as if he were running away, and at Jim's parting he said, \"mark my words, if you keep up this game you'll very soon find that the earth ain't big enough to hold you\" . Jim had been uneasy.", "analysis": "The final judgment of the Inquiry is ironic in deeming the steamship not to be seaworthy, since it had proven its mettle in spite of the damage that had been done to it. Regardless, the result of Jim's commitment to telling the facts of the incident to the best of his knowledge is the cancellation of his certificates. In other words, he is exiled from work at sea. Confined to the land with a kind of death sentence--killing the dreams of romantic adventure Jim might have realized--he receives a chance at a fresh start when Marlow insists on offering him help. The first opportunity that Jim has, however, and one that Marlow rejects for him, is an unpleasant one, and it would have led to a definite death at sea . Marlow, then, figures as Jim's protector or guardian of his fate. The fact that Jim knows he can never face his father again calls attention to his need for another man to fill that role for him now. Marlow, in response, sends Jim to a friend of his with a job at a rice mill; since the man is a bachelor and without children, the hope is apparently that Jim will become an adopted son and inherit the rice mill. Then, when Marlow receives positive word from his friend that all is going well between Jim and the man, Marlow appears to have been right about Jim's worth: Jim has a good heart and a character worth preserving. Jim's humiliation regarding the Patna incident, however, takes the form of a fundamental character flaw. This character flaw is more than an aspect of his personality; it constitutes a part of his personal history, and he is unable to release himself from the memory of his action and state of mind at a particularly distressing time. His personality responds to and obsesses over this failure, and Jim runs away from whatever life he is building if news of the failure penetrates the people around him. Thus he runs from Marlow's friend and his work, and he likewise runs from the ship-chandlers. In both places, he achieved an amiable intimacy with these other persons, but in both cases his \"clean slate\" is sullied. It is too much for him to bear when the second engineer from the Patna arrives at the rice mill for employment, and the ship captain arriving at Egstrom & Blake seems to recognize who Jim is by his comment that \"it stinks here now.\" Having exhausted his other resources, Marlow soon will turn to his friend Stein for help. Jim's behavior evinces a desire to seek and remain in a space that is \"a clean slate,\" free of the memory of his failure. He seeks to be anonymous and to begin again. Chester's statement to Marlow was that Jim takes it all too much to heart, and this observation is correct: Jim's failure has become too much a part of his personality. Although Jim runs, the circulating nature of story of rumor in these colonial reaches means that word of mouth travels far--Egstrom even states that the entire earth will not be big enough to hide from the past. The question now is: How will Jim mature, given this flaw and the way it has been expressed through his actions?"}

'I slept little, hurried over my breakfast, and after a slight hesitation gave up my early morning visit to my ship. It was really very wrong of me, because, though my chief mate was an excellent man all round, he was the victim of such black imaginings that if he did not get a letter from his wife at the expected time he would go quite distracted with rage and jealousy, lose all grip on the work, quarrel with all hands, and either weep in his cabin or develop such a ferocity of temper as all but drove the crew to the verge of mutiny. The thing had always seemed inexplicable to me: they had been married thirteen years; I had a glimpse of her once, and, honestly, I couldn't conceive a man abandoned enough to plunge into sin for the sake of such an unattractive person. I don't know whether I have not done wrong by refraining from putting that view before poor Selvin: the man made a little hell on earth for himself, and I also suffered indirectly, but some sort of, no doubt, false delicacy prevented me. The marital relations of seamen would make an interesting subject, and I could tell you instances. . . . However, this is not the place, nor the time, and we are concerned with Jim--who was unmarried. If his imaginative conscience or his pride; if all the extravagant ghosts and austere shades that were the disastrous familiars of his youth would not let him run away from the block, I, who of course can't be suspected of such familiars, was irresistibly impelled to go and see his head roll off. I wended my way towards the court. I didn't hope to be very much impressed or edified, or interested or even frightened--though, as long as there is any life before one, a jolly good fright now and then is a salutary discipline. But neither did I expect to be so awfully depressed. The bitterness of his punishment was in its chill and mean atmosphere. The real significance of crime is in its being a breach of faith with the community of mankind, and from that point of view he was no mean traitor, but his execution was a hole-and-corner affair. There was no high scaffolding, no scarlet cloth (did they have scarlet cloth on Tower Hill? They should have had), no awe-stricken multitude to be horrified at his guilt and be moved to tears at his fate--no air of sombre retribution. There was, as I walked along, the clear sunshine, a brilliance too passionate to be consoling, the streets full of jumbled bits of colour like a damaged kaleidoscope: yellow, green, blue, dazzling white, the brown nudity of an undraped shoulder, a bullock-cart with a red canopy, a company of native infantry in a drab body with dark heads marching in dusty laced boots, a native policeman in a sombre uniform of scanty cut and belted in patent leather, who looked up at me with orientally pitiful eyes as though his migrating spirit were suffering exceedingly from that unforeseen--what d'ye call 'em?--avatar--incarnation. Under the shade of a lonely tree in the courtyard, the villagers connected with the assault case sat in a picturesque group, looking like a chromo-lithograph of a camp in a book of Eastern travel. One missed the obligatory thread of smoke in the foreground and the pack-animals grazing. A blank yellow wall rose behind overtopping the tree, reflecting the glare. The court-room was sombre, seemed more vast. High up in the dim space the punkahs were swaying short to and fro, to and fro. Here and there a draped figure, dwarfed by the bare walls, remained without stirring amongst the rows of empty benches, as if absorbed in pious meditation. The plaintiff, who had been beaten,--an obese chocolate-coloured man with shaved head, one fat breast bare and a bright yellow caste-mark above the bridge of his nose,--sat in pompous immobility: only his eyes glittered, rolling in the gloom, and the nostrils dilated and collapsed violently as he breathed. Brierly dropped into his seat looking done up, as though he had spent the night in sprinting on a cinder-track. The pious sailing-ship skipper appeared excited and made uneasy movements, as if restraining with difficulty an impulse to stand up and exhort us earnestly to prayer and repentance. The head of the magistrate, delicately pale under the neatly arranged hair, resembled the head of a hopeless invalid after he had been washed and brushed and propped up in bed. He moved aside the vase of flowers--a bunch of purple with a few pink blossoms on long stalks--and seizing in both hands a long sheet of bluish paper, ran his eye over it, propped his forearms on the edge of the desk, and began to read aloud in an even, distinct, and careless voice. 'By Jove! For all my foolishness about scaffolds and heads rolling off--I assure you it was infinitely worse than a beheading. A heavy sense of finality brooded over all this, unrelieved by the hope of rest and safety following the fall of the axe. These proceedings had all the cold vengefulness of a death-sentence, and the cruelty of a sentence of exile. This is how I looked at it that morning--and even now I seem to see an undeniable vestige of truth in that exaggerated view of a common occurrence. You may imagine how strongly I felt this at the time. Perhaps it is for that reason that I could not bring myself to admit the finality. The thing was always with me, I was always eager to take opinion on it, as though it had not been practically settled: individual opinion--international opinion--by Jove! That Frenchman's, for instance. His own country's pronouncement was uttered in the passionless and definite phraseology a machine would use, if machines could speak. The head of the magistrate was half hidden by the paper, his brow was like alabaster. 'There were several questions before the court. The first as to whether the ship was in every respect fit and seaworthy for the voyage. The court found she was not. The next point, I remember, was, whether up to the time of the accident the ship had been navigated with proper and seamanlike care. They said Yes to that, goodness knows why, and then they declared that there was no evidence to show the exact cause of the accident. A floating derelict probably. I myself remember that a Norwegian barque bound out with a cargo of pitch-pine had been given up as missing about that time, and it was just the sort of craft that would capsize in a squall and float bottom up for months--a kind of maritime ghoul on the prowl to kill ships in the dark. Such wandering corpses are common enough in the North Atlantic, which is haunted by all the terrors of the sea,--fogs, icebergs, dead ships bent upon mischief, and long sinister gales that fasten upon one like a vampire till all the strength and the spirit and even hope are gone, and one feels like the empty shell of a man. But there--in those seas--the incident was rare enough to resemble a special arrangement of a malevolent providence, which, unless it had for its object the killing of a donkeyman and the bringing of worse than death upon Jim, appeared an utterly aimless piece of devilry. This view occurring to me took off my attention. For a time I was aware of the magistrate's voice as a sound merely; but in a moment it shaped itself into distinct words . . . "in utter disregard of their plain duty," it said. The next sentence escaped me somehow, and then . . . "abandoning in the moment of danger the lives and property confided to their charge" . . . went on the voice evenly, and stopped. A pair of eyes under the white forehead shot darkly a glance above the edge of the paper. I looked for Jim hurriedly, as though I had expected him to disappear. He was very still--but he was there. He sat pink and fair and extremely attentive. "Therefore, . . ." began the voice emphatically. He stared with parted lips, hanging upon the words of the man behind the desk. These came out into the stillness wafted on the wind made by the punkahs, and I, watching for their effect upon him, caught only the fragments of official language. . . . "The Court . . . Gustav So-and-so . . . master . . . native of Germany . . . James So-and-so . . . mate . . . certificates cancelled." A silence fell. The magistrate had dropped the paper, and, leaning sideways on the arm of his chair, began to talk with Brierly easily. People started to move out; others were pushing in, and I also made for the door. Outside I stood still, and when Jim passed me on his way to the gate, I caught at his arm and detained him. The look he gave discomposed me, as though I had been responsible for his state he looked at me as if I had been the embodied evil of life. "It's all over," I stammered. "Yes," he said thickly. "And now let no man . . ." He jerked his arm out of my grasp. I watched his back as he went away. It was a long street, and he remained in sight for some time. He walked rather slow, and straddling his legs a little, as if he had found it difficult to keep a straight line. Just before I lost him I fancied he staggered a bit. '"Man overboard," said a deep voice behind me. Turning round, I saw a fellow I knew slightly, a West Australian; Chester was his name. He, too, had been looking after Jim. He was a man with an immense girth of chest, a rugged, clean-shaved face of mahogany colour, and two blunt tufts of iron-grey, thick, wiry hairs on his upper lip. He had been pearler, wrecker, trader, whaler too, I believe; in his own words--anything and everything a man may be at sea, but a pirate. The Pacific, north and south, was his proper hunting-ground; but he had wandered so far afield looking for a cheap steamer to buy. Lately he had discovered--so he said--a guano island somewhere, but its approaches were dangerous, and the anchorage, such as it was, could not be considered safe, to say the least of it. "As good as a gold-mine," he would exclaim. "Right bang in the middle of the Walpole Reefs, and if it's true enough that you can get no holding-ground anywhere in less than forty fathom, then what of that? There are the hurricanes, too. But it's a first-rate thing. As good as a gold-mine--better! Yet there's not a fool of them that will see it. I can't get a skipper or a shipowner to go near the place. So I made up my mind to cart the blessed stuff myself." . . . This was what he required a steamer for, and I knew he was just then negotiating enthusiastically with a Parsee firm for an old, brig-rigged, sea-anachronism of ninety horse-power. We had met and spoken together several times. He looked knowingly after Jim. "Takes it to heart?" he asked scornfully. "Very much," I said. "Then he's no good," he opined. "What's all the to-do about? A bit of ass's skin. That never yet made a man. You must see things exactly as they are--if you don't, you may just as well give in at once. You will never do anything in this world. Look at me. I made it a practice never to take anything to heart." "Yes," I said, "you see things as they are." "I wish I could see my partner coming along, that's what I wish to see," he said. "Know my partner? Old Robinson. Yes; _the_ Robinson. Don't _you_ know? The notorious Robinson. The man who smuggled more opium and bagged more seals in his time than any loose Johnny now alive. They say he used to board the sealing-schooners up Alaska way when the fog was so thick that the Lord God, He alone, could tell one man from another. Holy-Terror Robinson. That's the man. He is with me in that guano thing. The best chance he ever came across in his life." He put his lips to my ear. "Cannibal?--well, they used to give him the name years and years ago. You remember the story? A shipwreck on the west side of Stewart Island; that's right; seven of them got ashore, and it seems they did not get on very well together. Some men are too cantankerous for anything--don't know how to make the best of a bad job--don't see things as they are--as they _are_, my boy! And then what's the consequence? Obvious! Trouble, trouble; as likely as not a knock on the head; and serve 'em right too. That sort is the most useful when it's dead. The story goes that a boat of Her Majesty's ship Wolverine found him kneeling on the kelp, naked as the day he was born, and chanting some psalm-tune or other; light snow was falling at the time. He waited till the boat was an oar's length from the shore, and then up and away. They chased him for an hour up and down the boulders, till a marihe flung a stone that took him behind the ear providentially and knocked him senseless. Alone? Of course. But that's like that tale of sealing-schooners; the Lord God knows the right and the wrong of that story. The cutter did not investigate much. They wrapped him in a boat-cloak and took him off as quick as they could, with a dark night coming on, the weather threatening, and the ship firing recall guns every five minutes. Three weeks afterwards he was as well as ever. He didn't allow any fuss that was made on shore to upset him; he just shut his lips tight, and let people screech. It was bad enough to have lost his ship, and all he was worth besides, without paying attention to the hard names they called him. That's the man for me." He lifted his arm for a signal to some one down the street. "He's got a little money, so I had to let him into my thing. Had to! It would have been sinful to throw away such a find, and I was cleaned out myself. It cut me to the quick, but I could see the matter just as it was, and if I _must_ share--thinks I--with any man, then give me Robinson. I left him at breakfast in the hotel to come to court, because I've an idea. . . . Ah! Good morning, Captain Robinson. . . . Friend of mine, Captain Robinson." 'An emaciated patriarch in a suit of white drill, a solah topi with a green-lined rim on a head trembling with age, joined us after crossing the street in a trotting shuffle, and stood propped with both hands on the handle of an umbrella. A white beard with amber streaks hung lumpily down to his waist. He blinked his creased eyelids at me in a bewildered way. "How do you do? how do you do?" he piped amiably, and tottered. "A little deaf," said Chester aside. "Did you drag him over six thousand miles to get a cheap steamer?" I asked. "I would have taken him twice round the world as soon as look at him," said Chester with immense energy. "The steamer will be the making of us, my lad. Is it my fault that every skipper and shipowner in the whole of blessed Australasia turns out a blamed fool? Once I talked for three hours to a man in Auckland. 'Send a ship,' I said, 'send a ship. I'll give you half of the first cargo for yourself, free gratis for nothing--just to make a good start.' Says he, 'I wouldn't do it if there was no other place on earth to send a ship to.' Perfect ass, of course. Rocks, currents, no anchorage, sheer cliff to lay to, no insurance company would take the risk, didn't see how he could get loaded under three years. Ass! I nearly went on my knees to him. 'But look at the thing as it is,' says I. 'Damn rocks and hurricanes. Look at it as it is. There's guano there Queensland sugar-planters would fight for--fight for on the quay, I tell you.' . . . What can you do with a fool? . . . 'That's one of your little jokes, Chester,' he says. . . . Joke! I could have wept. Ask Captain Robinson here. . . . And there was another shipowning fellow--a fat chap in a white waistcoat in Wellington, who seemed to think I was up to some swindle or other. 'I don't know what sort of fool you're looking for,' he says, 'but I am busy just now. Good morning.' I longed to take him in my two hands and smash him through the window of his own office. But I didn't. I was as mild as a curate. 'Think of it,' says I. '_Do_ think it over. I'll call to-morrow.' He grunted something about being 'out all day.' On the stairs I felt ready to beat my head against the wall from vexation. Captain Robinson here can tell you. It was awful to think of all that lovely stuff lying waste under the sun--stuff that would send the sugar-cane shooting sky-high. The making of Queensland! The making of Queensland! And in Brisbane, where I went to have a last try, they gave me the name of a lunatic. Idiots! The only sensible man I came across was the cabman who drove me about. A broken-down swell he was, I fancy. Hey! Captain Robinson? You remember I told you about my cabby in Brisbane--don't you? The chap had a wonderful eye for things. He saw it all in a jiffy. It was a real pleasure to talk with him. One evening after a devil of a day amongst shipowners I felt so bad that, says I, 'I must get drunk. Come along; I must get drunk, or I'll go mad.' 'I am your man,' he says; 'go ahead.' I don't know what I would have done without him. Hey! Captain Robinson." 'He poked the ribs of his partner. "He! he! he!" laughed the Ancient, looked aimlessly down the street, then peered at me doubtfully with sad, dim pupils. . . . "He! he! he!" . . . He leaned heavier on the umbrella, and dropped his gaze on the ground. I needn't tell you I had tried to get away several times, but Chester had foiled every attempt by simply catching hold of my coat. "One minute. I've a notion." "What's your infernal notion?" I exploded at last. "If you think I am going in with you . . ." "No, no, my boy. Too late, if you wanted ever so much. We've got a steamer." "You've got the ghost of a steamer," I said. "Good enough for a start--there's no superior nonsense about us. Is there, Captain Robinson?" "No! no! no!" croaked the old man without lifting his eyes, and the senile tremble of his head became almost fierce with determination. "I understand you know that young chap," said Chester, with a nod at the street from which Jim had disappeared long ago. "He's been having grub with you in the Malabar last night--so I was told." 'I said that was true, and after remarking that he too liked to live well and in style, only that, for the present, he had to be saving of every penny--"none too many for the business! Isn't that so, Captain Robinson?"--he squared his shoulders and stroked his dumpy moustache, while the notorious Robinson, coughing at his side, clung more than ever to the handle of the umbrella, and seemed ready to subside passively into a heap of old bones. "You see, the old chap has all the money," whispered Chester confidentially. "I've been cleaned out trying to engineer the dratted thing. But wait a bit, wait a bit. The good time is coming." . . . He seemed suddenly astonished at the signs of impatience I gave. "Oh, crakee!" he cried; "I am telling you of the biggest thing that ever was, and you . . ." "I have an appointment," I pleaded mildly. "What of that?" he asked with genuine surprise; "let it wait." "That's exactly what I am doing now," I remarked; "hadn't you better tell me what it is you want?" "Buy twenty hotels like that," he growled to himself; "and every joker boarding in them too--twenty times over." He lifted his head smartly "I want that young chap." "I don't understand," I said. "He's no good, is he?" said Chester crisply. "I know nothing about it," I protested. "Why, you told me yourself he was taking it to heart," argued Chester. "Well, in my opinion a chap who . . . Anyhow, he can't be much good; but then you see I am on the look-out for somebody, and I've just got a thing that will suit him. I'll give him a job on my island." He nodded significantly. "I'm going to dump forty coolies there--if I've to steal 'em. Somebody must work the stuff. Oh! I mean to act square: wooden shed, corrugated-iron roof--I know a man in Hobart who will take my bill at six months for the materials. I do. Honour bright. Then there's the water-supply. I'll have to fly round and get somebody to trust me for half-a-dozen second-hand iron tanks. Catch rain-water, hey? Let him take charge. Make him supreme boss over the coolies. Good idea, isn't it? What do you say?" "There are whole years when not a drop of rain falls on Walpole," I said, too amazed to laugh. He bit his lip and seemed bothered. "Oh, well, I will fix up something for them--or land a supply. Hang it all! That's not the question." 'I said nothing. I had a rapid vision of Jim perched on a shadowless rock, up to his knees in guano, with the screams of sea-birds in his ears, the incandescent ball of the sun above his head; the empty sky and the empty ocean all a-quiver, simmering together in the heat as far as the eye could reach. "I wouldn't advise my worst enemy . . ." I began. "What's the matter with you?" cried Chester; "I mean to give him a good screw--that is, as soon as the thing is set going, of course. It's as easy as falling off a log. Simply nothing to do; two six-shooters in his belt . . . Surely he wouldn't be afraid of anything forty coolies could do--with two six-shooters and he the only armed man too! It's much better than it looks. I want you to help me to talk him over." "No!" I shouted. Old Robinson lifted his bleared eyes dismally for a moment, Chester looked at me with infinite contempt. "So you wouldn't advise him?" he uttered slowly. "Certainly not," I answered, as indignant as though he had requested me to help murder somebody; "moreover, I am sure he wouldn't. He is badly cut up, but he isn't mad as far as I know." "He is no earthly good for anything," Chester mused aloud. "He would just have done for me. If you only could see a thing as it is, you would see it's the very thing for him. And besides . . . Why! it's the most splendid, sure chance . . ." He got angry suddenly. "I must have a man. There! . . ." He stamped his foot and smiled unpleasantly. "Anyhow, I could guarantee the island wouldn't sink under him--and I believe he is a bit particular on that point." "Good morning," I said curtly. He looked at me as though I had been an incomprehensible fool. . . . "Must be moving, Captain Robinson," he yelled suddenly into the old man's ear. "These Parsee Johnnies are waiting for us to clinch the bargain." He took his partner under the arm with a firm grip, swung him round, and, unexpectedly, leered at me over his shoulder. "I was trying to do him a kindness," he asserted, with an air and tone that made my blood boil. "Thank you for nothing--in his name," I rejoined. "Oh! you are devilish smart," he sneered; "but you are like the rest of them. Too much in the clouds. See what you will do with him." "I don't know that I want to do anything with him." "Don't you?" he spluttered; his grey moustache bristled with anger, and by his side the notorious Robinson, propped on the umbrella, stood with his back to me, as patient and still as a worn-out cab-horse. "I haven't found a guano island," I said. "It's my belief you wouldn't know one if you were led right up to it by the hand," he riposted quickly; "and in this world you've got to see a thing first, before you can make use of it. Got to see it through and through at that, neither more nor less." "And get others to see it, too," I insinuated, with a glance at the bowed back by his side. Chester snorted at me. "His eyes are right enough--don't you worry. He ain't a puppy." "Oh, dear, no!" I said. "Come along, Captain Robinson," he shouted, with a sort of bullying deference under the rim of the old man's hat; the Holy Terror gave a submissive little jump. The ghost of a steamer was waiting for them, Fortune on that fair isle! They made a curious pair of Argonauts. Chester strode on leisurely, well set up, portly, and of conquering mien; the other, long, wasted, drooping, and hooked to his arm, shuffled his withered shanks with desperate haste.''I did not start in search of Jim at once, only because I had really an appointment which I could not neglect. Then, as ill-luck would have it, in my agent's office I was fastened upon by a fellow fresh from Madagascar with a little scheme for a wonderful piece of business. It had something to do with cattle and cartridges and a Prince Ravonalo something; but the pivot of the whole affair was the stupidity of some admiral--Admiral Pierre, I think. Everything turned on that, and the chap couldn't find words strong enough to express his confidence. He had globular eyes starting out of his head with a fishy glitter, bumps on his forehead, and wore his long hair brushed back without a parting. He had a favourite phrase which he kept on repeating triumphantly, "The minimum of risk with the maximum of profit is my motto. What?" He made my head ache, spoiled my tiffin, but got his own out of me all right; and as soon as I had shaken him off, I made straight for the water-side. I caught sight of Jim leaning over the parapet of the quay. Three native boatmen quarrelling over five annas were making an awful row at his elbow. He didn't hear me come up, but spun round as if the slight contact of my finger had released a catch. "I was looking," he stammered. I don't remember what I said, not much anyhow, but he made no difficulty in following me to the hotel. 'He followed me as manageable as a little child, with an obedient air, with no sort of manifestation, rather as though he had been waiting for me there to come along and carry him off. I need not have been so surprised as I was at his tractability. On all the round earth, which to some seems so big and that others affect to consider as rather smaller than a mustard-seed, he had no place where he could--what shall I say?--where he could withdraw. That's it! Withdraw--be alone with his loneliness. He walked by my side very calm, glancing here and there, and once turned his head to look after a Sidiboy fireman in a cutaway coat and yellowish trousers, whose black face had silky gleams like a lump of anthracite coal. I doubt, however, whether he saw anything, or even remained all the time aware of my companionship, because if I had not edged him to the left here, or pulled him to the right there, I believe he would have gone straight before him in any direction till stopped by a wall or some other obstacle. I steered him into my bedroom, and sat down at once to write letters. This was the only place in the world (unless, perhaps, the Walpole Reef--but that was not so handy) where he could have it out with himself without being bothered by the rest of the universe. The damned thing--as he had expressed it--had not made him invisible, but I behaved exactly as though he were. No sooner in my chair I bent over my writing-desk like a medieval scribe, and, but for the movement of the hand holding the pen, remained anxiously quiet. I can't say I was frightened; but I certainly kept as still as if there had been something dangerous in the room, that at the first hint of a movement on my part would be provoked to pounce upon me. There was not much in the room--you know how these bedrooms are--a sort of four-poster bedstead under a mosquito-net, two or three chairs, the table I was writing at, a bare floor. A glass door opened on an upstairs verandah, and he stood with his face to it, having a hard time with all possible privacy. Dusk fell; I lit a candle with the greatest economy of movement and as much prudence as though it were an illegal proceeding. There is no doubt that he had a very hard time of it, and so had I, even to the point, I must own, of wishing him to the devil, or on Walpole Reef at least. It occurred to me once or twice that, after all, Chester was, perhaps, the man to deal effectively with such a disaster. That strange idealist had found a practical use for it at once--unerringly, as it were. It was enough to make one suspect that, maybe, he really could see the true aspect of things that appeared mysterious or utterly hopeless to less imaginative persons. I wrote and wrote; I liquidated all the arrears of my correspondence, and then went on writing to people who had no reason whatever to expect from me a gossipy letter about nothing at all. At times I stole a sidelong glance. He was rooted to the spot, but convulsive shudders ran down his back; his shoulders would heave suddenly. He was fighting, he was fighting--mostly for his breath, as it seemed. The massive shadows, cast all one way from the straight flame of the candle, seemed possessed of gloomy consciousness; the immobility of the furniture had to my furtive eye an air of attention. I was becoming fanciful in the midst of my industrious scribbling; and though, when the scratching of my pen stopped for a moment, there was complete silence and stillness in the room, I suffered from that profound disturbance and confusion of thought which is caused by a violent and menacing uproar--of a heavy gale at sea, for instance. Some of you may know what I mean: that mingled anxiety, distress, and irritation with a sort of craven feeling creeping in--not pleasant to acknowledge, but which gives a quite special merit to one's endurance. I don't claim any merit for standing the stress of Jim's emotions; I could take refuge in the letters; I could have written to strangers if necessary. Suddenly, as I was taking up a fresh sheet of notepaper, I heard a low sound, the first sound that, since we had been shut up together, had come to my ears in the dim stillness of the room. I remained with my head down, with my hand arrested. Those who have kept vigil by a sick-bed have heard such faint sounds in the stillness of the night watches, sounds wrung from a racked body, from a weary soul. He pushed the glass door with such force that all the panes rang: he stepped out, and I held my breath, straining my ears without knowing what else I expected to hear. He was really taking too much to heart an empty formality which to Chester's rigorous criticism seemed unworthy the notice of a man who could see things as they were. An empty formality; a piece of parchment. Well, well. As to an inaccessible guano deposit, that was another story altogether. One could intelligibly break one's heart over that. A feeble burst of many voices mingled with the tinkle of silver and glass floated up from the dining-room below; through the open door the outer edge of the light from my candle fell on his back faintly; beyond all was black; he stood on the brink of a vast obscurity, like a lonely figure by the shore of a sombre and hopeless ocean. There was the Walpole Reef in it--to be sure--a speck in the dark void, a straw for the drowning man. My compassion for him took the shape of the thought that I wouldn't have liked his people to see him at that moment. I found it trying myself. His back was no longer shaken by his gasps; he stood straight as an arrow, faintly visible and still; and the meaning of this stillness sank to the bottom of my soul like lead into the water, and made it so heavy that for a second I wished heartily that the only course left open for me was to pay for his funeral. Even the law had done with him. To bury him would have been such an easy kindness! It would have been so much in accordance with the wisdom of life, which consists in putting out of sight all the reminders of our folly, of our weakness, of our mortality; all that makes against our efficiency--the memory of our failures, the hints of our undying fears, the bodies of our dead friends. Perhaps he did take it too much to heart. And if so then--Chester's offer. . . . At this point I took up a fresh sheet and began to write resolutely. There was nothing but myself between him and the dark ocean. I had a sense of responsibility. If I spoke, would that motionless and suffering youth leap into the obscurity--clutch at the straw? I found out how difficult it may be sometimes to make a sound. There is a weird power in a spoken word. And why the devil not? I was asking myself persistently while I drove on with my writing. All at once, on the blank page, under the very point of the pen, the two figures of Chester and his antique partner, very distinct and complete, would dodge into view with stride and gestures, as if reproduced in the field of some optical toy. I would watch them for a while. No! They were too phantasmal and extravagant to enter into any one's fate. And a word carries far--very far--deals destruction through time as the bullets go flying through space. I said nothing; and he, out there with his back to the light, as if bound and gagged by all the invisible foes of man, made no stir and made no sound.' 'The time was coming when I should see him loved, trusted, admired, with a legend of strength and prowess forming round his name as though he had been the stuff of a hero. It's true--I assure you; as true as I'm sitting here talking about him in vain. He, on his side, had that faculty of beholding at a hint the face of his desire and the shape of his dream, without which the earth would know no lover and no adventurer. He captured much honour and an Arcadian happiness (I won't say anything about innocence) in the bush, and it was as good to him as the honour and the Arcadian happiness of the streets to another man. Felicity, felicity--how shall I say it?--is quaffed out of a golden cup in every latitude: the flavour is with you--with you alone, and you can make it as intoxicating as you please. He was of the sort that would drink deep, as you may guess from what went before. I found him, if not exactly intoxicated, then at least flushed with the elixir at his lips. He had not obtained it at once. There had been, as you know, a period of probation amongst infernal ship-chandlers, during which he had suffered and I had worried about--about--my trust--you may call it. I don't know that I am completely reassured now, after beholding him in all his brilliance. That was my last view of him--in a strong light, dominating, and yet in complete accord with his surroundings--with the life of the forests and with the life of men. I own that I was impressed, but I must admit to myself that after all this is not the lasting impression. He was protected by his isolation, alone of his own superior kind, in close touch with Nature, that keeps faith on such easy terms with her lovers. But I cannot fix before my eye the image of his safety. I shall always remember him as seen through the open door of my room, taking, perhaps, too much to heart the mere consequences of his failure. I am pleased, of course, that some good--and even some splendour--came out of my endeavours; but at times it seems to me it would have been better for my peace of mind if I had not stood between him and Chester's confoundedly generous offer. I wonder what his exuberant imagination would have made of Walpole islet--that most hopelessly forsaken crumb of dry land on the face of the waters. It is not likely I would ever have heard, for I must tell you that Chester, after calling at some Australian port to patch up his brig-rigged sea-anachronism, steamed out into the Pacific with a crew of twenty-two hands all told, and the only news having a possible bearing upon the mystery of his fate was the news of a hurricane which is supposed to have swept in its course over the Walpole shoals, a month or so afterwards. Not a vestige of the Argonauts ever turned up; not a sound came out of the waste. Finis! The Pacific is the most discreet of live, hot-tempered oceans: the chilly Antarctic can keep a secret too, but more in the manner of a grave. 'And there is a sense of blessed finality in such discretion, which is what we all more or less sincerely are ready to admit--for what else is it that makes the idea of death supportable? End! Finis! the potent word that exorcises from the house of life the haunting shadow of fate. This is what--notwithstanding the testimony of my eyes and his own earnest assurances--I miss when I look back upon Jim's success. While there's life there is hope, truly; but there is fear too. I don't mean to say that I regret my action, nor will I pretend that I can't sleep o' nights in consequence; still, the idea obtrudes itself that he made so much of his disgrace while it is the guilt alone that matters. He was not--if I may say so--clear to me. He was not clear. And there is a suspicion he was not clear to himself either. There were his fine sensibilities, his fine feelings, his fine longings--a sort of sublimated, idealised selfishness. He was--if you allow me to say so--very fine; very fine--and very unfortunate. A little coarser nature would not have borne the strain; it would have had to come to terms with itself--with a sigh, with a grunt, or even with a guffaw; a still coarser one would have remained invulnerably ignorant and completely uninteresting. 'But he was too interesting or too unfortunate to be thrown to the dogs, or even to Chester. I felt this while I sat with my face over the paper and he fought and gasped, struggling for his breath in that terribly stealthy way, in my room; I felt it when he rushed out on the verandah as if to fling himself over--and didn't; I felt it more and more all the time he remained outside, faintly lighted on the background of night, as if standing on the shore of a sombre and hopeless sea. 'An abrupt heavy rumble made me lift my head. The noise seemed to roll away, and suddenly a searching and violent glare fell on the blind face of the night. The sustained and dazzling flickers seemed to last for an unconscionable time. The growl of the thunder increased steadily while I looked at him, distinct and black, planted solidly upon the shores of a sea of light. At the moment of greatest brilliance the darkness leaped back with a culminating crash, and he vanished before my dazzled eyes as utterly as though he had been blown to atoms. A blustering sigh passed; furious hands seemed to tear at the shrubs, shake the tops of the trees below, slam doors, break window-panes, all along the front of the building. He stepped in, closing the door behind him, and found me bending over the table: my sudden anxiety as to what he would say was very great, and akin to a fright. "May I have a cigarette?" he asked. I gave a push to the box without raising my head. "I want--want--tobacco," he muttered. I became extremely buoyant. "Just a moment." I grunted pleasantly. He took a few steps here and there. "That's over," I heard him say. A single distant clap of thunder came from the sea like a gun of distress. "The monsoon breaks up early this year," he remarked conversationally, somewhere behind me. This encouraged me to turn round, which I did as soon as I had finished addressing the last envelope. He was smoking greedily in the middle of the room, and though he heard the stir I made, he remained with his back to me for a time. '"Come--I carried it off pretty well," he said, wheeling suddenly. "Something's paid off--not much. I wonder what's to come." His face did not show any emotion, only it appeared a little darkened and swollen, as though he had been holding his breath. He smiled reluctantly as it were, and went on while I gazed up at him mutely. . . . "Thank you, though--your room--jolly convenient--for a chap--badly hipped." . . . The rain pattered and swished in the garden; a water-pipe (it must have had a hole in it) performed just outside the window a parody of blubbering woe with funny sobs and gurgling lamentations, interrupted by jerky spasms of silence. . . . "A bit of shelter," he mumbled and ceased. 'A flash of faded lightning darted in through the black framework of the windows and ebbed out without any noise. I was thinking how I had best approach him (I did not want to be flung off again) when he gave a little laugh. "No better than a vagabond now" . . . the end of the cigarette smouldered between his fingers . . . "without a single--single," he pronounced slowly; "and yet . . ." He paused; the rain fell with redoubled violence. "Some day one's bound to come upon some sort of chance to get it all back again. Must!" he whispered distinctly, glaring at my boots. 'I did not even know what it was he wished so much to regain, what it was he had so terribly missed. It might have been so much that it was impossible to say. A piece of ass's skin, according to Chester. . . . He looked up at me inquisitively. "Perhaps. If life's long enough," I muttered through my teeth with unreasonable animosity. "Don't reckon too much on it." '"Jove! I feel as if nothing could ever touch me," he said in a tone of sombre conviction. "If this business couldn't knock me over, then there's no fear of there being not enough time to--climb out, and . . ." He looked upwards. 'It struck me that it is from such as he that the great army of waifs and strays is recruited, the army that marches down, down into all the gutters of the earth. As soon as he left my room, that "bit of shelter," he would take his place in the ranks, and begin the journey towards the bottomless pit. I at least had no illusions; but it was I, too, who a moment ago had been so sure of the power of words, and now was afraid to speak, in the same way one dares not move for fear of losing a slippery hold. It is when we try to grapple with another man's intimate need that we perceive how incomprehensible, wavering, and misty are the beings that share with us the sight of the stars and the warmth of the sun. It is as if loneliness were a hard and absolute condition of existence; the envelope of flesh and blood on which our eyes are fixed melts before the outstretched hand, and there remains only the capricious, unconsolable, and elusive spirit that no eye can follow, no hand can grasp. It was the fear of losing him that kept me silent, for it was borne upon me suddenly and with unaccountable force that should I let him slip away into the darkness I would never forgive myself. '"Well. Thanks--once more. You've been--er--uncommonly--really there's no word to . . . Uncommonly! I don't know why, I am sure. I am afraid I don't feel as grateful as I would if the whole thing hadn't been so brutally sprung on me. Because at bottom . . . you, yourself . . ." He stuttered. '"Possibly," I struck in. He frowned. '"All the same, one is responsible." He watched me like a hawk. '"And that's true, too," I said. '"Well. I've gone with it to the end, and I don't intend to let any man cast it in my teeth without--without--resenting it." He clenched his fist. '"There's yourself," I said with a smile--mirthless enough, God knows--but he looked at me menacingly. "That's my business," he said. An air of indomitable resolution came and went upon his face like a vain and passing shadow. Next moment he looked a dear good boy in trouble, as before. He flung away the cigarette. "Good-bye," he said, with the sudden haste of a man who had lingered too long in view of a pressing bit of work waiting for him; and then for a second or so he made not the slightest movement. The downpour fell with the heavy uninterrupted rush of a sweeping flood, with a sound of unchecked overwhelming fury that called to one's mind the images of collapsing bridges, of uprooted trees, of undermined mountains. No man could breast the colossal and headlong stream that seemed to break and swirl against the dim stillness in which we were precariously sheltered as if on an island. The perforated pipe gurgled, choked, spat, and splashed in odious ridicule of a swimmer fighting for his life. "It is raining," I remonstrated, "and I . . ." "Rain or shine," he began brusquely, checked himself, and walked to the window. "Perfect deluge," he muttered after a while: he leaned his forehead on the glass. "It's dark, too." '"Yes, it is very dark," I said. 'He pivoted on his heels, crossed the room, and had actually opened the door leading into the corridor before I leaped up from my chair. "Wait," I cried, "I want you to . . ." "I can't dine with you again to-night," he flung at me, with one leg out of the room already. "I haven't the slightest intention to ask you," I shouted. At this he drew back his foot, but remained mistrustfully in the very doorway. I lost no time in entreating him earnestly not to be absurd; to come in and shut the door.' 'He came in at last; but I believe it was mostly the rain that did it; it was falling just then with a devastating violence which quieted down gradually while we talked. His manner was very sober and set; his bearing was that of a naturally taciturn man possessed by an idea. My talk was of the material aspect of his position; it had the sole aim of saving him from the degradation, ruin, and despair that out there close so swiftly upon a friendless, homeless man; I pleaded with him to accept my help; I argued reasonably: and every time I looked up at that absorbed smooth face, so grave and youthful, I had a disturbing sense of being no help but rather an obstacle to some mysterious, inexplicable, impalpable striving of his wounded spirit. '"I suppose you intend to eat and drink and to sleep under shelter in the usual way," I remember saying with irritation. "You say you won't touch the money that is due to you." . . . He came as near as his sort can to making a gesture of horror. (There were three weeks and five days' pay owing him as mate of the Patna.) "Well, that's too little to matter anyhow; but what will you do to-morrow? Where will you turn? You must live . . ." "That isn't the thing," was the comment that escaped him under his breath. I ignored it, and went on combating what I assumed to be the scruples of an exaggerated delicacy. "On every conceivable ground," I concluded, "you must let me help you." "You can't," he said very simply and gently, and holding fast to some deep idea which I could detect shimmering like a pool of water in the dark, but which I despaired of ever approaching near enough to fathom. I surveyed his well-proportioned bulk. "At any rate," I said, "I am able to help what I can see of you. I don't pretend to do more." He shook his head sceptically without looking at me. I got very warm. "But I can," I insisted. "I can do even more. I _am_ doing more. I am trusting you . . ." "The money . . ." he began. "Upon my word you deserve being told to go to the devil," I cried, forcing the note of indignation. He was startled, smiled, and I pressed my attack home. "It isn't a question of money at all. You are too superficial," I said (and at the same time I was thinking to myself: Well, here goes! And perhaps he is, after all). "Look at the letter I want you to take. I am writing to a man of whom I've never asked a favour, and I am writing about you in terms that one only ventures to use when speaking of an intimate friend. I make myself unreservedly responsible for you. That's what I am doing. And really if you will only reflect a little what that means . . ." 'He lifted his head. The rain had passed away; only the water-pipe went on shedding tears with an absurd drip, drip outside the window. It was very quiet in the room, whose shadows huddled together in corners, away from the still flame of the candle flaring upright in the shape of a dagger; his face after a while seemed suffused by a reflection of a soft light as if the dawn had broken already. '"Jove!" he gasped out. "It is noble of you!" 'Had he suddenly put out his tongue at me in derision, I could not have felt more humiliated. I thought to myself--Serve me right for a sneaking humbug. . . . His eyes shone straight into my face, but I perceived it was not a mocking brightness. All at once he sprang into jerky agitation, like one of those flat wooden figures that are worked by a string. His arms went up, then came down with a slap. He became another man altogether. "And I had never seen," he shouted; then suddenly bit his lip and frowned. "What a bally ass I've been," he said very slow in an awed tone. . . . "You are a brick!" he cried next in a muffled voice. He snatched my hand as though he had just then seen it for the first time, and dropped it at once. "Why! this is what I--you--I . . ." he stammered, and then with a return of his old stolid, I may say mulish, manner he began heavily, "I would be a brute now if I . . ." and then his voice seemed to break. "That's all right," I said. I was almost alarmed by this display of feeling, through which pierced a strange elation. I had pulled the string accidentally, as it were; I did not fully understand the working of the toy. "I must go now," he said. "Jove! You _have_ helped me. Can't sit still. The very thing . . ." He looked at me with puzzled admiration. "The very thing . . ." 'Of course it was the thing. It was ten to one that I had saved him from starvation--of that peculiar sort that is almost invariably associated with drink. This was all. I had not a single illusion on that score, but looking at him, I allowed myself to wonder at the nature of the one he had, within the last three minutes, so evidently taken into his bosom. I had forced into his hand the means to carry on decently the serious business of life, to get food, drink, and shelter of the customary kind while his wounded spirit, like a bird with a broken wing, might hop and flutter into some hole to die quietly of inanition there. This is what I had thrust upon him: a definitely small thing; and--behold!--by the manner of its reception it loomed in the dim light of the candle like a big, indistinct, perhaps a dangerous shadow. "You don't mind me not saying anything appropriate," he burst out. "There isn't anything one could say. Last night already you had done me no end of good. Listening to me--you know. I give you my word I've thought more than once the top of my head would fly off. . ." He darted--positively darted--here and there, rammed his hands into his pockets, jerked them out again, flung his cap on his head. I had no idea it was in him to be so airily brisk. I thought of a dry leaf imprisoned in an eddy of wind, while a mysterious apprehension, a load of indefinite doubt, weighed me down in my chair. He stood stock-still, as if struck motionless by a discovery. "You have given me confidence," he declared, soberly. "Oh! for God's sake, my dear fellow--don't!" I entreated, as though he had hurt me. "All right. I'll shut up now and henceforth. Can't prevent me thinking though. . . . Never mind! . . . I'll show yet . . ." He went to the door in a hurry, paused with his head down, and came back, stepping deliberately. "I always thought that if a fellow could begin with a clean slate . . . And now you . . . in a measure . . . yes . . . clean slate." I waved my hand, and he marched out without looking back; the sound of his footfalls died out gradually behind the closed door--the unhesitating tread of a man walking in broad daylight. 'But as to me, left alone with the solitary candle, I remained strangely unenlightened. I was no longer young enough to behold at every turn the magnificence that besets our insignificant footsteps in good and in evil. I smiled to think that, after all, it was yet he, of us two, who had the light. And I felt sad. A clean slate, did he say? As if the initial word of each our destiny were not graven in imperishable characters upon the face of a rock.' 'Six months afterwards my friend (he was a cynical, more than middle-aged bachelor, with a reputation for eccentricity, and owned a rice-mill) wrote to me, and judging, from the warmth of my recommendation, that I would like to hear, enlarged a little upon Jim's perfections. These were apparently of a quiet and effective sort. "Not having been able so far to find more in my heart than a resigned toleration for any individual of my kind, I have lived till now alone in a house that even in this steaming climate could be considered as too big for one man. I have had him to live with me for some time past. It seems I haven't made a mistake." It seemed to me on reading this letter that my friend had found in his heart more than tolerance for Jim--that there were the beginnings of active liking. Of course he stated his grounds in a characteristic way. For one thing, Jim kept his freshness in the climate. Had he been a girl--my friend wrote--one could have said he was blooming--blooming modestly--like a violet, not like some of these blatant tropical flowers. He had been in the house for six weeks, and had not as yet attempted to slap him on the back, or address him as "old boy," or try to make him feel a superannuated fossil. He had nothing of the exasperating young man's chatter. He was good-tempered, had not much to say for himself, was not clever by any means, thank goodness--wrote my friend. It appeared, however, that Jim was clever enough to be quietly appreciative of his wit, while, on the other hand, he amused him by his naiveness. "The dew is yet on him, and since I had the bright idea of giving him a room in the house and having him at meals I feel less withered myself. The other day he took it into his head to cross the room with no other purpose but to open a door for me; and I felt more in touch with mankind than I had been for years. Ridiculous, isn't it? Of course I guess there is something--some awful little scrape--which you know all about--but if I am sure that it is terribly heinous, I fancy one could manage to forgive it. For my part, I declare I am unable to imagine him guilty of anything much worse than robbing an orchard. Is it much worse? Perhaps you ought to have told me; but it is such a long time since we both turned saints that you may have forgotten we, too, had sinned in our time? It may be that some day I shall have to ask you, and then I shall expect to be told. I don't care to question him myself till I have some idea what it is. Moreover, it's too soon as yet. Let him open the door a few times more for me. . . ." Thus my friend. I was trebly pleased--at Jim's shaping so well, at the tone of the letter, at my own cleverness. Evidently I had known what I was doing. I had read characters aright, and so on. And what if something unexpected and wonderful were to come of it? That evening, reposing in a deck-chair under the shade of my own poop awning (it was in Hong-Kong harbour), I laid on Jim's behalf the first stone of a castle in Spain. 'I made a trip to the northward, and when I returned I found another letter from my friend waiting for me. It was the first envelope I tore open. "There are no spoons missing, as far as I know," ran the first line; "I haven't been interested enough to inquire. He is gone, leaving on the breakfast-table a formal little note of apology, which is either silly or heartless. Probably both--and it's all one to me. Allow me to say, lest you should have some more mysterious young men in reserve, that I have shut up shop, definitely and for ever. This is the last eccentricity I shall be guilty of. Do not imagine for a moment that I care a hang; but he is very much regretted at tennis-parties, and for my own sake I've told a plausible lie at the club. . . ." I flung the letter aside and started looking through the batch on my table, till I came upon Jim's handwriting. Would you believe it? One chance in a hundred! But it is always that hundredth chance! That little second engineer of the Patna had turned up in a more or less destitute state, and got a temporary job of looking after the machinery of the mill. "I couldn't stand the familiarity of the little beast," Jim wrote from a seaport seven hundred miles south of the place where he should have been in clover. "I am now for the time with Egstrom & Blake, ship-chandlers, as their--well--runner, to call the thing by its right name. For reference I gave them your name, which they know of course, and if you could write a word in my favour it would be a permanent employment." I was utterly crushed under the ruins of my castle, but of course I wrote as desired. Before the end of the year my new charter took me that way, and I had an opportunity of seeing him. 'He was still with Egstrom & Blake, and we met in what they called "our parlour" opening out of the store. He had that moment come in from boarding a ship, and confronted me head down, ready for a tussle. "What have you got to say for yourself?" I began as soon as we had shaken hands. "What I wrote you--nothing more," he said stubbornly. "Did the fellow blab--or what?" I asked. He looked up at me with a troubled smile. "Oh, no! He didn't. He made it a kind of confidential business between us. He was most damnably mysterious whenever I came over to the mill; he would wink at me in a respectful manner--as much as to say 'We know what we know.' Infernally fawning and familiar--and that sort of thing . . ." He threw himself into a chair and stared down his legs. "One day we happened to be alone and the fellow had the cheek to say, 'Well, Mr. James'--I was called Mr. James there as if I had been the son--'here we are together once more. This is better than the old ship--ain't it?' . . . Wasn't it appalling, eh? I looked at him, and he put on a knowing air. 'Don't you be uneasy, sir,' he says. 'I know a gentleman when I see one, and I know how a gentleman feels. I hope, though, you will be keeping me on this job. I had a hard time of it too, along of that rotten old Patna racket.' Jove! It was awful. I don't know what I should have said or done if I had not just then heard Mr. Denver calling me in the passage. It was tiffin-time, and we walked together across the yard and through the garden to the bungalow. He began to chaff me in his kindly way . . . I believe he liked me . . ." 'Jim was silent for a while. '"I know he liked me. That's what made it so hard. Such a splendid man! . . . That morning he slipped his hand under my arm. . . . He, too, was familiar with me." He burst into a short laugh, and dropped his chin on his breast. "Pah! When I remembered how that mean little beast had been talking to me," he began suddenly in a vibrating voice, "I couldn't bear to think of myself . . . I suppose you know . . ." I nodded. . . . "More like a father," he cried; his voice sank. "I would have had to tell him. I couldn't let it go on--could I?" "Well?" I murmured, after waiting a while. "I preferred to go," he said slowly; "this thing must be buried." 'We could hear in the shop Blake upbraiding Egstrom in an abusive, strained voice. They had been associated for many years, and every day from the moment the doors were opened to the last minute before closing, Blake, a little man with sleek, jetty hair and unhappy, beady eyes, could be heard rowing his partner incessantly with a sort of scathing and plaintive fury. The sound of that everlasting scolding was part of the place like the other fixtures; even strangers would very soon come to disregard it completely unless it be perhaps to mutter "Nuisance," or to get up suddenly and shut the door of the "parlour." Egstrom himself, a raw-boned, heavy Scandinavian, with a busy manner and immense blonde whiskers, went on directing his people, checking parcels, making out bills or writing letters at a stand-up desk in the shop, and comported himself in that clatter exactly as though he had been stone-deaf. Now and again he would emit a bothered perfunctory "Sssh," which neither produced nor was expected to produce the slightest effect. "They are very decent to me here," said Jim. "Blake's a little cad, but Egstrom's all right." He stood up quickly, and walking with measured steps to a tripod telescope standing in the window and pointed at the roadstead, he applied his eye to it. "There's that ship which has been becalmed outside all the morning has got a breeze now and is coming in," he remarked patiently; "I must go and board." We shook hands in silence, and he turned to go. "Jim!" I cried. He looked round with his hand on the lock. "You--you have thrown away something like a fortune." He came back to me all the way from the door. "Such a splendid old chap," he said. "How could I? How could I?" His lips twitched. "Here it does not matter." "Oh! you--you--" I began, and had to cast about for a suitable word, but before I became aware that there was no name that would just do, he was gone. I heard outside Egstrom's deep gentle voice saying cheerily, "That's the Sarah W. Granger, Jimmy. You must manage to be first aboard"; and directly Blake struck in, screaming after the manner of an outraged cockatoo, "Tell the captain we've got some of his mail here. That'll fetch him. D'ye hear, Mister What's-your-name?" And there was Jim answering Egstrom with something boyish in his tone. "All right. I'll make a race of it." He seemed to take refuge in the boat-sailing part of that sorry business. 'I did not see him again that trip, but on my next (I had a six months' charter) I went up to the store. Ten yards away from the door Blake's scolding met my ears, and when I came in he gave me a glance of utter wretchedness; Egstrom, all smiles, advanced, extending a large bony hand. "Glad to see you, captain. . . . Sssh. . . . Been thinking you were about due back here. What did you say, sir? . . . Sssh. . . . Oh! him! He has left us. Come into the parlour." . . . After the slam of the door Blake's strained voice became faint, as the voice of one scolding desperately in a wilderness. . . . "Put us to a great inconvenience, too. Used us badly--I must say . . ." "Where's he gone to? Do you know?" I asked. "No. It's no use asking either," said Egstrom, standing bewhiskered and obliging before me with his arms hanging down his sides clumsily, and a thin silver watch-chain looped very low on a rucked-up blue serge waistcoat. "A man like that don't go anywhere in particular." I was too concerned at the news to ask for the explanation of that pronouncement, and he went on. "He left--let's see--the very day a steamer with returning pilgrims from the Red Sea put in here with two blades of her propeller gone. Three weeks ago now." "Wasn't there something said about the Patna case?" I asked, fearing the worst. He gave a start, and looked at me as if I had been a sorcerer. "Why, yes! How do you know? Some of them were talking about it here. There was a captain or two, the manager of Vanlo's engineering shop at the harbour, two or three others, and myself. Jim was in here too, having a sandwich and a glass of beer; when we are busy--you see, captain--there's no time for a proper tiffin. He was standing by this table eating sandwiches, and the rest of us were round the telescope watching that steamer come in; and by-and-by Vanlo's manager began to talk about the chief of the Patna; he had done some repairs for him once, and from that he went on to tell us what an old ruin she was, and the money that had been made out of her. He came to mention her last voyage, and then we all struck in. Some said one thing and some another--not much--what you or any other man might say; and there was some laughing. Captain O'Brien of the Sarah W. Granger, a large, noisy old man with a stick--he was sitting listening to us in this arm-chair here--he let drive suddenly with his stick at the floor, and roars out, 'Skunks!' . . . Made us all jump. Vanlo's manager winks at us and asks, 'What's the matter, Captain O'Brien?' 'Matter! matter!' the old man began to shout; 'what are you Injuns laughing at? It's no laughing matter. It's a disgrace to human natur'--that's what it is. I would despise being seen in the same room with one of those men. Yes, sir!' He seemed to catch my eye like, and I had to speak out of civility. 'Skunks!' says I, 'of course, Captain O'Brien, and I wouldn't care to have them here myself, so you're quite safe in this room, Captain O'Brien. Have a little something cool to drink.' 'Dam' your drink, Egstrom,' says he, with a twinkle in his eye; 'when I want a drink I will shout for it. I am going to quit. It stinks here now.' At this all the others burst out laughing, and out they go after the old man. And then, sir, that blasted Jim he puts down the sandwich he had in his hand and walks round the table to me; there was his glass of beer poured out quite full. 'I am off,' he says--just like this. 'It isn't half-past one yet,' says I; 'you might snatch a smoke first.' I thought he meant it was time for him to go down to his work. When I understood what he was up to, my arms fell--so! Can't get a man like that every day, you know, sir; a regular devil for sailing a boat; ready to go out miles to sea to meet ships in any sort of weather. More than once a captain would come in here full of it, and the first thing he would say would be, 'That's a reckless sort of a lunatic you've got for water-clerk, Egstrom. I was feeling my way in at daylight under short canvas when there comes flying out of the mist right under my forefoot a boat half under water, sprays going over the mast-head, two frightened niggers on the bottom boards, a yelling fiend at the tiller. Hey! hey! Ship ahoy! ahoy! Captain! Hey! hey! Egstrom & Blake's man first to speak to you! Hey! hey! Egstrom & Blake! Hallo! hey! whoop! Kick the niggers--out reefs--a squall on at the time--shoots ahead whooping and yelling to me to make sail and he would give me a lead in--more like a demon than a man. Never saw a boat handled like that in all my life. Couldn't have been drunk--was he? Such a quiet, soft-spoken chap too--blush like a girl when he came on board. . . .' I tell you, Captain Marlow, nobody had a chance against us with a strange ship when Jim was out. The other ship-chandlers just kept their old customers, and . . ." 'Egstrom appeared overcome with emotion. '"Why, sir--it seemed as though he wouldn't mind going a hundred miles out to sea in an old shoe to nab a ship for the firm. If the business had been his own and all to make yet, he couldn't have done more in that way. And now . . . all at once . . . like this! Thinks I to myself: 'Oho! a rise in the screw--that's the trouble--is it?' 'All right,' says I, 'no need of all that fuss with me, Jimmy. Just mention your figure. Anything in reason.' He looks at me as if he wanted to swallow something that stuck in his throat. 'I can't stop with you.' 'What's that blooming joke?' I asks. He shakes his head, and I could see in his eye he was as good as gone already, sir. So I turned to him and slanged him till all was blue. 'What is it you're running away from?' I asks. 'Who has been getting at you? What scared you? You haven't as much sense as a rat; they don't clear out from a good ship. Where do you expect to get a better berth?--you this and you that.' I made him look sick, I can tell you. 'This business ain't going to sink,' says I. He gave a big jump. 'Good-bye,' he says, nodding at me like a lord; 'you ain't half a bad chap, Egstrom. I give you my word that if you knew my reasons you wouldn't care to keep me.' 'That's the biggest lie you ever told in your life,' says I; 'I know my own mind.' He made me so mad that I had to laugh. 'Can't you really stop long enough to drink this glass of beer here, you funny beggar, you?' I don't know what came over him; he didn't seem able to find the door; something comical, I can tell you, captain. I drank the beer myself. 'Well, if you're in such a hurry, here's luck to you in your own drink,' says I; 'only, you mark my words, if you keep up this game you'll very soon find that the earth ain't big enough to hold you--that's all.' He gave me one black look, and out he rushed with a face fit to scare little children." 'Egstrom snorted bitterly, and combed one auburn whisker with knotty fingers. "Haven't been able to get a man that was any good since. It's nothing but worry, worry, worry in business. And where might you have come across him, captain, if it's fair to ask?" '"He was the mate of the Patna that voyage," I said, feeling that I owed some explanation. For a time Egstrom remained very still, with his fingers plunged in the hair at the side of his face, and then exploded. "And who the devil cares about that?" "I daresay no one," I began . . . "And what the devil is he--anyhow--for to go on like this?" He stuffed suddenly his left whisker into his mouth and stood amazed. "Jee!" he exclaimed, "I told him the earth wouldn't be big enough to hold his caper."'

Chapters 14-18

https://web.archive.org/web/20210422054542/https://www.gradesaver.com/lord-jim/study-guide/summary-chapters-14-18

Marlow, detained by his chief mate , attends the final day of the Inquiry, where the judgment is to be announced. The entire thing, he thinks to himself, has the sense of an exaggerated view of a common occurrence--where the crime was a very subtle, yet worse than a beheading. The judgments come in: the ship is deemed not to have been seaworthy, but it was navigated properly at the time of the accident. The result, for Jim, is that his certificates are cancelled; he is effectively exiled from the sea. After the event, Marlow hears a voice behind him say, "man overboard" . The man is Chester, a West Australian "pearler, wrecker, trader, whaler" in search of a steamer to buy. He nods in Jim's direction and asks Marlow, "Takes it to heart?" . Marlow nods, and Chester, along with his partner Captain Robinson, an "emaciated patriarch in a suit of white drill" and a white beard, are together embarking in a sordid business scheme on a far-off island, to which Chester suggests that Marlow prod Jim to go and work. Marlow defeats the suggestion, offending Chester and Captain Robinson, but then considers it again in his hotel room as he writes his letters. Jim is with him there, like "a little child" . Marlow admits that he can't help but feel responsibility for the young man who, by that point, "stood on the brink of a vast obscurity, like a lonely figure by the shore of a somber, and hopeless ocean" . The reader learns that Chester and his crew, en route for the sordid business, disappeared into a hurricane. The story continues with a storm, a growl of thunder, and Jim in Marlow's hotel room finally taking his seat. Marlow explains that the letter he is writing is to an old friend of his, one who will give him a home and good work. "You must let me help you," Marlow says. Jim likewise at first resists, but he eventually recognizes the value of chance and this chance. He is grateful, and the scene is described through a tangle of weather and emotion. Six months later, Marlow receives a happy letter from his friend, the owner of a rice mill, who has been enjoying Jim's company thoroughly. Marlow describes it as an "active liking," though the friend is very curious about the nature of Jim's guilt . After a trip north, upon returning to Hong Kong harbor, Marlow finds another letter, this time carrying the news that Jim has gone. Yet another letter in the pile is from Jim himself, who explains that the second engineer of the Patna had appeared to take a temporary job overseeing the machinery of the mill. Jim could not stand to be near him, so he left, and he was now employed with Egstrom & Blake, ship-chandlers, as their water-clerk. Marlow eventually finds himself in those parts, and when he sees Jim, Jim expresses how bad he felt having deserted the man who had become "like a father" . On his next trip to the region, however, Marlow finds that Jim left Egstrom & Blake three weeks earlier, when the Sarah W. Granger came in with pilgrims from the Red Sea. Marlow asks if there was talk of the Patna, and Egstrom, surprised, says that there was. Captain O'Brien called the incident a "disgrace to human nature," and he called all the seamen involved "Skunks!" . He followed this with the comment that "it stinks here now," an ambiguous insinuation that he knew exactly who Jim was, though Egstrom had not understood his meaning at the time. Just after the company departed, Jim set his sandwich down and announced that he would be off. Egstrom says it seemed as if he were running away, and at Jim's parting he said, "mark my words, if you keep up this game you'll very soon find that the earth ain't big enough to hold you" . Jim had been uneasy.

The final judgment of the Inquiry is ironic in deeming the steamship not to be seaworthy, since it had proven its mettle in spite of the damage that had been done to it. Regardless, the result of Jim's commitment to telling the facts of the incident to the best of his knowledge is the cancellation of his certificates. In other words, he is exiled from work at sea. Confined to the land with a kind of death sentence--killing the dreams of romantic adventure Jim might have realized--he receives a chance at a fresh start when Marlow insists on offering him help. The first opportunity that Jim has, however, and one that Marlow rejects for him, is an unpleasant one, and it would have led to a definite death at sea . Marlow, then, figures as Jim's protector or guardian of his fate. The fact that Jim knows he can never face his father again calls attention to his need for another man to fill that role for him now. Marlow, in response, sends Jim to a friend of his with a job at a rice mill; since the man is a bachelor and without children, the hope is apparently that Jim will become an adopted son and inherit the rice mill. Then, when Marlow receives positive word from his friend that all is going well between Jim and the man, Marlow appears to have been right about Jim's worth: Jim has a good heart and a character worth preserving. Jim's humiliation regarding the Patna incident, however, takes the form of a fundamental character flaw. This character flaw is more than an aspect of his personality; it constitutes a part of his personal history, and he is unable to release himself from the memory of his action and state of mind at a particularly distressing time. His personality responds to and obsesses over this failure, and Jim runs away from whatever life he is building if news of the failure penetrates the people around him. Thus he runs from Marlow's friend and his work, and he likewise runs from the ship-chandlers. In both places, he achieved an amiable intimacy with these other persons, but in both cases his "clean slate" is sullied. It is too much for him to bear when the second engineer from the Patna arrives at the rice mill for employment, and the ship captain arriving at Egstrom & Blake seems to recognize who Jim is by his comment that "it stinks here now." Having exhausted his other resources, Marlow soon will turn to his friend Stein for help. Jim's behavior evinces a desire to seek and remain in a space that is "a clean slate," free of the memory of his failure. He seeks to be anonymous and to begin again. Chester's statement to Marlow was that Jim takes it all too much to heart, and this observation is correct: Jim's failure has become too much a part of his personality. Although Jim runs, the circulating nature of story of rumor in these colonial reaches means that word of mouth travels far--Egstrom even states that the entire earth will not be big enough to hide from the past. The question now is: How will Jim mature, given this flaw and the way it has been expressed through his actions?

sparknotes

all_chapterized_books/44747-chapters/part_1_chapters_1_to_5.txt

finished_summaries/sparknotes/The Red and the Black/section_0_part_0.txt

The Red and the Black.part 1.chapters 1-5

book i, chapters 1-5

{"name": "", "url": "https://web.archive.org/web/20210301223854/https://www.sparknotes.com/lit/redblack/section1/", "summary": "The novel opens with a panorama of the provincial town of Verrieres, located in southern France. The reader is immediately confronted with the racket of a nail-making factory, which belongs to the town mayor, M. de Renal. Descended from an old aristocratic family, M. de Renal is ashamed of having to participate in industry, especially since he was made mayor of Verrieres after supporting the restoration of the absolutist monarchy in 1815. The mayor tries to maintain an air of superiority about him but has recently been embarrassed by old Sorel, the owner of a local saw mill. Sorel recently manipulated Renal into over-paying for a piece of land; a humiliation before public opinion that M. de Renal is forced to endure. While walking through Verrieres with his wife, Mme. de Renal, the mayor encounters the town priest, M. Chelan, and the director of the poorhouse, M. Valenod. Chelan is a kind- hearted and philanthropic public servant whom the mayor distrusts. While M. de Renal and M. Valenod profess to be friends, the latter is a bourgeois liberal and thus the mayor's political adversary. Worried that Valenod, who is becoming richer day by day, is scheming to become mayor, M. de Renal tells his wife that he has decided to hire the son of old Sorel, Julien, to be the tutor of their three children. He hopes that the prestige of having a live-in tutor will surpass Valenod, who has just purchased two Norman horses. Yet, when M. de Renal meets with old Sorel to negotiate Julien's salary, he is again manipulated by Sorel into paying more than Julien is worth. Old Sorel is glad to get rid of Julien, who detests physical labor and has been studying Latin with M. Chelan, training to become a priest. Handsome but scorned as a weakling, Julien is consistently beaten up by his older brothers. Urging his son to pack up and leave for the mayor's, old Sorel beats him. But Julien defiantly refuses to go to M. de Renal's if he will only be a servant. While Julien is contemplating running away, his father secures M. de Renal's promise that Julien will not be considered a servant, will eat together with the family, will receive money for new clothes, and will receive an even larger income. Extremely ambitious, Julien agrees to this arrangement with the hopes that it will better his position in society. An admirer of Napoleon, Julien dreams of achieving both military and economic success after rising from the bottom of society, just like his hero. Julien's godfather, a surgeon-major in Napoleon's army, taught Julien all about Napoleon's great conquests of Europe and his wife Josephine. But when his godfather was persecuted for his liberal political beliefs, Julien finds that the best way to achieve success during the Restoration is by relying on hypocrisy. He stops praising Napoleon in public, and pretends to want to become a priest, realizing that unlike Napoleon's time, when the Army was the road to success, the most powerful institution of the Restoration is the Church.", "analysis": "Commentary Stendhal establishes the political dimensions of the novel in the opening pages describing Verrieres. M. de Renal is a conservative aristocrat and a supporter of the Bourbon Restoration. Indeed, M. de Renal has been the town mayor since 1815, the year of Napoleon's final defeat. But French society has changed since the 1789 Revolution. Rivaled by the rising bourgeoisie, the aristocracy has run out of money and lost its land, forcing men like Renal to become businessmen. His embarrassment at having to work is not lost on men like old Sorel, who take great pleasure in cheating him out of as much money as possible. Old Sorel and Valenod represent the opposite end of the political spectrum: the liberal bourgeoisie. Despite Stendhal's own liberal beliefs, in the novel M. Valenod is harshly criticized for making his money by running a poorhouse and a prison-- openly stealing money from the impoverished of Verrieres. Stendhal's reservations about the moral character of the bourgeoisie are greatly overshadowed by his outright disdain for the aristocracy, especially M. de Renal. Renal lacks both intelligence and wit, and is so obsessed about his social status that he is willing to pay Julien more money just so Valenod won't be able to afford him. Renal's insatiable desire to build walls and plant prune trees throughout Verrieres are also elements of Stendhal's hostility . The mayor's concern for class and rank paradoxically makes him behave like a bourgeois businessman: he owns a factory and praises only what \"yields a return.\" More importantly, M. de Renal has no real authority--he is only a mayor by title. As Stendhal notes, \"public opinion\" is the most powerful force in the countryside, not the municipal governments. M. de Renal is hesitant at first to hire Julien because Julien is a carpenter's son and thus not worthy to live in Renal's house. Renal is also convinced that Verrieres is filled with liberals. However, M. Chelan assures the mayor that Julien intends to become a priest and is an excellent scholar of Latin. This association with the Church convinces M. de Renal that Julien is not a liberal--but nothing could be further from the truth. The reader first encounters Julien reading, not the Bible, but the Memorial de Sainte- Helene, a keystone in the Napoleonic legend. Julien is not only a liberal, but worships the hero of the liberal cause, Napoleon Bonaparte. Julien hopes to model his life after Napoleon's, comparing his ability to \"make his fortune\" to a military engagement. Julien's fierce ambition and devotion to his role model make him defiantly refuse to be M. de Renal's \"servant.\" His egotism prevents him from doing anything that will not better his own social position. This emphasis on Napoleon, both thematically and stylistically, plays a preeminent role in The Red and the Black. Julien often cries, \"To arms!\"--comparing his daily decisions to those of a general on a battlefield. Stendhal's sharp and choppy prose has been compared to the language in the Napoleonic Code. Stendhal's juxtaposition of his protagonist Julien with the antagonist M. de Renal is also a juxtaposition of his stylistic influences. The biting irony used to describe M. de Renal recalls the humor of Voltaire, while Julien's lofty ambition situates his character in the romantic tradition of Dumas and Chateaubriand. Finally, Stendhal also introduces one of the texts major themes: hypocrisy. Julien both abhors the hypocrisy characteristic of the Restauration period, and realizes that it is the only way to succeed in French society. He thus pretends to dislike Napoleon like a good conservative and learns Latin in order to convince M. Chelan that he wants to be a priest. Stendhal's fascination with hypocrisy stems from his own experiences with politics during the Restoration, but also represents a subtle psychological exercise. Stendhal believed that between the alternating expressions of hypocrisy and open revolt lies the profound truth of one's character. Yet Julien's conscious hypocrisy will not come without its price. As he says a prayer in church before leaving for the Renals', he sees a scrap of paper discussing the details of the execution of a man named Louis Jenrel--an anagram of \"Julien Sorel.\" Stendhal foreshadows Julien's own fate with a warning: the back of the paper reads \"The first step,\" and Julien thinks he sees blood on the floor of the Church. The combination of his ambition and his hypocrisy will not go unpunished."}

CHAPTER I A SMALL TOWN Put thousands together less bad, But the cage less gay.--_Hobbes_. The little town of Verrieres can pass for one of the prettiest in Franche-Comte. Its white houses with their pointed red-tiled roofs stretch along the slope of a hill, whose slightest undulations are marked by groups of vigorous chestnuts. The Doubs flows to within some hundred feet above its fortifications, which were built long ago by the Spaniards, and are now in ruins. Verrieres is sheltered on the north by a high mountain which is one of the branches of the Jura. The jagged peaks of the Verra are covered with snow from the beginning of the October frosts. A torrent which rushes down from the mountains traverses Verrieres before throwing itself into the Doubs, and supplies the motive power for a great number of saw mills. The industry is very simple, and secures a certain prosperity to the majority of the inhabitants who are more peasant than bourgeois. It is not, however, the wood saws which have enriched this little town. It is the manufacture of painted tiles, called Mulhouse tiles, that is responsible for that general affluence which has caused the facades of nearly all the houses in Verrieres to be rebuilt since the fall of Napoleon. One has scarcely entered the town, before one is stunned by the din of a strident machine of terrifying aspect. Twenty heavy hammers which fall with a noise that makes the paved floor tremble, are lifted up by a wheel set in motion by the torrent. Each of these hammers manufactures every day I don't know how many thousands of nails. The little pieces of iron which are rapidly transformed into nails by these enormous hammers, are put in position by fresh pretty young girls. This labour so rough at first sight is one of the industries which most surprises the traveller who penetrates for the first time the mountains which separate France and Helvetia. If when he enters Verrieres, the traveller asks who owns this fine nail factory which deafens everybody who goes up the Grande-Rue, he is answered in a drawling tone "Eh! it belongs to M. the Mayor." And if the traveller stops a few minutes in that Grande-Rue of Verrieres which goes on an upward incline from the bank of the Doubs to nearly as far as the summit of the hill, it is a hundred to one that he will see a big man with a busy and important air. When he comes in sight all hats are quickly taken off. His hair is grizzled and he is dressed in grey. He is a Knight of several Orders, has a large forehead and an aquiline nose, and if you take him all round, his features are not devoid of certain regularity. One might even think on the first inspection that it combines with the dignity of the village mayor that particular kind of comfortableness which is appropriate to the age of forty-eight or fifty. But soon the traveller from Paris will be shocked by a certain air of self-satisfaction and self-complacency mingled with an almost indefinable narrowness and lack of inspiration. One realises at last that this man's talent is limited to seeing that he is paid exactly what he is owed, and in paying his own debts at the latest possible moment. Such is M. de Renal, the mayor of Verrieres. After having crossed the road with a solemn step, he enters the mayoral residence and disappears from the eye of the traveller. But if the latter continues to walk a hundred steps further up, he will perceive a house with a fairly fine appearance, with some magnificent gardens behind an iron grill belonging to the house. Beyond that is an horizon line formed by the hills of Burgundy, which seem ideally made to delight the eyes. This view causes the traveller to forget that pestilential atmosphere of petty money-grubbing by which he is beginning to be suffocated. He is told that this house belongs to M. de Renal. It is to the profits which he has made out of his big nail factory that the mayor of Verrieres owes this fine residence of hewn stone which he is just finishing. His family is said to be Spanish and ancient, and is alleged to have been established in the country well before the conquest of Louis XIV. Since 1815, he blushes at being a manufacturer: 1815 made him mayor of Verrieres. The terraced walls of this magnificent garden which descends to the Doubs, plateau by plateau, also represent the reward of M. de Renal's proficiency in the iron-trade. Do not expect to find in France those picturesque gardens which surround the manufacturing towns of Germany, like Leipsic, Frankfurt and Nurenburgh, etc. The more walls you build in Franche-Comte and the more you fortify your estate with piles of stone, the more claim you will acquire on the respect of your neighbours. Another reason for the admiration due to M. de Renal's gardens and their numerous walls, is the fact that he has purchased, through sheer power of the purse, certain small parcels of the ground on which they stand. That saw-mill, for instance, whose singular position on the banks of the Doubs struck you when you entered Verrieres, and where you notice the name of SOREL written in gigantic characters on the chief beam of the roof, used to occupy six years ago that precise space on which is now reared the wall of the fourth terrace in M. de Renal's gardens. Proud man that he was, the mayor had none the less to negotiate with that tough, stubborn peasant, old Sorel. He had to pay him in good solid golden louis before he could induce him to transfer his workshop elsewhere. As to the _public_ stream which supplied the motive power for the saw-mill, M. de Renal obtained its diversion, thanks to the influence which he enjoyed at Paris. This favour was accorded him after the election of 182-. He gave Sorel four acres for every one he had previously held, five hundred yards lower down on the banks of the Doubs. Although this position was much more advantageous for his pine-plank trade, father Sorel (as he is called since he has become rich) knew how to exploit the impatience and _mania for landed ownership_ which animated his neighbour to the tune of six thousand francs. It is true that this arrangement was criticised by the wiseacres of the locality. One day, it was on a Sunday four years later, as M. de Renal was coming back from church in his mayor's uniform, he saw old Sorel smiling at him, as he stared at him some distance away surrounded by his three sons. That smile threw a fatal flood of light into the soul of the mayor. From that time on, he is of opinion that he could have obtained the exchange at a cheaper rate. In order to win the public esteem of Verrieres it is essential that, though you should build as many walls as you can, you should not adopt some plan imported from Italy by those masons who cross the passes of the Jura in the spring on their way to Paris. Such an innovation would bring down upon the head of the imprudent builder an eternal reputation for _wrongheadedness_, and he will be lost for ever in the sight of those wise, well-balanced people who dispense public esteem in Franche-Comte. As a matter of fact, these prudent people exercise in the place the most offensive despotism. It is by reason of this awful word, that anyone who has lived in that great republic which is called Paris, finds living in little towns quite intolerable. The tyranny of public opinion (and what public opinion!) is as _stupid_ in the little towns of France as in the United States of America. CHAPTER II A MAYOR Importance! What is it, sir after all? The respect of fools, the wonder of children, the envy of the rich, the contempt of the wise man.--_Barnave_ Happily for the reputation of M. de Renal as an administrator an immense wall of support was necessary for the public promenade which goes along the hill, a hundred steps above the course of the Doubs. This admirable position secures for the promenade one of the most picturesque views in the whole of France. But the rain water used to make furrows in the walk every spring, caused ditches to appear, and rendered it generally impracticable. This nuisance, which was felt by the whole town, put M. de Renal in the happy position of being compelled to immortalise his administration by building a wall twenty feet high and thirty to forty yards long. The parapet of this wall, which occasioned M. de Renal three journeys to Paris (for the last Minister of the Interior but one had declared himself the mortal enemy of the promenade of Verrieres), is now raised to a height of four feet above the ground, and as though to defy all ministers whether past or present, it is at present adorned with tiles of hewn stone. How many times have my looks plunged into the valley of the Doubs, as I thought of the Paris balls which I had abandoned on the previous night, and leant my breast against the great blocks of stone, whose beautiful grey almost verged on blue. Beyond the left bank, there wind five or six valleys, at the bottom of which I could see quite distinctly several small streams. There is a view of them falling into the Doubs, after a series of cascades. The sun is very warm in these mountains. When it beats straight down, the pensive traveller on the terrace finds shelter under some magnificent plane trees. They owe their rapid growth and their fine verdure with its almost bluish shade to the new soil, which M. the mayor has had placed behind his immense wall of support for (in spite of the opposition of the Municipal Council) he has enlarged the promenade by more than six feet (and although he is an Ultra and I am a Liberal, I praise him for it), and that is why both in his opinion and in that of M. Valenod, the fortunate Director of the workhouse of Verrieres, this terrace can brook comparison with that of Saint-Germain en Laye. I find personally only one thing at which to cavil in the COURS DE LA FIDELITE, (this official name is to be read in fifteen to twenty places on those immortal tiles which earned M. de Renal an extra cross.) The grievance I find in the Cours de la Fidelite is the barbarous manner in which the authorities have cut these vigorous plane trees and clipped them to the quick. In fact they really resemble with their dwarfed, rounded and flattened heads the most vulgar plants of the vegetable garden, while they are really capable of attaining the magnificent development of the English plane trees. But the wish of M. the mayor is despotic, and all the trees belonging to the municipality are ruthlessly pruned twice a year. The local Liberals suggest, but they are probably exaggerating, that the hand of the official gardener has become much more severe, since M. the Vicar Maslon started appropriating the clippings. This young ecclesiastic was sent to Besancon some years ago to keep watch on the abbe Chelan and some cures in the neighbouring districts. An old Surgeon-Major of Napoleon's Italian Army, who was living in retirement at Verrieres, and who had been in his time described by M. the mayor as both a Jacobin and a Bonapartiste, dared to complain to the mayor one day of the periodical mutilation of these fine trees. "I like the shade," answered M. de Renal, with just a tinge of that hauteur which becomes a mayor when he is talking to a surgeon, who is a member of the Legion of Honour. "I like the shade, I have _my_ trees clipped in order to give shade, and I cannot conceive that a tree can have any other purpose, provided of course _it is not bringing in any profit_, like the useful walnut tree." This is the great word which is all decisive at Verrieres. "BRINGING IN PROFIT," this word alone sums up the habitual trend of thought of more than three-quarters of the inhabitants. _Bringing in profit_ is the consideration which decides everything in this little town which you thought so pretty. The stranger who arrives in the town is fascinated by the beauty of the fresh deep valleys which surround it, and he imagines at first that the inhabitants have an appreciation of the beautiful. They talk only too frequently of the beauty of their country, and it cannot be denied that they lay great stress on it, but the reason is that it attracts a number of strangers, whose money enriches the inn-keepers, a process which _brings in profit_ to the town, owing to the machinery of the octroi. It was on a fine, autumn day that M. de Renal was taking a promenade on the Cours de la Fidelite with his wife on his arm. While listening to her husband (who was talking in a somewhat solemn manner) Madame de Renal followed anxiously with her eyes the movements of three little boys. The eldest, who might have been eleven years old, went too frequently near the parapet and looked as though he was going to climb up it. A sweet voice then pronounced the name of Adolphe and the child gave up his ambitious project. Madame de Renal seemed a woman of thirty years of age but still fairly pretty. "He may be sorry for it, may this fine gentleman from Paris," said M. de Renal, with an offended air and a face even paler than usual. "I am not without a few friends at court!" But though I want to talk to you about the provinces for two hundred pages, I lack the requisite barbarity to make you undergo all the long-windedness and circumlocutions of a provincial dialogue. This fine gentleman from Paris, who was so odious to the mayor of Verrieres, was no other than the M. Appert, who had two days previously managed to find his way not only into the prison and workhouse of Verrieres, but also into the hospital, which was gratuitously conducted by the mayor and the principal proprietors of the district. "But," said Madame de Renal timidly, "what harm can this Paris gentleman do you, since you administer the poor fund with the utmost scrupulous honesty?" "He only comes to _throw_ blame and afterwards he will get some articles into the Liberal press." "You never read them, my dear." "But they always talk to us about those Jacobin articles, all that distracts us and prevents us from doing good.[1] Personally, I shall never forgive the cure." [1] Historically true. CHAPTER III THE POOR FUND A virtuous cure who does not intrigue is a providence for the village.--_Fleury_ It should be mentioned that the cure of Verrieres, an old man of ninety, who owed to the bracing mountain air an iron constitution and an iron character, had the right to visit the prison, the hospital and the workhouse at any hour. It had been at precisely six o'clock in the morning that M. Appert, who had a Paris recommendation to the cure, had been shrewd enough to arrive at a little inquisitive town. He had immediately gone on to the cure's house. The cure Chelan became pensive as he read the letter written to him by the M. le Marquis de La Mole, Peer of France, and the richest landed proprietor of the province. "I am old and beloved here," he said to himself in a whisper, "they would not dare!" Then he suddenly turned to the gentleman from Paris, with eyes, which in spite of his great age, shone with that sacred fire which betokens the delight of doing a fine but slightly dangerous act. "Come with me, sir," he said, "but please do not express any opinion of the things which we shall see, in the presence of the jailer, and above all not in the presence of the superintendents of the workhouse." M. Appert realised that he had to do with a man of spirit. He followed the venerable cure, visited the hospital and workhouse, put a lot of questions, but in spite of somewhat extraordinary answers, did not indulge in the slightest expression of censure. This visit lasted several hours; the cure invited M. Appert to dine, but the latter made the excuse of having some letters to write; as a matter of fact, he did not wish to compromise his generous companion to any further extent. About three o'clock these gentlemen went to finish their inspection of the workhouse and then returned to the prison. There they found the jailer by the gate, a kind of giant, six feet high, with bow legs. His ignoble face had become hideous by reason of his terror. "Ah, monsieur," he said to the cure as soon as he saw him, "is not the gentleman whom I see there, M. Appert?" "What does that matter?" said the cure. "The reason is that I received yesterday the most specific orders, and M. the Prefect sent a message by a gendarme who must have galloped during the whole of the night, that M. Appert was not to be allowed in the prisons." "I can tell you, M. Noiroud," said the cure, "that the traveller who is with me is M. Appert, but do you or do you not admit that I have the right to enter the prison at any hour of the day or night accompanied by anybody I choose?" "Yes, M. the cure," said the jailer in a low voice, lowering his head like a bull-dog, induced to a grudging obedience by fear of the stick, "only, M. the cure, I have a wife and children, and shall be turned out if they inform against me. I only have my place to live on." "I, too, should be sorry enough to lose mine," answered the good cure, with increasing emotion in his voice. "What a difference!" answered the jailer keenly. "As for you, M. le cure, we all know that you have eight hundred francs a year, good solid money." Such were the facts which, commented upon and exaggerated in twenty different ways, had been agitating for the last two days all the odious passions of the little town of Verrieres. At the present time they served as the text for the little discussion which M. de Renal was having with his wife. He had visited the cure earlier in the morning accompanied by M. Valenod, the director of the workhouse, in order to convey their most emphatic displeasure. M. Chelan had no protector, and felt all the weight of their words. "Well, gentlemen, I shall be the third cure of eighty years of age who has been turned out in this district. I have been here for fifty-six years. I have baptized nearly all the inhabitants of the town, which was only a hamlet when I came to it. Every day I marry young people whose grandparents I have married in days gone by. Verrieres is my family, but I said to myself when I saw the stranger, 'This man from Paris may as a matter of fact be a Liberal, there are only too many of them about, but what harm can he do to our poor and to our prisoners?'" The reproaches of M. de Renal, and above all, those of M. Valenod, the director of the workhouse, became more and more animated. "Well, gentlemen, turn me out then," the old cure exclaimed in a trembling voice; "I shall still continue to live in the district. As you know, I inherited forty-eight years ago a piece of land that brings in eight hundred francs a year; I shall live on that income. I do not save anything out of my living, gentlemen; and that is perhaps why, when you talk to me about it, I am not particularly frightened." M. de Renal always got on very well with his wife, but he did not know what to answer when she timidly repeated the phrase of M. le cure, "What harm can this Paris gentleman do the prisoners?" He was on the point of quite losing his temper when she gave a cry. Her second son had mounted the parapet of the terrace wall and was running along it, although the wall was raised to a height of more than twenty feet above the vineyard on the other side. The fear of frightening her son and making him fall prevented Madame de Renal speaking to him. But at last the child, who was smiling at his own pluck, looked at his mother, saw her pallor, jumped down on to the walk and ran to her. He was well scolded. This little event changed the course of the conversation. "I really mean to take Sorel, the son of the sawyer, into the house," said M. de Renal; "he will look after the children, who are getting too naughty for us to manage. He is a young priest, or as good as one, a good Latin scholar, and will make the children get on. According to the cure, he has a steady character. I will give him three hundred francs a year and his board. I have some doubts as to his morality, for he used to be the favourite of that old Surgeon-Major, Member of the Legion of Honour, who went to board with the Sorels, on the pretext that he was their cousin. It is quite possible that that man was really simply a secret agent of the Liberals. He said that the mountain air did his asthma good, but that is something which has never been proved. He has gone through all _Buonaparte's_ campaigns in Italy, and had even, it was said, voted against the Empire in the plebiscite. This Liberal taught the Sorel boy Latin, and left him a number of books which he had brought with him. Of course, in the ordinary way, I should have never thought of allowing a carpenter's son to come into contact with our children, but the cure told me, the very day before the scene which has just estranged us for ever, that Sorel has been studying theology for three years with the intention of entering a seminary. He is, consequently, not a Liberal, and he certainly is a good Latin scholar. "This arrangement will be convenient in more than one way," continued M. de Renal, looking at his wife with a diplomatic air. "That Valenod is proud enough of his two fine Norman horses which he has just bought for his carriage, but he hasn't a tutor for his children." "He might take this one away from us." "You approve of my plan, then?" said M. de Renal, thanking his wife with a smile for the excellent idea which she had just had. "Well, that's settled." "Good gracious, my dear, how quickly you make up your mind!" "It is because I'm a man of character, as the cure found out right enough. Don't let us deceive ourselves; we are surrounded by Liberals in this place. All those cloth merchants are jealous of me, I am certain of it; two or three are becoming rich men. Well, I should rather fancy it for them to see M. de Renal's children pass along the street as they go out for their walk, escorted by _their tutor_. It will impress people. My grandfather often used to tell us that he had a tutor when he was young. It may run me into a hundred crowns, but that ought to be looked upon as an expense necessary for keeping up our position." This sudden resolution left Madame de Renal quite pensive. She was a big, well-made woman, who had been the beauty of the country, to use the local expression. She had a certain air of simplicity and youthfulness in her deportment. This naive grace, with its innocence and its vivacity, might even have recalled to a Parisian some suggestion of the sweets he had left behind him. If she had realised this particular phase of her success, Madame de Renal would have been quite ashamed of it. All coquetry, all affectation, were absolutely alien to her temperament. M. Valenod, the rich director of the workhouse, had the reputation of having paid her court, a fact which had cast a singular glamour over her virtue; for this M. Valenod, a big young man with a square, sturdy frame, florid face, and big, black whiskers, was one of those coarse, blustering, and noisy people who pass in the provinces for a "fine man." Madame de Renal, who had a very shy, and apparently a very uneven temperament, was particularly shocked by M. Valenod's lack of repose, and by his boisterous loudness. Her aloofness from what, in the Verrieres' jargon, was called "having a good time," had earned her the reputation of being very proud of her birth. In fact, she never thought about it, but she had been extremely glad to find the inhabitants of the town visit her less frequently. We shall not deny that she passed for a fool in the eyes of _their_ good ladies because she did not wheedle her husband, and allowed herself to miss the most splendid opportunities of getting fine hats from Paris or Besancon. Provided she was allowed to wander in her beautiful garden, she never complained. She was a naive soul, who had never educated herself up to the point of judging her husband and confessing to herself that he bored her. She supposed, without actually formulating the thought, that there was no greater sweetness in the relationship between husband and wife than she herself had experienced. She loved M. de Renal most when he talked about his projects for their children. The elder he had destined for the army, the second for the law, and the third for the Church. To sum up, she found M. de Renal much less boring than all the other men of her acquaintance. This conjugal opinion was quite sound. The Mayor of Verrieres had a reputation for wit, and above all, a reputation for good form, on the strength of half-a-dozen "chestnuts" which he had inherited from an uncle. Old Captain de Renal had served, before the Revolution, in the infantry regiment of M. the Duke of Orleans, and was admitted to the Prince's salons when he went to Paris. He had seen Madame de Montesson, the famous Madame de Genlis, M. Ducret, the inventor, of the Palais-Royal. These personages would crop up only too frequently in M. de Renal's anecdotes. He found it, however, more and more of a strain to remember stories which required such delicacy in the telling, and for some time past it had only been on great occasions that he would trot out his anecdotes concerning the House of Orleans. As, moreover, he was extremely polite, except on money matters, he passed, and justly so, for the most aristocratic personage in Verrieres. CHAPTER IV A FATHER AND A SON E sara mia colpa Se cosi e? --_Machiavelli_. "My wife really has a head on her shoulders," said the mayor of Verrieres at six o'clock the following morning, as he went down to the saw-mill of Father Sorel. "It had never occurred to me that if I do not take little Abbe Sorel, who, they say, knows Latin like an angel, that restless spirit, the director of the workhouse, might have the same idea and snatch him away from me, though of course I told her that it had, in order to preserve my proper superiority. And how smugly, to be sure, would he talk about his children's tutor!... The question is, once the tutor's mine, shall he wear the cassock?" M. de Renal was absorbed in this problem when he saw a peasant in the distance, a man nearly six feet tall, who since dawn had apparently been occupied in measuring some pieces of wood which had been put down alongside the Doubs on the towing-path. The peasant did not look particularly pleased when he saw M. the Mayor approach, as these pieces of wood obstructed the road, and had been placed there in breach of the rules. Father Sorel (for it was he) was very surprised, and even more pleased at the singular offer which M. de Renal made him for his son Julien. None the less, he listened to it with that air of sulky discontent and apathy which the subtle inhabitants of these mountains know so well how to assume. Slaves as they have been since the time of the Spanish Conquest, they still preserve this feature, which is also found in the character of the Egyptian fellah. Sorel's answer was at first simply a long-winded recitation of all the formulas of respect which he knew by heart. While he was repeating these empty words with an uneasy smile, which accentuated all the natural disingenuousness, if not, indeed, knavishness of his physiognomy, the active mind of the old peasant tried to discover what reason could induce so important a man to take into his house his good-for-nothing of a son. He was very dissatisfied with Julien, and it was for Julien that M. de Renal offered the undreamt-of salary of 300 fcs. a year, with board and even clothing. This latter claim, which Father Sorel had had the genius to spring upon the mayor, had been granted with equal suddenness by M. de Renal. This demand made an impression on the mayor. It is clear, he said to himself, that since Sorel is not beside himself with delight over my proposal, as in the ordinary way he ought to be, he must have had offers made to him elsewhere, and whom could they have come from, if not from Valenod. It was in vain that M. de Renal pressed Sorel to clinch the matter then and there. The old peasant, astute man that he was, stubbornly refused to do so. He wanted, he said, to consult his son, as if in the provinces, forsooth, a rich father consulted a penniless son for any other reason than as a mere matter of form. A water saw-mill consists of a shed by the side of a stream. The roof is supported by a framework resting on four large timber pillars. A saw can be seen going up and down at a height of eight to ten feet in the middle of the shed, while a piece of wood is propelled against this saw by a very simple mechanism. It is a wheel whose motive-power is supplied by the stream, which sets in motion this double piece of mechanism, the mechanism of the saw which goes up and down, and the mechanism which gently pushes the piece of wood towards the saw, which cuts it up into planks. Approaching his workshop, Father Sorel called Julien in his stentorian voice; nobody answered. He only saw his giant elder sons, who, armed with heavy axes, were cutting up the pine planks which they had to carry to the saw. They were engrossed in following exactly the black mark traced on each piece of wood, from which every blow of their axes threw off enormous shavings. They did not hear their father's voice. The latter made his way towards the shed. He entered it and looked in vain for Julien in the place where he ought to have been by the side of the saw. He saw him five or six feet higher up, sitting astride one of the rafters of the roof. Instead of watching attentively the action of the machinery, Julien was reading. Nothing was more anti-pathetic to old Sorel. He might possibly have forgiven Julien his puny physique, ill adapted as it was to manual labour, and different as it was from that of his elder brothers; but he hated this reading mania. He could not read himself. It was in vain that he called Julien two or three times. It was the young man's concentration on his book, rather than the din made by the saw, which prevented him from hearing his father's terrible voice. At last the latter, in spite of his age, jumped nimbly on to the tree that was undergoing the action of the saw, and from there on to the cross-bar that supported the roof. A violent blow made the book which Julien held, go flying into the stream; a second blow on the head, equally violent, which took the form of a box on the ears, made him lose his balance. He was on the point of falling twelve or fifteen feet lower down into the middle of the levers of the running machinery which would have cut him to pieces, but his father caught him as he fell, in his left hand. "So that's it, is it, lazy bones! always going to read your damned books are you, when you're keeping watch on the saw? You read them in the evening if you want to, when you go to play the fool at the cure's, that's the proper time." Although stunned by the force of the blow and bleeding profusely, Julien went back to his official post by the side of the saw. He had tears in his eyes, less by reason of the physical pain than on account of the loss of his beloved book. "Get down, you beast, when I am talking to you," the noise of the machinery prevented Julien from hearing this order. His father, who had gone down did not wish to give himself the trouble of climbing up on to the machinery again, and went to fetch a long fork used for bringing down nuts, with which he struck him on the shoulder. Julien had scarcely reached the ground, when old Sorel chased him roughly in front of him and pushed him roughly towards the house. "God knows what he is going to do with me," said the young man to himself. As he passed, he looked sorrowfully into the stream into which his book had fallen, it was the one that he held dearest of all, the _Memorial of St. Helena_. He had purple cheeks and downcast eyes. He was a young man of eighteen to nineteen years old, and of puny appearance, with irregular but delicate features, and an aquiline nose. The big black eyes which betokened in their tranquil moments a temperament at once fiery and reflective were at the present moment animated by an expression of the most ferocious hate. Dark chestnut hair, which came low down over his brow, made his forehead appear small and gave him a sinister look during his angry moods. It is doubtful if any face out of all the innumerable varieties of the human physiognomy was ever distinguished by a more arresting individuality. A supple well-knit figure, indicated agility rather than strength. His air of extreme pensiveness and his great pallor had given his father the idea that he would not live, or that if he did, it would only be to be a burden to his family. The butt of the whole house, he hated his brothers and his father. He was regularly beaten in the Sunday sports in the public square. A little less than a year ago his pretty face had begun to win him some sympathy among the young girls. Universally despised as a weakling, Julien had adored that old Surgeon-Major, who had one day dared to talk to the mayor on the subject of the plane trees. This Surgeon had sometimes paid Father Sorel for taking his son for a day, and had taught him Latin and History, that is to say the 1796 Campaign in Italy which was all the history he knew. When he died, he had bequeathed his Cross of the Legion of Honour, his arrears of half pay, and thirty or forty volumes, of which the most precious had just fallen into the public stream, which had been diverted owing to the influence of M. the Mayor. Scarcely had he entered the house, when Julien felt his shoulder gripped by his father's powerful hand; he trembled, expecting some blows. "Answer me without lying," cried the harsh voice of the old peasant in his ears, while his hand turned him round and round, like a child's hand turns round a lead soldier. The big black eyes of Julien filled with tears, and were confronted by the small grey eyes of the old carpenter, who looked as if he meant to read to the very bottom of his soul. CHAPTER V A NEGOTIATION Cunctando restituit rem.--_Ennius_. "Answer me without lies, if you can, you damned dog, how did you get to know Madame de Renal? When did you speak to her?" "I have never spoken to her," answered Julien, "I have only seen that lady in church." "You must have looked at her, you impudent rascal." "Not once! you know, I only see God in church," answered Julien, with a little hypocritical air, well suited, so he thought, to keep off the parental claws. "None the less there's something that does not meet the eye," answered the cunning peasant. He was then silent for a moment. "But I shall never get anything out of you, you damned hypocrite," he went on. "As a matter of fact, I am going to get rid of you, and my saw-mill will go all the better for it. You have nobbled the curate, or somebody else, who has got you a good place. Run along and pack your traps, and I will take you to M. de Renal's, where you are going to be tutor to his children." "What shall I get for that?" "Board, clothing, and three hundred francs salary." "I do not want to be a servant." "Who's talking of being a servant, you brute, do you think I want my son to be a servant?" "But with whom shall I have my meals?" This question discomforted old Sorel, who felt he might possibly commit some imprudence if he went on talking. He burst out against Julien, flung insult after insult at him, accused him of gluttony, and left him to go and consult his other sons. Julien saw them afterwards, each one leaning on his axe and holding counsel. Having looked at them for a long time, Julien saw that he could find out nothing, and went and stationed himself on the other side of the saw in order to avoid being surprised. He wanted to think over this unexpected piece of news, which changed his whole life, but he felt himself unable to consider the matter prudently, his imagination being concentrated in wondering what he would see in M. de Renal's fine mansion. "I must give all that up," he said to himself, "rather than let myself be reduced to eating with the servants. My father would like to force me to it. I would rather die. I have fifteen francs and eight sous of savings. I will run away to-night; I will go across country by paths where there are no gendarmes to be feared, and in two days I shall be at Besancon. I will enlist as a soldier there, and, if necessary, I will cross into Switzerland. But in that case, no more advancement, it will be all up with my being a priest, that fine career which may lead to anything." This abhorrence of eating with the servants was not really natural to Julien; he would have done things quite, if not more, disagreeable in order to get on. He derived this repugnance from the _Confessions_ of Rousseau. It was the only book by whose help his imagination endeavoured to construct the world. The collection of the Bulletins of the Grand Army, and the _Memorial of St. Helena_ completed his Koran. He would have died for these three works. He never believed in any other. To use a phrase of the old Surgeon-Major, he regarded all the other books in the world as packs of lies, written by rogues in order to get on. Julien possessed both a fiery soul and one of those astonishing memories which are so often combined with stupidity. In order to win over the old cure Chelan, on whose good grace he realized that his future prospects depended, he had learnt by heart the New Testament in Latin. He also knew M. de Maistre's book on The Pope, and believed in one as little as he did in the other. Sorel and his son avoided talking to each other to-day as though by mutual consent. In the evening Julien went to take his theology lesson at the cure's, but he did not consider that it was prudent to say anything to him about the strange proposal which had been made to his father. "It is possibly a trap," he said to himself, "I must pretend that I have forgotten all about it." Early next morning, M. de Renal had old Sorel summoned to him. He eventually arrived, after keeping M. de Renal waiting for an hour-and-a-half, and made, as he entered the room, a hundred apologies interspersed with as many bows. After having run the gauntlet of all kinds of objections, Sorel was given to understand that his son would have his meals with the master and mistress of the house, and that he would eat alone in a room with the children on the days when they had company. The more clearly Sorel realized the genuine eagerness of M. the Mayor, the more difficulties he felt inclined to raise. Being moreover full of mistrust and astonishment, he asked to see the room where his son would sleep. It was a big room, quite decently furnished, into which the servants were already engaged in carrying the beds of the three children. This circumstance explained a lot to the old peasant. He asked immediately, with quite an air of assurance, to see the suit which would be given to his son. M. de Renal opened his desk and took out one hundred francs. "Your son will go to M. Durand, the draper, with this money and will get a complete black suit." "And even supposing I take him away from you," said the peasant, who had suddenly forgotten all his respectful formalities, "will he still keep this black suit?" "Certainly!" "Well," said Sorel, in a drawling voice, "all that remains to do is to agree on just one thing, the money which you will give him." "What!" exclaimed M. de Renal, indignantly, "we agreed on that yesterday. I shall give him three hundred francs, I think that is a lot, and probably too much." "That is your offer and I do not deny it," said old Sorel, speaking still very slowly; and by a stroke of genius which will only astonish those who do not know the Franche-Comte peasants, he fixed his eyes on M. de Renal and added, "We shall get better terms elsewhere." The Mayor's face exhibited the utmost consternation at these words. He pulled himself together however and after a cunning conversation of two hours' length, where every single word on both sides was carefully weighed, the subtlety of the peasant scored a victory over the subtlety of the rich man, whose livelihood was not so dependent on his faculty of cunning. All the numerous stipulations which were to regulate Julien's new existence were duly formulated. Not only was his salary fixed at four hundred francs, but they were to be paid in advance on the first of each month. "Very well, I will give him thirty-five francs," said M. de Renal. "I am quite sure," said the peasant, in a fawning voice, "that a rich, generous man like the M. mayor would go as far as thirty-six francs, to make up a good round sum." "Agreed!" said M. de Renal, "but let this be final." For the moment his temper gave him a tone of genuine firmness. The peasant saw that it would not do to go any further. Then, on his side, M. de Renal managed to score. He absolutely refused to give old Sorel, who was very anxious to receive it on behalf of his son, the thirty-six francs for the first month. It had occurred to M. de Renal that he would have to tell his wife the figure which he had cut throughout these negotiations. "Hand me back the hundred francs which I gave you," he said sharply. "M. Durand owes me something, I will go with your son to see about a black cloth suit." After this manifestation of firmness, Sorel had the prudence to return to his respectful formulas; they took a good quarter of an hour. Finally, seeing that there was nothing more to be gained, he took his leave. He finished his last bow with these words: "I will send my son to the Chateau." The Mayor's officials called his house by this designation when they wanted to humour him. When he got back to his workshop, it was in vain that Sorel sought his son. Suspicious of what might happen, Julien had gone out in the middle of the night. He wished to place his Cross of the Legion of Honour and his books in a place of safety. He had taken everything to a young wood-merchant named Fouque, who was a friend of his, and who lived in the high mountain which commands Verrieres. "God knows, you damned lazy bones," said his father to him when he re-appeared, "if you will ever be sufficiently honourable to pay me back the price of your board which I have been advancing to you for so many years. Take your rags and clear out to M. the Mayor's." Julien was astonished at not being beaten and hastened to leave. He had scarcely got out of sight of his terrible father when he slackened his pace. He considered that it would assist the role played by his hypocrisy to go and say a prayer in the church. The word hypocrisy surprises you? The soul of the peasant had had to go through a great deal before arriving at this horrible word. Julien had seen in the days of his early childhood certain Dragoons of the 6th[1] with long white cloaks and hats covered with long black plumed helmets who were returning from Italy, and tied up their horses to the grilled window of his father's house. The sight had made him mad on the military profession. Later on he had listened with ecstasy to the narrations of the battles of Lodi, Arcola and Rivoli with which the old surgeon-major had regaled him. He observed the ardent gaze which the old man used to direct towards his cross. But when Julien was fourteen years of age they commenced to build a church at Verrieres which, in view of the smallness of the town, has some claim to be called magnificent. There were four marble columns in particular, the sight of which impressed Julien. They became celebrated in the district owing to the mortal hate which they raised between the Justice of the Peace and the young vicar who had been sent from Besancon and who passed for a spy of the congregation. The Justice of the Peace was on the point of losing his place, so said the public opinion at any rate. Had he not dared to have a difference with the priest who went every fortnight to Besancon; where he saw, so they said, my Lord the Bishop. In the meanwhile the Justice of the Peace, who was the father of a numerous family, gave several sentences which seemed unjust: all these sentences were inflicted on those of the inhabitants who read the "_Constitutionnel_." The right party triumphed. It is true it was only a question of sums of three or five francs, but one of these little fines had to be paid by a nail-maker, who was god-father to Julien. This man exclaimed in his anger "What a change! and to think that for more than twenty years the Justice of the Peace has passed for an honest man." The Surgeon-Major, Julien's friend, died. Suddenly Julien left off talking about Napoleon. He announced his intention of becoming a priest, and was always to be seen in his father's workshop occupied in learning by heart the Latin Bible which the cure had lent him. The good old man was astonished at his progress, and passed whole evenings in teaching him theology. In his society Julien did not manifest other than pious sentiments. Who could not possibly guess that beneath this girlish face, so pale and so sweet, lurked the unbreakable resolution to risk a thousand deaths rather than fail to make his fortune. Making his fortune primarily meant to Julien getting out of Verrieres: he abhorred his native country; everything that he saw there froze his imagination. He had had moments of exultation since his earliest childhood. He would then dream with gusto of being presented one day to the pretty women of Paris. He would manage to attract their attention by some dazzling feat: why should he not be loved by one of them just as Buonaparte, when still poor, had been loved by the brilliant Madame de Beauharnais. For many years past Julien had scarcely passed a single year of his life without reminding himself that Buonaparte, the obscure and penniless lieutenant, had made himself master of the whole world by the power of his sword. This idea consoled him for his misfortune, which he considered to be great, and rendered such joyful moments as he had doubly intense. The building of the church and the sentences pronounced by the Justice of the Peace suddenly enlightened him. An idea came to him which made him almost mad for some weeks, and finally took complete possession of him with all the magic that a first idea possesses for a passionate soul which believes that it is original. "At the time when Buonaparte got himself talked about, France was frightened of being invaded; military distinction was necessary and fashionable. Nowadays, one sees priests of forty with salaries of 100,000 francs, that is to say, three times as much as Napoleon's famous generals of a division. They need persons to assist them. Look at that Justice of the Peace, such a good sort and such an honest man up to the present and so old too; he sacrifices his honour through the fear of incurring the displeasure of a young vicar of thirty. I must be a priest." On one occasion, in the middle of his new-found piety (he had already been studying theology for two years), he was betrayed by a sudden burst of fire which consumed his soul. It was at M. Chelan's. The good cure had invited him to a dinner of priests, and he actually let himself praise Napoleon with enthusiasm. He bound his right arm over his breast, pretending that he had dislocated it in moving a trunk of a pine-tree and carried it for two months in that painful position. After this painful penance, he forgave himself. This is the young man of eighteen with a puny physique, and scarcely looking more than seventeen at the outside, who entered the magnificent church of Verrieres carrying a little parcel under his arm. He found it gloomy and deserted. All the transepts in the building had been covered with crimson cloth in celebration of a feast. The result was that the sun's rays produced an effect of dazzling light of the most impressive and religious character. Julien shuddered. Finding himself alone in the church, he established himself in the pew which had the most magnificent appearance. It bore the arms of M. de Renal. Julien noticed a piece of printed paper spread out on the stool, which was apparently intended to be read, he cast his eyes over it and saw:--"_Details of the execution and the last moments of Louis Jenrel, executed at Besancon the...._" The paper was torn. The two first words of a line were legible on the back, they were, "_The First Step_." "Who could have put this paper there?" said Julien. "Poor fellow!" he added with a sigh, "the last syllable of his name is the same as mine," and he crumpled up the paper. As he left, Julien thought he saw blood near the Host, it was holy water which the priests had been sprinkling on it, the reflection of the red curtains which covered the windows made it look like blood. Finally, Julien felt ashamed of his secret terror. "Am I going to play the coward," he said to himself: "_To Arms!_" This phrase, repeated so often in the old Surgeon-Major's battle stories, symbolized heroism to Julien. He got up rapidly and walked to M. de Renal's house. As soon as he saw it twenty yards in front of him he was seized, in spite of his fine resolution, with an overwhelming timidity. The iron grill was open. He thought it was magnificent. He had to go inside. Julien was not the only person whose heart was troubled by his arrival in the house. The extreme timidity of Madame de Renal was fluttered when she thought of this stranger whose functions would necessitate his coming between her and her children. She was accustomed to seeing her sons sleep in her own room. She had shed many tears that morning, when she had seen their beds carried into the apartment intended for the tutor. It was in vain that she asked her husband to have the bed of Stanislas-Xavier, the youngest, carried back into her room. Womanly delicacy was carried in Madame de Renal to the point of excess. She conjured up in her imagination the most disagreeable personage, who was coarse, badly groomed and encharged with the duty of scolding her children simply because he happened to know Latin, and only too ready to flog her sons for their ignorance of that barbarous language. [1] The author was sub-lieutenant in the 6th Dragoons in 1800.

https://web.archive.org/web/20210301223854/https://www.sparknotes.com/lit/redblack/section1/

The novel opens with a panorama of the provincial town of Verrieres, located in southern France. The reader is immediately confronted with the racket of a nail-making factory, which belongs to the town mayor, M. de Renal. Descended from an old aristocratic family, M. de Renal is ashamed of having to participate in industry, especially since he was made mayor of Verrieres after supporting the restoration of the absolutist monarchy in 1815. The mayor tries to maintain an air of superiority about him but has recently been embarrassed by old Sorel, the owner of a local saw mill. Sorel recently manipulated Renal into over-paying for a piece of land; a humiliation before public opinion that M. de Renal is forced to endure. While walking through Verrieres with his wife, Mme. de Renal, the mayor encounters the town priest, M. Chelan, and the director of the poorhouse, M. Valenod. Chelan is a kind- hearted and philanthropic public servant whom the mayor distrusts. While M. de Renal and M. Valenod profess to be friends, the latter is a bourgeois liberal and thus the mayor's political adversary. Worried that Valenod, who is becoming richer day by day, is scheming to become mayor, M. de Renal tells his wife that he has decided to hire the son of old Sorel, Julien, to be the tutor of their three children. He hopes that the prestige of having a live-in tutor will surpass Valenod, who has just purchased two Norman horses. Yet, when M. de Renal meets with old Sorel to negotiate Julien's salary, he is again manipulated by Sorel into paying more than Julien is worth. Old Sorel is glad to get rid of Julien, who detests physical labor and has been studying Latin with M. Chelan, training to become a priest. Handsome but scorned as a weakling, Julien is consistently beaten up by his older brothers. Urging his son to pack up and leave for the mayor's, old Sorel beats him. But Julien defiantly refuses to go to M. de Renal's if he will only be a servant. While Julien is contemplating running away, his father secures M. de Renal's promise that Julien will not be considered a servant, will eat together with the family, will receive money for new clothes, and will receive an even larger income. Extremely ambitious, Julien agrees to this arrangement with the hopes that it will better his position in society. An admirer of Napoleon, Julien dreams of achieving both military and economic success after rising from the bottom of society, just like his hero. Julien's godfather, a surgeon-major in Napoleon's army, taught Julien all about Napoleon's great conquests of Europe and his wife Josephine. But when his godfather was persecuted for his liberal political beliefs, Julien finds that the best way to achieve success during the Restoration is by relying on hypocrisy. He stops praising Napoleon in public, and pretends to want to become a priest, realizing that unlike Napoleon's time, when the Army was the road to success, the most powerful institution of the Restoration is the Church.

Commentary Stendhal establishes the political dimensions of the novel in the opening pages describing Verrieres. M. de Renal is a conservative aristocrat and a supporter of the Bourbon Restoration. Indeed, M. de Renal has been the town mayor since 1815, the year of Napoleon's final defeat. But French society has changed since the 1789 Revolution. Rivaled by the rising bourgeoisie, the aristocracy has run out of money and lost its land, forcing men like Renal to become businessmen. His embarrassment at having to work is not lost on men like old Sorel, who take great pleasure in cheating him out of as much money as possible. Old Sorel and Valenod represent the opposite end of the political spectrum: the liberal bourgeoisie. Despite Stendhal's own liberal beliefs, in the novel M. Valenod is harshly criticized for making his money by running a poorhouse and a prison-- openly stealing money from the impoverished of Verrieres. Stendhal's reservations about the moral character of the bourgeoisie are greatly overshadowed by his outright disdain for the aristocracy, especially M. de Renal. Renal lacks both intelligence and wit, and is so obsessed about his social status that he is willing to pay Julien more money just so Valenod won't be able to afford him. Renal's insatiable desire to build walls and plant prune trees throughout Verrieres are also elements of Stendhal's hostility . The mayor's concern for class and rank paradoxically makes him behave like a bourgeois businessman: he owns a factory and praises only what "yields a return." More importantly, M. de Renal has no real authority--he is only a mayor by title. As Stendhal notes, "public opinion" is the most powerful force in the countryside, not the municipal governments. M. de Renal is hesitant at first to hire Julien because Julien is a carpenter's son and thus not worthy to live in Renal's house. Renal is also convinced that Verrieres is filled with liberals. However, M. Chelan assures the mayor that Julien intends to become a priest and is an excellent scholar of Latin. This association with the Church convinces M. de Renal that Julien is not a liberal--but nothing could be further from the truth. The reader first encounters Julien reading, not the Bible, but the Memorial de Sainte- Helene, a keystone in the Napoleonic legend. Julien is not only a liberal, but worships the hero of the liberal cause, Napoleon Bonaparte. Julien hopes to model his life after Napoleon's, comparing his ability to "make his fortune" to a military engagement. Julien's fierce ambition and devotion to his role model make him defiantly refuse to be M. de Renal's "servant." His egotism prevents him from doing anything that will not better his own social position. This emphasis on Napoleon, both thematically and stylistically, plays a preeminent role in The Red and the Black. Julien often cries, "To arms!"--comparing his daily decisions to those of a general on a battlefield. Stendhal's sharp and choppy prose has been compared to the language in the Napoleonic Code. Stendhal's juxtaposition of his protagonist Julien with the antagonist M. de Renal is also a juxtaposition of his stylistic influences. The biting irony used to describe M. de Renal recalls the humor of Voltaire, while Julien's lofty ambition situates his character in the romantic tradition of Dumas and Chateaubriand. Finally, Stendhal also introduces one of the texts major themes: hypocrisy. Julien both abhors the hypocrisy characteristic of the Restauration period, and realizes that it is the only way to succeed in French society. He thus pretends to dislike Napoleon like a good conservative and learns Latin in order to convince M. Chelan that he wants to be a priest. Stendhal's fascination with hypocrisy stems from his own experiences with politics during the Restoration, but also represents a subtle psychological exercise. Stendhal believed that between the alternating expressions of hypocrisy and open revolt lies the profound truth of one's character. Yet Julien's conscious hypocrisy will not come without its price. As he says a prayer in church before leaving for the Renals', he sees a scrap of paper discussing the details of the execution of a man named Louis Jenrel--an anagram of "Julien Sorel." Stendhal foreshadows Julien's own fate with a warning: the back of the paper reads "The first step," and Julien thinks he sees blood on the floor of the Church. The combination of his ambition and his hypocrisy will not go unpunished.

cliffnotes

all_chapterized_books/110-chapters/chapters_16_to_20.txt

finished_summaries/cliffnotes/Tess of the d'Urbervilles/section_4_part_0.txt

Tess of the d'Urbervilles.chapters 16-20

chapters 16-20

{"name": "Chapters 16-20", "url": "https://web.archive.org/web/20201219151046/https://www.cliffsnotes.com/literature/t/tess-of-the-durbervilles/summary-and-analysis/phase-the-third-the-rally-chapters-1620", "summary": "Having arranged for the position of milkmaid at a dairy in Talbothays through a friend of her mother's, Tess leaves home for a second time. At 20, she is now more experienced in the world. It is late in the afternoon when she arrives at the dairy, and she is in time for the afternoon milking of the cows. She introduces herself to Mr. Richard Crick, the dairyman, and immediately begins work. In the milking parlor, Tess does not actually meet the other workers, but she hears them as they perform their chores. There is discussion among the other workers about some cows going \"azew,\" or dry. Superstitiously, the workers believe that, because there is \"a new hand come among us,\" the cows are not as likely to give as much milk. A tale from medieval times is told to entertain the workers, and a song is sung to make the work easier and to coax the cows to be generous with their milk -- all the kinds of banter one would expect in a milking parlor. Finally, a strange voice chimes in, and we are introduced to Angel Clare. Angel, at age 26, is the youngest son of an area parson; he has come to Talbothays to learn the business of the dairy farm so that he may one day become a farmer himself. Tess recognizes Angel from the May dance in Chapter 1. She fears that he will discover her past and shun her. Tess learns of Angel's past when she shares a room, which is over the milking room, with three other milkmaids. Hardy interrupts Tess' story to explain Angel's history. Angel hopes to have a farm of his own either in England or in an English colony. Angel's desire came as a surprise to his father, the Reverend James Clare, who learned of his youngest son's intentions only when books about farming were delivered to the Clare home. When his father questioned Angel about how he can be interested in such books when he plans to become a \"minster of the Gospel,\" Angel informed his father of his plans, claiming that he cannot support all of church doctrine; he can only accept those tenants that he himself cannot bridge. Angel went to London to see the world and to discover a new profession for himself. In London, he fell in love with an older woman, who almost \"entrapped\" the young Clare in marriage. He was extricated from the situation and settled on farming as a profession. Tess and Angel's relationship starts off slowly, but begins to develop when he lines up Tess' cows for her, the ones that are hard to milk. The two later meet while Angel is playing a second hand harp for entertainment and a conversation ensues. Angel finds Tess rather mature, mysterious. Tess decries her lack of education, and Angel volunteers to tutor her in any subject she might choose. Tess replies, \"I shouldn't mind learning why -- why the sun do shine on the just and unjust alike.\" Angel chides her for being so negative about life.", "analysis": "The dairy of Talbothays is in the Blackmoor Valley, on the river Froom/Frome. Hardy describes this region in breathtaking terms of green valleys and abundant life. \"The river itself, which nourished the grass and cows of these renowned dairies, flowed not like the streams in Blackmoor . . . The Froom waters were clear as the pure River of Life shown to the Evangelist . . . .\" To Tess, the job at the diary signifies a new beginning, so much so that she now begins a new phase of her life -- \"she appeared to feel that she really had laid a new foundation for her future.\" She fits right into the diary work and it suits her. In this sequence of chapters, Hardy introduces us again to Angel, who appeared briefly in Chapter 1. Angel's desire is to learn all he can through an internship, or apprenticeship, with an expert farmer. His training is practical, not like his two older brothers, both parsons, who were university trained at Cambridge. Angel has settled on farming in order to have \"intellectual liberty.\" That is, he wants to be able to study and read what he wants, whenever he wants, and to pursue studies not related to the church. He comes to realize that the myth of the uneducated, simpleton farmer is not true. He sees the farm workers as his friends and regards them with high esteem. Through this changing perception, Angel \"grew away from old associations, and saw something new in life and humanity.\" The description of Angel in these chapters is significant in other ways: Angel Clare is a direct contrast to Alec d'Urberville. Angel makes himself aware of Tess in a slow methodical manner versus the abrupt, harsh forcefulness of Alec. Angel is well read, from a good family, and he does not regard his associates or colleagues with scorn. He uses his position of authority wisely, not to overpower his coworkers but to aid and assist them, unlike Alec who abuses his position over the servants of the house, using them for his own pleasures and whims. Angel is not opposed to working for a living, especially the hard life of a farmer. Angel seeks to better himself by furthering his own education, even offering to enhance Tess' education as his own expense. Angel is not perfect, however, as his relationship with an older woman in London suggests. Mr. Crick tells Tess how Angel views the aristocracy and the use of \"old family names\" as a means to establish dominance over others not so fortunate: \"Oh no! he can't stomach old families!\" Perhaps these views are not Crick's own but are part of Hardy's argument against establishment and order in Victorian England. It is interesting the comparison Hardy makes between Angel and his brothers. Angel is essentially a good man -- and remains a good man, despite his later inability to forgive Tess for her past and the bad decision he makes to leave her -- and we can admire his kindness, fairness, and strength. His brothers, on the other hand, although certainly not bad men, do not exhibit, the admirable qualities Angel possesses. Although this comparison will become more apparent in later chapters, Hardy begins it here, and in so doing, begins the revelation of Angel's character. What we know from the information about Angel's past is that he is his own man ; that he does not rely on family name to determine his own or others' worthiness ; and that he views others without the prejudices associated with his privileged class. Hardy describes Tess and Angel as \"Adam and Eve\" as it appears that they are the first and only people awake on earth . In describing the couple, Hardy uses these biblical references -- of Adam and Eve and Mary Magdalene -- to elevate the pair to a more heroic status. These allusions are interesting and significant in other ways: Mary Magdalene -- and by Hardy's analogy, Tess -- is identified with the repentant woman, specifically a reformed prostitute. Adam and Eve existed in a state of innocence in the Garden of Eden; their loss of innocence resulted in their loss of Paradise. Linking Angel and Tess with Adam and Eve foreshadows the revelation and the events that destroy Angel and Tess' happiness. When Hardy says that life at Talbothays is quite good and that \"Tess had never in her recent life been so happy as she was now, possibly never would be so happy again,\" the reader can justifiably look to the coming action with foreboding. Glossary van Alsoot or Sallaert Seventeenth century Flemish painters of village life. psalter a version of the Psalms for use in religious services; here, Tess is thinking of the psalm that is part of the \"Invitatory and Psalter\" of the Daily Morning Prayer in The Book of Common Prayer. phlegmatic hard to rouse to action; specif., sluggish; dull; apathetic; calm; cool; stolid. milchers animals that give milk. Olympian shapes the shapes of the Greek gods, who lived on Mount Olympus. \"pinner\" a pinafore or apron with a bib. cowcumber cucumber. interlocutor a person taking part in a conversation or dialogue. vicissitudes unpredictable changes or variations that keep occurring in life, fortune, etc.; shifting circumstances; ups and downs. kex a dry, hollow plant stem. nott cows cows without horns. stave a set of verses, or lines, of a song or poem; stanza. tranters carriers; hawkers. leads milk pans made of lead. wrings cheese processes. \"to take Orders\" to become an ordained minister. redemptive theolatry the worship of a god that promises redemption, as in Christianity. thimble-riggers cheaters or swindlers. Article Four the fourth of the Thirty-Nine Articles of the Church of England asserts the literal resurrection of Christ from the dead. Hodge a familiar term for an agricultural laborer in England; shortened form of Roger. thought of Pascal's translated it means: \"To the same degree as one has intelligence, one notices that many individuals possess distinctive qualities. People of an ordinary kind do not notice the differences between individuals.\" From the Pensees of Blaise Pascal , French philosopher and mathematician. \"some mutely Miltonic, some potentially Cromwellian\" an allusion to Thomas Gray's \"Elegy Written in a Country Churchyard\" . dusty death a phrase from Macbeth 5.5.23. apple-booth apple blossom. Valley of Humiliation from Part I and Part II of John Bunyan's Pilgrim's Progress. man of Uz Job. \"My soul chooseth strangling . . . \" Job 7:15-16. Peter the Great Peter I ; czar of Russia . Before becoming Emperor of Russia, Peter studied shipbuilding. Queen of Sheba queen who visited King Solomon to investigate his reputed wisdom: 1 Kings 10:1-13; here, a reference to the Queen's dispirited feeling after she experiences the wisdom and wealth of Solomon . \"shine on the just and the unjust alike\" an echo of the Sermon on the Mount . niaseries nonsense, foolish thought . convenances social conventions . Magdalene Mary Magdalene was a fallen woman. Christ's appearance to her after his Resurrection occurs in Mark 16. Artemis, Demeter goddesses associated with chastity, but the former also connected with hunting and both understood in the early anthropology of Hardy's time as fertility goddesses. barton barnyard."}

On a thyme-scented, bird-hatching morning in May, between two and three years after the return from Trantridge--silent, reconstructive years for Tess Durbeyfield--she left her home for the second time. Having packed up her luggage so that it could be sent to her later, she started in a hired trap for the little town of Stourcastle, through which it was necessary to pass on her journey, now in a direction almost opposite to that of her first adventuring. On the curve of the nearest hill she looked back regretfully at Marlott and her father's house, although she had been so anxious to get away. Her kindred dwelling there would probably continue their daily lives as heretofore, with no great diminution of pleasure in their consciousness, although she would be far off, and they deprived of her smile. In a few days the children would engage in their games as merrily as ever, without the sense of any gap left by her departure. This leaving of the younger children she had decided to be for the best; were she to remain they would probably gain less good by her precepts than harm by her example. She went through Stourcastle without pausing and onward to a junction of highways, where she could await a carrier's van that ran to the south-west; for the railways which engirdled this interior tract of country had never yet struck across it. While waiting, however, there came along a farmer in his spring cart, driving approximately in the direction that she wished to pursue. Though he was a stranger to her she accepted his offer of a seat beside him, ignoring that its motive was a mere tribute to her countenance. He was going to Weatherbury, and by accompanying him thither she could walk the remainder of the distance instead of travelling in the van by way of Casterbridge. Tess did not stop at Weatherbury, after this long drive, further than to make a slight nondescript meal at noon at a cottage to which the farmer recommended her. Thence she started on foot, basket in hand, to reach the wide upland of heath dividing this district from the low-lying meads of a further valley in which the dairy stood that was the aim and end of her day's pilgrimage. Tess had never before visited this part of the country, and yet she felt akin to the landscape. Not so very far to the left of her she could discern a dark patch in the scenery, which inquiry confirmed her in supposing to be trees marking the environs of Kingsbere--in the church of which parish the bones of her ancestors--her useless ancestors--lay entombed. She had no admiration for them now; she almost hated them for the dance they had led her; not a thing of all that had been theirs did she retain but the old seal and spoon. "Pooh--I have as much of mother as father in me!" she said. "All my prettiness comes from her, and she was only a dairymaid." The journey over the intervening uplands and lowlands of Egdon, when she reached them, was a more troublesome walk than she had anticipated, the distance being actually but a few miles. It was two hours, owing to sundry wrong turnings, ere she found herself on a summit commanding the long-sought-for vale, the Valley of the Great Dairies, the valley in which milk and butter grew to rankness, and were produced more profusely, if less delicately, than at her home--the verdant plain so well watered by the river Var or Froom. It was intrinsically different from the Vale of Little Dairies, Blackmoor Vale, which, save during her disastrous sojourn at Trantridge, she had exclusively known till now. The world was drawn to a larger pattern here. The enclosures numbered fifty acres instead of ten, the farmsteads were more extended, the groups of cattle formed tribes hereabout; there only families. These myriads of cows stretching under her eyes from the far east to the far west outnumbered any she had ever seen at one glance before. The green lea was speckled as thickly with them as a canvas by Van Alsloot or Sallaert with burghers. The ripe hue of the red and dun kine absorbed the evening sunlight, which the white-coated animals returned to the eye in rays almost dazzling, even at the distant elevation on which she stood. The bird's-eye perspective before her was not so luxuriantly beautiful, perhaps, as that other one which she knew so well; yet it was more cheering. It lacked the intensely blue atmosphere of the rival vale, and its heavy soils and scents; the new air was clear, bracing, ethereal. The river itself, which nourished the grass and cows of these renowned dairies, flowed not like the streams in Blackmoor. Those were slow, silent, often turbid; flowing over beds of mud into which the incautious wader might sink and vanish unawares. The Froom waters were clear as the pure River of Life shown to the Evangelist, rapid as the shadow of a cloud, with pebbly shallows that prattled to the sky all day long. There the water-flower was the lily; the crow-foot here. Either the change in the quality of the air from heavy to light, or the sense of being amid new scenes where there were no invidious eyes upon her, sent up her spirits wonderfully. Her hopes mingled with the sunshine in an ideal photosphere which surrounded her as she bounded along against the soft south wind. She heard a pleasant voice in every breeze, and in every bird's note seemed to lurk a joy. Her face had latterly changed with changing states of mind, continually fluctuating between beauty and ordinariness, according as the thoughts were gay or grave. One day she was pink and flawless; another pale and tragical. When she was pink she was feeling less than when pale; her more perfect beauty accorded with her less elevated mood; her more intense mood with her less perfect beauty. It was her best face physically that was now set against the south wind. The irresistible, universal, automatic tendency to find sweet pleasure somewhere, which pervades all life, from the meanest to the highest, had at length mastered Tess. Being even now only a young woman of twenty, one who mentally and sentimentally had not finished growing, it was impossible that any event should have left upon her an impression that was not in time capable of transmutation. And thus her spirits, and her thankfulness, and her hopes, rose higher and higher. She tried several ballads, but found them inadequate; till, recollecting the psalter that her eyes had so often wandered over of a Sunday morning before she had eaten of the tree of knowledge, she chanted: "O ye Sun and Moon ... O ye Stars ... ye Green Things upon the Earth ... ye Fowls of the Air ... Beasts and Cattle ... Children of Men ... bless ye the Lord, praise Him and magnify Him for ever!" She suddenly stopped and murmured: "But perhaps I don't quite know the Lord as yet." And probably the half-unconscious rhapsody was a Fetishistic utterance in a Monotheistic setting; women whose chief companions are the forms and forces of outdoor Nature retain in their souls far more of the Pagan fantasy of their remote forefathers than of the systematized religion taught their race at later date. However, Tess found at least approximate expression for her feelings in the old _Benedicite_ that she had lisped from infancy; and it was enough. Such high contentment with such a slight initial performance as that of having started towards a means of independent living was a part of the Durbeyfield temperament. Tess really wished to walk uprightly, while her father did nothing of the kind; but she resembled him in being content with immediate and small achievements, and in having no mind for laborious effort towards such petty social advancement as could alone be effected by a family so heavily handicapped as the once powerful d'Urbervilles were now. There was, it might be said, the energy of her mother's unexpended family, as well as the natural energy of Tess's years, rekindled after the experience which had so overwhelmed her for the time. Let the truth be told--women do as a rule live through such humiliations, and regain their spirits, and again look about them with an interested eye. While there's life there's hope is a conviction not so entirely unknown to the "betrayed" as some amiable theorists would have us believe. Tess Durbeyfield, then, in good heart, and full of zest for life, descended the Egdon slopes lower and lower towards the dairy of her pilgrimage. The marked difference, in the final particular, between the rival vales now showed itself. The secret of Blackmoor was best discovered from the heights around; to read aright the valley before her it was necessary to descend into its midst. When Tess had accomplished this feat she found herself to be standing on a carpeted level, which stretched to the east and west as far as the eye could reach. The river had stolen from the higher tracts and brought in particles to the vale all this horizontal land; and now, exhausted, aged, and attenuated, lay serpentining along through the midst of its former spoils. Not quite sure of her direction, Tess stood still upon the hemmed expanse of verdant flatness, like a fly on a billiard-table of indefinite length, and of no more consequence to the surroundings than that fly. The sole effect of her presence upon the placid valley so far had been to excite the mind of a solitary heron, which, after descending to the ground not far from her path, stood with neck erect, looking at her. Suddenly there arose from all parts of the lowland a prolonged and repeated call--"Waow! waow! waow!" From the furthest east to the furthest west the cries spread as if by contagion, accompanied in some cases by the barking of a dog. It was not the expression of the valley's consciousness that beautiful Tess had arrived, but the ordinary announcement of milking-time--half-past four o'clock, when the dairymen set about getting in the cows. The red and white herd nearest at hand, which had been phlegmatically waiting for the call, now trooped towards the steading in the background, their great bags of milk swinging under them as they walked. Tess followed slowly in their rear, and entered the barton by the open gate through which they had entered before her. Long thatched sheds stretched round the enclosure, their slopes encrusted with vivid green moss, and their eaves supported by wooden posts rubbed to a glossy smoothness by the flanks of infinite cows and calves of bygone years, now passed to an oblivion almost inconceivable in its profundity. Between the post were ranged the milchers, each exhibiting herself at the present moment to a whimsical eye in the rear as a circle on two stalks, down the centre of which a switch moved pendulum-wise; while the sun, lowering itself behind this patient row, threw their shadows accurately inwards upon the wall. Thus it threw shadows of these obscure and homely figures every evening with as much care over each contour as if it had been the profile of a court beauty on a palace wall; copied them as diligently as it had copied Olympian shapes on marble _facades_ long ago, or the outline of Alexander, Caesar, and the Pharaohs. They were the less restful cows that were stalled. Those that would stand still of their own will were milked in the middle of the yard, where many of such better behaved ones stood waiting now--all prime milchers, such as were seldom seen out of this valley, and not always within it; nourished by the succulent feed which the water-meads supplied at this prime season of the year. Those of them that were spotted with white reflected the sunshine in dazzling brilliancy, and the polished brass knobs of their horns glittered with something of military display. Their large-veined udders hung ponderous as sandbags, the teats sticking out like the legs of a gipsy's crock; and as each animal lingered for her turn to arrive the milk oozed forth and fell in drops to the ground. The dairymaids and men had flocked down from their cottages and out of the dairy-house with the arrival of the cows from the meads; the maids walking in pattens, not on account of the weather, but to keep their shoes above the mulch of the barton. Each girl sat down on her three-legged stool, her face sideways, her right cheek resting against the cow, and looked musingly along the animal's flank at Tess as she approached. The male milkers, with hat-brims turned down, resting flat on their foreheads and gazing on the ground, did not observe her. One of these was a sturdy middle-aged man--whose long white "pinner" was somewhat finer and cleaner than the wraps of the others, and whose jacket underneath had a presentable marketing aspect--the master-dairyman, of whom she was in quest, his double character as a working milker and butter maker here during six days, and on the seventh as a man in shining broad-cloth in his family pew at church, being so marked as to have inspired a rhyme: Dairyman Dick All the week:-- On Sundays Mister Richard Crick. Seeing Tess standing at gaze he went across to her. The majority of dairymen have a cross manner at milking time, but it happened that Mr Crick was glad to get a new hand--for the days were busy ones now--and he received her warmly; inquiring for her mother and the rest of the family--(though this as a matter of form merely, for in reality he had not been aware of Mrs Durbeyfield's existence till apprised of the fact by a brief business-letter about Tess). "Oh--ay, as a lad I knowed your part o' the country very well," he said terminatively. "Though I've never been there since. And a aged woman of ninety that use to live nigh here, but is dead and gone long ago, told me that a family of some such name as yours in Blackmoor Vale came originally from these parts, and that 'twere a old ancient race that had all but perished off the earth--though the new generations didn't know it. But, Lord, I took no notice of the old woman's ramblings, not I." "Oh no--it is nothing," said Tess. Then the talk was of business only. "You can milk 'em clean, my maidy? I don't want my cows going azew at this time o' year." She reassured him on that point, and he surveyed her up and down. She had been staying indoors a good deal, and her complexion had grown delicate. "Quite sure you can stand it? 'Tis comfortable enough here for rough folk; but we don't live in a cowcumber frame." She declared that she could stand it, and her zest and willingness seemed to win him over. "Well, I suppose you'll want a dish o' tay, or victuals of some sort, hey? Not yet? Well, do as ye like about it. But faith, if 'twas I, I should be as dry as a kex wi' travelling so far." "I'll begin milking now, to get my hand in," said Tess. She drank a little milk as temporary refreshment--to the surprise--indeed, slight contempt--of Dairyman Crick, to whose mind it had apparently never occurred that milk was good as a beverage. "Oh, if ye can swaller that, be it so," he said indifferently, while holding up the pail that she sipped from. "'Tis what I hain't touched for years--not I. Rot the stuff; it would lie in my innerds like lead. You can try your hand upon she," he pursued, nodding to the nearest cow. "Not but what she do milk rather hard. We've hard ones and we've easy ones, like other folks. However, you'll find out that soon enough." When Tess had changed her bonnet for a hood, and was really on her stool under the cow, and the milk was squirting from her fists into the pail, she appeared to feel that she really had laid a new foundation for her future. The conviction bred serenity, her pulse slowed, and she was able to look about her. The milkers formed quite a little battalion of men and maids, the men operating on the hard-teated animals, the maids on the kindlier natures. It was a large dairy. There were nearly a hundred milchers under Crick's management, all told; and of the herd the master-dairyman milked six or eight with his own hands, unless away from home. These were the cows that milked hardest of all; for his journey-milkmen being more or less casually hired, he would not entrust this half-dozen to their treatment, lest, from indifference, they should not milk them fully; nor to the maids, lest they should fail in the same way for lack of finger-grip; with the result that in course of time the cows would "go azew"--that is, dry up. It was not the loss for the moment that made slack milking so serious, but that with the decline of demand there came decline, and ultimately cessation, of supply. After Tess had settled down to her cow there was for a time no talk in the barton, and not a sound interfered with the purr of the milk-jets into the numerous pails, except a momentary exclamation to one or other of the beasts requesting her to turn round or stand still. The only movements were those of the milkers' hands up and down, and the swing of the cows' tails. Thus they all worked on, encompassed by the vast flat mead which extended to either slope of the valley--a level landscape compounded of old landscapes long forgotten, and, no doubt, differing in character very greatly from the landscape they composed now. "To my thinking," said the dairyman, rising suddenly from a cow he had just finished off, snatching up his three-legged stool in one hand and the pail in the other, and moving on to the next hard-yielder in his vicinity, "to my thinking, the cows don't gie down their milk to-day as usual. Upon my life, if Winker do begin keeping back like this, she'll not be worth going under by midsummer." "'Tis because there's a new hand come among us," said Jonathan Kail. "I've noticed such things afore." "To be sure. It may be so. I didn't think o't." "I've been told that it goes up into their horns at such times," said a dairymaid. "Well, as to going up into their horns," replied Dairyman Crick dubiously, as though even witchcraft might be limited by anatomical possibilities, "I couldn't say; I certainly could not. But as nott cows will keep it back as well as the horned ones, I don't quite agree to it. Do ye know that riddle about the nott cows, Jonathan? Why do nott cows give less milk in a year than horned?" "I don't!" interposed the milkmaid, "Why do they?" "Because there bain't so many of 'em," said the dairyman. "Howsomever, these gam'sters do certainly keep back their milk to-day. Folks, we must lift up a stave or two--that's the only cure for't." Songs were often resorted to in dairies hereabout as an enticement to the cows when they showed signs of withholding their usual yield; and the band of milkers at this request burst into melody--in purely business-like tones, it is true, and with no great spontaneity; the result, according to their own belief, being a decided improvement during the song's continuance. When they had gone through fourteen or fifteen verses of a cheerful ballad about a murderer who was afraid to go to bed in the dark because he saw certain brimstone flames around him, one of the male milkers said-- "I wish singing on the stoop didn't use up so much of a man's wind! You should get your harp, sir; not but what a fiddle is best." Tess, who had given ear to this, thought the words were addressed to the dairyman, but she was wrong. A reply, in the shape of "Why?" came as it were out of the belly of a dun cow in the stalls; it had been spoken by a milker behind the animal, whom she had not hitherto perceived. "Oh yes; there's nothing like a fiddle," said the dairyman. "Though I do think that bulls are more moved by a tune than cows--at least that's my experience. Once there was an old aged man over at Mellstock--William Dewy by name--one of the family that used to do a good deal of business as tranters over there--Jonathan, do ye mind?--I knowed the man by sight as well as I know my own brother, in a manner of speaking. Well, this man was a coming home along from a wedding, where he had been playing his fiddle, one fine moonlight night, and for shortness' sake he took a cut across Forty-acres, a field lying that way, where a bull was out to grass. The bull seed William, and took after him, horns aground, begad; and though William runned his best, and hadn't MUCH drink in him (considering 'twas a wedding, and the folks well off), he found he'd never reach the fence and get over in time to save himself. Well, as a last thought, he pulled out his fiddle as he runned, and struck up a jig, turning to the bull, and backing towards the corner. The bull softened down, and stood still, looking hard at William Dewy, who fiddled on and on; till a sort of a smile stole over the bull's face. But no sooner did William stop his playing and turn to get over hedge than the bull would stop his smiling and lower his horns towards the seat of William's breeches. Well, William had to turn about and play on, willy-nilly; and 'twas only three o'clock in the world, and 'a knowed that nobody would come that way for hours, and he so leery and tired that 'a didn't know what to do. When he had scraped till about four o'clock he felt that he verily would have to give over soon, and he said to himself, 'There's only this last tune between me and eternal welfare! Heaven save me, or I'm a done man.' Well, then he called to mind how he'd seen the cattle kneel o' Christmas Eves in the dead o' night. It was not Christmas Eve then, but it came into his head to play a trick upon the bull. So he broke into the 'Tivity Hymm, just as at Christmas carol-singing; when, lo and behold, down went the bull on his bended knees, in his ignorance, just as if 'twere the true 'Tivity night and hour. As soon as his horned friend were down, William turned, clinked off like a long-dog, and jumped safe over hedge, before the praying bull had got on his feet again to take after him. William used to say that he'd seen a man look a fool a good many times, but never such a fool as that bull looked when he found his pious feelings had been played upon, and 'twas not Christmas Eve. ... Yes, William Dewy, that was the man's name; and I can tell you to a foot where's he a-lying in Mellstock Churchyard at this very moment--just between the second yew-tree and the north aisle." "It's a curious story; it carries us back to medieval times, when faith was a living thing!" The remark, singular for a dairy-yard, was murmured by the voice behind the dun cow; but as nobody understood the reference, no notice was taken, except that the narrator seemed to think it might imply scepticism as to his tale. "Well, 'tis quite true, sir, whether or no. I knowed the man well." "Oh yes; I have no doubt of it," said the person behind the dun cow. Tess's attention was thus attracted to the dairyman's interlocutor, of whom she could see but the merest patch, owing to his burying his head so persistently in the flank of the milcher. She could not understand why he should be addressed as "sir" even by the dairyman himself. But no explanation was discernible; he remained under the cow long enough to have milked three, uttering a private ejaculation now and then, as if he could not get on. "Take it gentle, sir; take it gentle," said the dairyman. "'Tis knack, not strength, that does it." "So I find," said the other, standing up at last and stretching his arms. "I think I have finished her, however, though she made my fingers ache." Tess could then see him at full length. He wore the ordinary white pinner and leather leggings of a dairy-farmer when milking, and his boots were clogged with the mulch of the yard; but this was all his local livery. Beneath it was something educated, reserved, subtle, sad, differing. But the details of his aspect were temporarily thrust aside by the discovery that he was one whom she had seen before. Such vicissitudes had Tess passed through since that time that for a moment she could not remember where she had met him; and then it flashed upon her that he was the pedestrian who had joined in the club-dance at Marlott--the passing stranger who had come she knew not whence, had danced with others but not with her, and slightingly left her, and gone on his way with his friends. The flood of memories brought back by this revival of an incident anterior to her troubles produced a momentary dismay lest, recognizing her also, he should by some means discover her story. But it passed away when she found no sign of remembrance in him. She saw by degrees that since their first and only encounter his mobile face had grown more thoughtful, and had acquired a young man's shapely moustache and beard--the latter of the palest straw colour where it began upon his cheeks, and deepening to a warm brown farther from its root. Under his linen milking-pinner he wore a dark velveteen jacket, cord breeches and gaiters, and a starched white shirt. Without the milking-gear nobody could have guessed what he was. He might with equal probability have been an eccentric landowner or a gentlemanly ploughman. That he was but a novice at dairy work she had realized in a moment, from the time he had spent upon the milking of one cow. Meanwhile many of the milkmaids had said to one another of the newcomer, "How pretty she is!" with something of real generosity and admiration, though with a half hope that the auditors would qualify the assertion--which, strictly speaking, they might have done, prettiness being an inexact definition of what struck the eye in Tess. When the milking was finished for the evening they straggled indoors, where Mrs Crick, the dairyman's wife--who was too respectable to go out milking herself, and wore a hot stuff gown in warm weather because the dairymaids wore prints--was giving an eye to the leads and things. Only two or three of the maids, Tess learnt, slept in the dairy-house besides herself, most of the helpers going to their homes. She saw nothing at supper-time of the superior milker who had commented on the story, and asked no questions about him, the remainder of the evening being occupied in arranging her place in the bed-chamber. It was a large room over the milk-house, some thirty feet long; the sleeping-cots of the other three indoor milkmaids being in the same apartment. They were blooming young women, and, except one, rather older than herself. By bedtime Tess was thoroughly tired, and fell asleep immediately. But one of the girls, who occupied an adjoining bed, was more wakeful than Tess, and would insist upon relating to the latter various particulars of the homestead into which she had just entered. The girl's whispered words mingled with the shades, and, to Tess's drowsy mind, they seemed to be generated by the darkness in which they floated. "Mr Angel Clare--he that is learning milking, and that plays the harp--never says much to us. He is a pa'son's son, and is too much taken up wi' his own thoughts to notice girls. He is the dairyman's pupil--learning farming in all its branches. He has learnt sheep-farming at another place, and he's now mastering dairy-work.... Yes, he is quite the gentleman-born. His father is the Reverent Mr Clare at Emminster--a good many miles from here." "Oh--I have heard of him," said her companion, now awake. "A very earnest clergyman, is he not?" "Yes--that he is--the earnestest man in all Wessex, they say--the last of the old Low Church sort, they tell me--for all about here be what they call High. All his sons, except our Mr Clare, be made pa'sons too." Tess had not at this hour the curiosity to ask why the present Mr Clare was not made a parson like his brethren, and gradually fell asleep again, the words of her informant coming to her along with the smell of the cheeses in the adjoining cheeseloft, and the measured dripping of the whey from the wrings downstairs. Angel Clare rises out of the past not altogether as a distinct figure, but as an appreciative voice, a long regard of fixed, abstracted eyes, and a mobility of mouth somewhat too small and delicately lined for a man's, though with an unexpectedly firm close of the lower lip now and then; enough to do away with any inference of indecision. Nevertheless, something nebulous, preoccupied, vague, in his bearing and regard, marked him as one who probably had no very definite aim or concern about his material future. Yet as a lad people had said of him that he was one who might do anything if he tried. He was the youngest son of his father, a poor parson at the other end of the county, and had arrived at Talbothays Dairy as a six months' pupil, after going the round of some other farms, his object being to acquire a practical skill in the various processes of farming, with a view either to the Colonies or the tenure of a home-farm, as circumstances might decide. His entry into the ranks of the agriculturists and breeders was a step in the young man's career which had been anticipated neither by himself nor by others. Mr Clare the elder, whose first wife had died and left him a daughter, married a second late in life. This lady had somewhat unexpectedly brought him three sons, so that between Angel, the youngest, and his father the Vicar there seemed to be almost a missing generation. Of these boys the aforesaid Angel, the child of his old age, was the only son who had not taken a University degree, though he was the single one of them whose early promise might have done full justice to an academical training. Some two or three years before Angel's appearance at the Marlott dance, on a day when he had left school and was pursuing his studies at home, a parcel came to the Vicarage from the local bookseller's, directed to the Reverend James Clare. The Vicar having opened it and found it to contain a book, read a few pages; whereupon he jumped up from his seat and went straight to the shop with the book under his arm. "Why has this been sent to my house?" he asked peremptorily, holding up the volume. "It was ordered, sir." "Not by me, or any one belonging to me, I am happy to say." The shopkeeper looked into his order-book. "Oh, it has been misdirected, sir," he said. "It was ordered by Mr Angel Clare, and should have been sent to him." Mr Clare winced as if he had been struck. He went home pale and dejected, and called Angel into his study. "Look into this book, my boy," he said. "What do you know about it?" "I ordered it," said Angel simply. "What for?" "To read." "How can you think of reading it?" "How can I? Why--it is a system of philosophy. There is no more moral, or even religious, work published." "Yes--moral enough; I don't deny that. But religious!--and for YOU, who intend to be a minister of the Gospel!" "Since you have alluded to the matter, father," said the son, with anxious thought upon his face, "I should like to say, once for all, that I should prefer not to take Orders. I fear I could not conscientiously do so. I love the Church as one loves a parent. I shall always have the warmest affection for her. There is no institution for whose history I have a deeper admiration; but I cannot honestly be ordained her minister, as my brothers are, while she refuses to liberate her mind from an untenable redemptive theolatry." It had never occurred to the straightforward and simple-minded Vicar that one of his own flesh and blood could come to this! He was stultified, shocked, paralysed. And if Angel were not going to enter the Church, what was the use of sending him to Cambridge? The University as a step to anything but ordination seemed, to this man of fixed ideas, a preface without a volume. He was a man not merely religious, but devout; a firm believer--not as the phrase is now elusively construed by theological thimble-riggers in the Church and out of it, but in the old and ardent sense of the Evangelical school: one who could Indeed opine That the Eternal and Divine Did, eighteen centuries ago In very truth... Angel's father tried argument, persuasion, entreaty. "No, father; I cannot underwrite Article Four (leave alone the rest), taking it 'in the literal and grammatical sense' as required by the Declaration; and, therefore, I can't be a parson in the present state of affairs," said Angel. "My whole instinct in matters of religion is towards reconstruction; to quote your favorite Epistle to the Hebrews, 'the removing of those things that are shaken, as of things that are made, that those things which cannot be shaken may remain.'" His father grieved so deeply that it made Angel quite ill to see him. "What is the good of your mother and me economizing and stinting ourselves to give you a University education, if it is not to be used for the honour and glory of God?" his father repeated. "Why, that it may be used for the honour and glory of man, father." Perhaps if Angel had persevered he might have gone to Cambridge like his brothers. But the Vicar's view of that seat of learning as a stepping-stone to Orders alone was quite a family tradition; and so rooted was the idea in his mind that perseverance began to appear to the sensitive son akin to an intent to misappropriate a trust, and wrong the pious heads of the household, who had been and were, as his father had hinted, compelled to exercise much thrift to carry out this uniform plan of education for the three young men. "I will do without Cambridge," said Angel at last. "I feel that I have no right to go there in the circumstances." The effects of this decisive debate were not long in showing themselves. He spent years and years in desultory studies, undertakings, and meditations; he began to evince considerable indifference to social forms and observances. The material distinctions of rank and wealth he increasingly despised. Even the "good old family" (to use a favourite phrase of a late local worthy) had no aroma for him unless there were good new resolutions in its representatives. As a balance to these austerities, when he went to live in London to see what the world was like, and with a view to practising a profession or business there, he was carried off his head, and nearly entrapped by a woman much older than himself, though luckily he escaped not greatly the worse for the experience. Early association with country solitudes had bred in him an unconquerable, and almost unreasonable, aversion to modern town life, and shut him out from such success as he might have aspired to by following a mundane calling in the impracticability of the spiritual one. But something had to be done; he had wasted many valuable years; and having an acquaintance who was starting on a thriving life as a Colonial farmer, it occurred to Angel that this might be a lead in the right direction. Farming, either in the Colonies, America, or at home--farming, at any rate, after becoming well qualified for the business by a careful apprenticeship--that was a vocation which would probably afford an independence without the sacrifice of what he valued even more than a competency--intellectual liberty. So we find Angel Clare at six-and-twenty here at Talbothays as a student of kine, and, as there were no houses near at hand in which he could get a comfortable lodging, a boarder at the dairyman's. His room was an immense attic which ran the whole length of the dairy-house. It could only be reached by a ladder from the cheese-loft, and had been closed up for a long time till he arrived and selected it as his retreat. Here Clare had plenty of space, and could often be heard by the dairy-folk pacing up and down when the household had gone to rest. A portion was divided off at one end by a curtain, behind which was his bed, the outer part being furnished as a homely sitting-room. At first he lived up above entirely, reading a good deal, and strumming upon an old harp which he had bought at a sale, saying when in a bitter humour that he might have to get his living by it in the streets some day. But he soon preferred to read human nature by taking his meals downstairs in the general dining-kitchen, with the dairyman and his wife, and the maids and men, who all together formed a lively assembly; for though but few milking hands slept in the house, several joined the family at meals. The longer Clare resided here the less objection had he to his company, and the more did he like to share quarters with them in common. Much to his surprise he took, indeed, a real delight in their companionship. The conventional farm-folk of his imagination-- personified in the newspaper-press by the pitiable dummy known as Hodge--were obliterated after a few days' residence. At close quarters no Hodge was to be seen. At first, it is true, when Clare's intelligence was fresh from a contrasting society, these friends with whom he now hobnobbed seemed a little strange. Sitting down as a level member of the dairyman's household seemed at the outset an undignified proceeding. The ideas, the modes, the surroundings, appeared retrogressive and unmeaning. But with living on there, day after day, the acute sojourner became conscious of a new aspect in the spectacle. Without any objective change whatever, variety had taken the place of monotonousness. His host and his host's household, his men and his maids, as they became intimately known to Clare, began to differentiate themselves as in a chemical process. The thought of Pascal's was brought home to him: "_A mesure qu'on a plus d'esprit, on trouve qu'il y a plus d'hommes originaux. Les gens du commun ne trouvent pas de difference entre les hommes._" The typical and unvarying Hodge ceased to exist. He had been disintegrated into a number of varied fellow-creatures--beings of many minds, beings infinite in difference; some happy, many serene, a few depressed, one here and there bright even to genius, some stupid, others wanton, others austere; some mutely Miltonic, some potentially Cromwellian--into men who had private views of each other, as he had of his friends; who could applaud or condemn each other, amuse or sadden themselves by the contemplation of each other's foibles or vices; men every one of whom walked in his own individual way the road to dusty death. Unexpectedly he began to like the outdoor life for its own sake, and for what it brought, apart from its bearing on his own proposed career. Considering his position he became wonderfully free from the chronic melancholy which is taking hold of the civilized races with the decline of belief in a beneficent Power. For the first time of late years he could read as his musings inclined him, without any eye to cramming for a profession, since the few farming handbooks which he deemed it desirable to master occupied him but little time. He grew away from old associations, and saw something new in life and humanity. Secondarily, he made close acquaintance with phenomena which he had before known but darkly--the seasons in their moods, morning and evening, night and noon, winds in their different tempers, trees, waters and mists, shades and silences, and the voices of inanimate things. The early mornings were still sufficiently cool to render a fire acceptable in the large room wherein they breakfasted; and, by Mrs Crick's orders, who held that he was too genteel to mess at their table, it was Angel Clare's custom to sit in the yawning chimney-corner during the meal, his cup-and-saucer and plate being placed on a hinged flap at his elbow. The light from the long, wide, mullioned window opposite shone in upon his nook, and, assisted by a secondary light of cold blue quality which shone down the chimney, enabled him to read there easily whenever disposed to do so. Between Clare and the window was the table at which his companions sat, their munching profiles rising sharp against the panes; while to the side was the milk-house door, through which were visible the rectangular leads in rows, full to the brim with the morning's milk. At the further end the great churn could be seen revolving, and its slip-slopping heard--the moving power being discernible through the window in the form of a spiritless horse walking in a circle and driven by a boy. For several days after Tess's arrival Clare, sitting abstractedly reading from some book, periodical, or piece of music just come by post, hardly noticed that she was present at table. She talked so little, and the other maids talked so much, that the babble did not strike him as possessing a new note, and he was ever in the habit of neglecting the particulars of an outward scene for the general impression. One day, however, when he had been conning one of his music-scores, and by force of imagination was hearing the tune in his head, he lapsed into listlessness, and the music-sheet rolled to the hearth. He looked at the fire of logs, with its one flame pirouetting on the top in a dying dance after the breakfast-cooking and boiling, and it seemed to jig to his inward tune; also at the two chimney crooks dangling down from the cotterel, or cross-bar, plumed with soot, which quivered to the same melody; also at the half-empty kettle whining an accompaniment. The conversation at the table mixed in with his phantasmal orchestra till he thought: "What a fluty voice one of those milkmaids has! I suppose it is the new one." Clare looked round upon her, seated with the others. She was not looking towards him. Indeed, owing to his long silence, his presence in the room was almost forgotten. "I don't know about ghosts," she was saying; "but I do know that our souls can be made to go outside our bodies when we are alive." The dairyman turned to her with his mouth full, his eyes charged with serious inquiry, and his great knife and fork (breakfasts were breakfasts here) planted erect on the table, like the beginning of a gallows. "What--really now? And is it so, maidy?" he said. "A very easy way to feel 'em go," continued Tess, "is to lie on the grass at night and look straight up at some big bright star; and, by fixing your mind upon it, you will soon find that you are hundreds and hundreds o' miles away from your body, which you don't seem to want at all." The dairyman removed his hard gaze from Tess, and fixed it on his wife. "Now that's a rum thing, Christianer--hey? To think o' the miles I've vamped o' starlight nights these last thirty year, courting, or trading, or for doctor, or for nurse, and yet never had the least notion o' that till now, or feeled my soul rise so much as an inch above my shirt-collar." The general attention being drawn to her, including that of the dairyman's pupil, Tess flushed, and remarking evasively that it was only a fancy, resumed her breakfast. Clare continued to observe her. She soon finished her eating, and having a consciousness that Clare was regarding her, began to trace imaginary patterns on the tablecloth with her forefinger with the constraint of a domestic animal that perceives itself to be watched. "What a fresh and virginal daughter of Nature that milkmaid is!" he said to himself. And then he seemed to discern in her something that was familiar, something which carried him back into a joyous and unforeseeing past, before the necessity of taking thought had made the heavens gray. He concluded that he had beheld her before; where he could not tell. A casual encounter during some country ramble it certainly had been, and he was not greatly curious about it. But the circumstance was sufficient to lead him to select Tess in preference to the other pretty milkmaids when he wished to contemplate contiguous womankind. In general the cows were milked as they presented themselves, without fancy or choice. But certain cows will show a fondness for a particular pair of hands, sometimes carrying this predilection so far as to refuse to stand at all except to their favourite, the pail of a stranger being unceremoniously kicked over. It was Dairyman Crick's rule to insist on breaking down these partialities and aversions by constant interchange, since otherwise, in the event of a milkman or maid going away from the dairy, he was placed in a difficulty. The maids' private aims, however, were the reverse of the dairyman's rule, the daily selection by each damsel of the eight or ten cows to which she had grown accustomed rendering the operation on their willing udders surprisingly easy and effortless. Tess, like her compeers, soon discovered which of the cows had a preference for her style of manipulation, and her fingers having become delicate from the long domiciliary imprisonments to which she had subjected herself at intervals during the last two or three years, she would have been glad to meet the milchers' views in this respect. Out of the whole ninety-five there were eight in particular--Dumpling, Fancy, Lofty, Mist, Old Pretty, Young Pretty, Tidy, and Loud--who, though the teats of one or two were as hard as carrots, gave down to her with a readiness that made her work on them a mere touch of the fingers. Knowing, however, the dairyman's wish, she endeavoured conscientiously to take the animals just as they came, excepting the very hard yielders which she could not yet manage. But she soon found a curious correspondence between the ostensibly chance position of the cows and her wishes in this matter, till she felt that their order could not be the result of accident. The dairyman's pupil had lent a hand in getting the cows together of late, and at the fifth or sixth time she turned her eyes, as she rested against the cow, full of sly inquiry upon him. "Mr Clare, you have ranged the cows!" she said, blushing; and in making the accusation, symptoms of a smile gently lifted her upper lip in spite of her, so as to show the tips of her teeth, the lower lip remaining severely still. "Well, it makes no difference," said he. "You will always be here to milk them." "Do you think so? I HOPE I shall! But I don't KNOW." She was angry with herself afterwards, thinking that he, unaware of her grave reasons for liking this seclusion, might have mistaken her meaning. She had spoken so earnestly to him, as if his presence were somehow a factor in her wish. Her misgiving was such that at dusk, when the milking was over, she walked in the garden alone, to continue her regrets that she had disclosed to him her discovery of his considerateness. It was a typical summer evening in June, the atmosphere being in such delicate equilibrium and so transmissive that inanimate objects seemed endowed with two or three senses, if not five. There was no distinction between the near and the far, and an auditor felt close to everything within the horizon. The soundlessness impressed her as a positive entity rather than as the mere negation of noise. It was broken by the strumming of strings. Tess had heard those notes in the attic above her head. Dim, flattened, constrained by their confinement, they had never appealed to her as now, when they wandered in the still air with a stark quality like that of nudity. To speak absolutely, both instrument and execution were poor; but the relative is all, and as she listened Tess, like a fascinated bird, could not leave the spot. Far from leaving she drew up towards the performer, keeping behind the hedge that he might not guess her presence. The outskirt of the garden in which Tess found herself had been left uncultivated for some years, and was now damp and rank with juicy grass which sent up mists of pollen at a touch; and with tall blooming weeds emitting offensive smells--weeds whose red and yellow and purple hues formed a polychrome as dazzling as that of cultivated flowers. She went stealthily as a cat through this profusion of growth, gathering cuckoo-spittle on her skirts, cracking snails that were underfoot, staining her hands with thistle-milk and slug-slime, and rubbing off upon her naked arms sticky blights which, though snow-white on the apple-tree trunks, made madder stains on her skin; thus she drew quite near to Clare, still unobserved of him. Tess was conscious of neither time nor space. The exaltation which she had described as being producible at will by gazing at a star came now without any determination of hers; she undulated upon the thin notes of the second-hand harp, and their harmonies passed like breezes through her, bringing tears into her eyes. The floating pollen seemed to be his notes made visible, and the dampness of the garden the weeping of the garden's sensibility. Though near nightfall, the rank-smelling weed-flowers glowed as if they would not close for intentness, and the waves of colour mixed with the waves of sound. The light which still shone was derived mainly from a large hole in the western bank of cloud; it was like a piece of day left behind by accident, dusk having closed in elsewhere. He concluded his plaintive melody, a very simple performance, demanding no great skill; and she waited, thinking another might be begun. But, tired of playing, he had desultorily come round the fence, and was rambling up behind her. Tess, her cheeks on fire, moved away furtively, as if hardly moving at all. Angel, however, saw her light summer gown, and he spoke; his low tones reaching her, though he was some distance off. "What makes you draw off in that way, Tess?" said he. "Are you afraid?" "Oh no, sir--not of outdoor things; especially just now when the apple-blooth is falling, and everything is so green." "But you have your indoor fears--eh?" "Well--yes, sir." "What of?" "I couldn't quite say." "The milk turning sour?" "No." "Life in general?" "Yes, sir." "Ah--so have I, very often. This hobble of being alive is rather serious, don't you think so?" "It is--now you put it that way." "All the same, I shouldn't have expected a young girl like you to see it so just yet. How is it you do?" She maintained a hesitating silence. "Come, Tess, tell me in confidence." She thought that he meant what were the aspects of things to her, and replied shyly-- "The trees have inquisitive eyes, haven't they?--that is, seem as if they had. And the river says,--'Why do ye trouble me with your looks?' And you seem to see numbers of to-morrows just all in a line, the first of them the biggest and clearest, the others getting smaller and smaller as they stand farther away; but they all seem very fierce and cruel and as if they said, 'I'm coming! Beware of me! Beware of me!' ... But YOU, sir, can raise up dreams with your music, and drive all such horrid fancies away!" He was surprised to find this young woman--who though but a milkmaid had just that touch of rarity about her which might make her the envied of her housemates--shaping such sad imaginings. She was expressing in her own native phrases--assisted a little by her Sixth Standard training--feelings which might almost have been called those of the age--the ache of modernism. The perception arrested him less when he reflected that what are called advanced ideas are really in great part but the latest fashion in definition--a more accurate expression, by words in _logy_ and _ism_, of sensations which men and women have vaguely grasped for centuries. Still, it was strange that they should have come to her while yet so young; more than strange; it was impressive, interesting, pathetic. Not guessing the cause, there was nothing to remind him that experience is as to intensity, and not as to duration. Tess's passing corporeal blight had been her mental harvest. Tess, on her part, could not understand why a man of clerical family and good education, and above physical want, should look upon it as a mishap to be alive. For the unhappy pilgrim herself there was very good reason. But how could this admirable and poetic man ever have descended into the Valley of Humiliation, have felt with the man of Uz--as she herself had felt two or three years ago--"My soul chooseth strangling and death rather than my life. I loathe it; I would not live alway." It was true that he was at present out of his class. But she knew that was only because, like Peter the Great in a shipwright's yard, he was studying what he wanted to know. He did not milk cows because he was obliged to milk cows, but because he was learning to be a rich and prosperous dairyman, landowner, agriculturist, and breeder of cattle. He would become an American or Australian Abraham, commanding like a monarch his flocks and his herds, his spotted and his ring-straked, his men-servants and his maids. At times, nevertheless, it did seem unaccountable to her that a decidedly bookish, musical, thinking young man should have chosen deliberately to be a farmer, and not a clergyman, like his father and brothers. Thus, neither having the clue to the other's secret, they were respectively puzzled at what each revealed, and awaited new knowledge of each other's character and mood without attempting to pry into each other's history. Every day, every hour, brought to him one more little stroke of her nature, and to her one more of his. Tess was trying to lead a repressed life, but she little divined the strength of her own vitality. At first Tess seemed to regard Angel Clare as an intelligence rather than as a man. As such she compared him with herself; and at every discovery of the abundance of his illuminations, of the distance between her own modest mental standpoint and the unmeasurable, Andean altitude of his, she became quite dejected, disheartened from all further effort on her own part whatever. He observed her dejection one day, when he had casually mentioned something to her about pastoral life in ancient Greece. She was gathering the buds called "lords and ladies" from the bank while he spoke. "Why do you look so woebegone all of a sudden?" he asked. "Oh, 'tis only--about my own self," she said, with a frail laugh of sadness, fitfully beginning to peel "a lady" meanwhile. "Just a sense of what might have been with me! My life looks as if it had been wasted for want of chances! When I see what you know, what you have read, and seen, and thought, I feel what a nothing I am! I'm like the poor Queen of Sheba who lived in the Bible. There is no more spirit in me." "Bless my soul, don't go troubling about that! Why," he said with some enthusiasm, "I should be only too glad, my dear Tess, to help you to anything in the way of history, or any line of reading you would like to take up--" "It is a lady again," interrupted she, holding out the bud she had peeled. "What?" "I meant that there are always more ladies than lords when you come to peel them." "Never mind about the lords and ladies. Would you like to take up any course of study--history, for example?" "Sometimes I feel I don't want to know anything more about it than I know already." "Why not?" "Because what's the use of learning that I am one of a long row only--finding out that there is set down in some old book somebody just like me, and to know that I shall only act her part; making me sad, that's all. The best is not to remember that your nature and your past doings have been just like thousands' and thousands', and that your coming life and doings 'll be like thousands's and thousands'." "What, really, then, you don't want to learn anything?" "I shouldn't mind learning why--why the sun do shine on the just and the unjust alike," she answered, with a slight quaver in her voice. "But that's what books will not tell me." "Tess, fie for such bitterness!" Of course he spoke with a conventional sense of duty only, for that sort of wondering had not been unknown to himself in bygone days. And as he looked at the unpracticed mouth and lips, he thought that such a daughter of the soil could only have caught up the sentiment by rote. She went on peeling the lords and ladies till Clare, regarding for a moment the wave-like curl of her lashes as they dropped with her bent gaze on her soft cheek, lingeringly went away. When he was gone she stood awhile, thoughtfully peeling the last bud; and then, awakening from her reverie, flung it and all the crowd of floral nobility impatiently on the ground, in an ebullition of displeasure with herself for her _niaiserie_, and with a quickening warmth in her heart of hearts. How stupid he must think her! In an access of hunger for his good opinion she bethought herself of what she had latterly endeavoured to forget, so unpleasant had been its issues--the identity of her family with that of the knightly d'Urbervilles. Barren attribute as it was, disastrous as its discovery had been in many ways to her, perhaps Mr Clare, as a gentleman and a student of history, would respect her sufficiently to forget her childish conduct with the lords and ladies if he knew that those Purbeck-marble and alabaster people in Kingsbere Church really represented her own lineal forefathers; that she was no spurious d'Urberville, compounded of money and ambition like those at Trantridge, but true d'Urberville to the bone. But, before venturing to make the revelation, dubious Tess indirectly sounded the dairyman as to its possible effect upon Mr Clare, by asking the former if Mr Clare had any great respect for old county families when they had lost all their money and land. "Mr Clare," said the dairyman emphatically, "is one of the most rebellest rozums you ever knowed--not a bit like the rest of his family; and if there's one thing that he do hate more than another 'tis the notion of what's called a' old family. He says that it stands to reason that old families have done their spurt of work in past days, and can't have anything left in 'em now. There's the Billets and the Drenkhards and the Greys and the St Quintins and the Hardys and the Goulds, who used to own the lands for miles down this valley; you could buy 'em all up now for an old song a'most. Why, our little Retty Priddle here, you know, is one of the Paridelles--the old family that used to own lots o' the lands out by King's Hintock, now owned by the Earl o' Wessex, afore even he or his was heard of. Well, Mr Clare found this out, and spoke quite scornful to the poor girl for days. 'Ah!' he says to her, 'you'll never make a good dairymaid! All your skill was used up ages ago in Palestine, and you must lie fallow for a thousand years to git strength for more deeds!' A boy came here t'other day asking for a job, and said his name was Matt, and when we asked him his surname he said he'd never heard that 'a had any surname, and when we asked why, he said he supposed his folks hadn't been 'stablished long enough. 'Ah! you're the very boy I want!' says Mr Clare, jumping up and shaking hands wi'en; 'I've great hopes of you;' and gave him half-a-crown. O no! he can't stomach old families!" After hearing this caricature of Clare's opinion poor Tess was glad that she had not said a word in a weak moment about her family--even though it was so unusually old almost to have gone round the circle and become a new one. Besides, another diary-girl was as good as she, it seemed, in that respect. She held her tongue about the d'Urberville vault and the Knight of the Conqueror whose name she bore. The insight afforded into Clare's character suggested to her that it was largely owing to her supposed untraditional newness that she had won interest in his eyes. The season developed and matured. Another year's instalment of flowers, leaves, nightingales, thrushes, finches, and such ephemeral creatures, took up their positions where only a year ago others had stood in their place when these were nothing more than germs and inorganic particles. Rays from the sunrise drew forth the buds and stretched them into long stalks, lifted up sap in noiseless streams, opened petals, and sucked out scents in invisible jets and breathings. Dairyman Crick's household of maids and men lived on comfortably, placidly, even merrily. Their position was perhaps the happiest of all positions in the social scale, being above the line at which neediness ends, and below the line at which the _convenances_ begin to cramp natural feelings, and the stress of threadbare modishness makes too little of enough. Thus passed the leafy time when arborescence seems to be the one thing aimed at out of doors. Tess and Clare unconsciously studied each other, ever balanced on the edge of a passion, yet apparently keeping out of it. All the while they were converging, under an irresistible law, as surely as two streams in one vale. Tess had never in her recent life been so happy as she was now, possibly never would be so happy again. She was, for one thing, physically and mentally suited among these new surroundings. The sapling which had rooted down to a poisonous stratum on the spot of its sowing had been transplanted to a deeper soil. Moreover she, and Clare also, stood as yet on the debatable land between predilection and love; where no profundities have been reached; no reflections have set in, awkwardly inquiring, "Whither does this new current tend to carry me? What does it mean to my future? How does it stand towards my past?" Tess was the merest stray phenomenon to Angel Clare as yet--a rosy, warming apparition which had only just acquired the attribute of persistence in his consciousness. So he allowed his mind to be occupied with her, deeming his preoccupation to be no more than a philosopher's regard of an exceedingly novel, fresh, and interesting specimen of womankind. They met continually; they could not help it. They met daily in that strange and solemn interval, the twilight of the morning, in the violet or pink dawn; for it was necessary to rise early, so very early, here. Milking was done betimes; and before the milking came the skimming, which began at a little past three. It usually fell to the lot of some one or other of them to wake the rest, the first being aroused by an alarm-clock; and, as Tess was the latest arrival, and they soon discovered that she could be depended upon not to sleep though the alarm as others did, this task was thrust most frequently upon her. No sooner had the hour of three struck and whizzed, than she left her room and ran to the dairyman's door; then up the ladder to Angel's, calling him in a loud whisper; then woke her fellow-milkmaids. By the time that Tess was dressed Clare was downstairs and out in the humid air. The remaining maids and the dairyman usually gave themselves another turn on the pillow, and did not appear till a quarter of an hour later. The gray half-tones of daybreak are not the gray half-tones of the day's close, though the degree of their shade may be the same. In the twilight of the morning, light seems active, darkness passive; in the twilight of evening it is the darkness which is active and crescent, and the light which is the drowsy reverse. Being so often--possibly not always by chance--the first two persons to get up at the dairy-house, they seemed to themselves the first persons up of all the world. In these early days of her residence here Tess did not skim, but went out of doors at once after rising, where he was generally awaiting her. The spectral, half-compounded, aqueous light which pervaded the open mead impressed them with a feeling of isolation, as if they were Adam and Eve. At this dim inceptive stage of the day Tess seemed to Clare to exhibit a dignified largeness both of disposition and physique, an almost regnant power, possibly because he knew that at that preternatural time hardly any woman so well endowed in person as she was likely to be walking in the open air within the boundaries of his horizon; very few in all England. Fair women are usually asleep at mid-summer dawns. She was close at hand, and the rest were nowhere. The mixed, singular, luminous gloom in which they walked along together to the spot where the cows lay often made him think of the Resurrection hour. He little thought that the Magdalen might be at his side. Whilst all the landscape was in neutral shade his companion's face, which was the focus of his eyes, rising above the mist stratum, seemed to have a sort of phosphorescence upon it. She looked ghostly, as if she were merely a soul at large. In reality her face, without appearing to do so, had caught the cold gleam of day from the north-east; his own face, though he did not think of it, wore the same aspect to her. It was then, as has been said, that she impressed him most deeply. She was no longer the milkmaid, but a visionary essence of woman--a whole sex condensed into one typical form. He called her Artemis, Demeter, and other fanciful names half teasingly, which she did not like because she did not understand them. "Call me Tess," she would say askance; and he did. Then it would grow lighter, and her features would become simply feminine; they had changed from those of a divinity who could confer bliss to those of a being who craved it. At these non-human hours they could get quite close to the waterfowl. Herons came, with a great bold noise as of opening doors and shutters, out of the boughs of a plantation which they frequented at the side of the mead; or, if already on the spot, hardily maintained their standing in the water as the pair walked by, watching them by moving their heads round in a slow, horizontal, passionless wheel, like the turn of puppets by clockwork. They could then see the faint summer fogs in layers, woolly, level, and apparently no thicker than counterpanes, spread about the meadows in detached remnants of small extent. On the gray moisture of the grass were marks where the cows had lain through the night--dark-green islands of dry herbage the size of their carcasses, in the general sea of dew. From each island proceeded a serpentine trail, by which the cow had rambled away to feed after getting up, at the end of which trail they found her; the snoring puff from her nostrils, when she recognized them, making an intenser little fog of her own amid the prevailing one. Then they drove the animals back to the barton, or sat down to milk them on the spot, as the case might require. Or perhaps the summer fog was more general, and the meadows lay like a white sea, out of which the scattered trees rose like dangerous rocks. Birds would soar through it into the upper radiance, and hang on the wing sunning themselves, or alight on the wet rails subdividing the mead, which now shone like glass rods. Minute diamonds of moisture from the mist hung, too, upon Tess's eyelashes, and drops upon her hair, like seed pearls. When the day grew quite strong and commonplace these dried off her; moreover, Tess then lost her strange and ethereal beauty; her teeth, lips, and eyes scintillated in the sunbeams and she was again the dazzlingly fair dairymaid only, who had to hold her own against the other women of the world. About this time they would hear Dairyman Crick's voice, lecturing the non-resident milkers for arriving late, and speaking sharply to old Deborah Fyander for not washing her hands. "For Heaven's sake, pop thy hands under the pump, Deb! Upon my soul, if the London folk only knowed of thee and thy slovenly ways, they'd swaller their milk and butter more mincing than they do a'ready; and that's saying a good deal." The milking progressed, till towards the end Tess and Clare, in common with the rest, could hear the heavy breakfast table dragged out from the wall in the kitchen by Mrs Crick, this being the invariable preliminary to each meal; the same horrible scrape accompanying its return journey when the table had been cleared.

Chapters 16-20

https://web.archive.org/web/20201219151046/https://www.cliffsnotes.com/literature/t/tess-of-the-durbervilles/summary-and-analysis/phase-the-third-the-rally-chapters-1620

Having arranged for the position of milkmaid at a dairy in Talbothays through a friend of her mother's, Tess leaves home for a second time. At 20, she is now more experienced in the world. It is late in the afternoon when she arrives at the dairy, and she is in time for the afternoon milking of the cows. She introduces herself to Mr. Richard Crick, the dairyman, and immediately begins work. In the milking parlor, Tess does not actually meet the other workers, but she hears them as they perform their chores. There is discussion among the other workers about some cows going "azew," or dry. Superstitiously, the workers believe that, because there is "a new hand come among us," the cows are not as likely to give as much milk. A tale from medieval times is told to entertain the workers, and a song is sung to make the work easier and to coax the cows to be generous with their milk -- all the kinds of banter one would expect in a milking parlor. Finally, a strange voice chimes in, and we are introduced to Angel Clare. Angel, at age 26, is the youngest son of an area parson; he has come to Talbothays to learn the business of the dairy farm so that he may one day become a farmer himself. Tess recognizes Angel from the May dance in Chapter 1. She fears that he will discover her past and shun her. Tess learns of Angel's past when she shares a room, which is over the milking room, with three other milkmaids. Hardy interrupts Tess' story to explain Angel's history. Angel hopes to have a farm of his own either in England or in an English colony. Angel's desire came as a surprise to his father, the Reverend James Clare, who learned of his youngest son's intentions only when books about farming were delivered to the Clare home. When his father questioned Angel about how he can be interested in such books when he plans to become a "minster of the Gospel," Angel informed his father of his plans, claiming that he cannot support all of church doctrine; he can only accept those tenants that he himself cannot bridge. Angel went to London to see the world and to discover a new profession for himself. In London, he fell in love with an older woman, who almost "entrapped" the young Clare in marriage. He was extricated from the situation and settled on farming as a profession. Tess and Angel's relationship starts off slowly, but begins to develop when he lines up Tess' cows for her, the ones that are hard to milk. The two later meet while Angel is playing a second hand harp for entertainment and a conversation ensues. Angel finds Tess rather mature, mysterious. Tess decries her lack of education, and Angel volunteers to tutor her in any subject she might choose. Tess replies, "I shouldn't mind learning why -- why the sun do shine on the just and unjust alike." Angel chides her for being so negative about life.

The dairy of Talbothays is in the Blackmoor Valley, on the river Froom/Frome. Hardy describes this region in breathtaking terms of green valleys and abundant life. "The river itself, which nourished the grass and cows of these renowned dairies, flowed not like the streams in Blackmoor . . . The Froom waters were clear as the pure River of Life shown to the Evangelist . . . ." To Tess, the job at the diary signifies a new beginning, so much so that she now begins a new phase of her life -- "she appeared to feel that she really had laid a new foundation for her future." She fits right into the diary work and it suits her. In this sequence of chapters, Hardy introduces us again to Angel, who appeared briefly in Chapter 1. Angel's desire is to learn all he can through an internship, or apprenticeship, with an expert farmer. His training is practical, not like his two older brothers, both parsons, who were university trained at Cambridge. Angel has settled on farming in order to have "intellectual liberty." That is, he wants to be able to study and read what he wants, whenever he wants, and to pursue studies not related to the church. He comes to realize that the myth of the uneducated, simpleton farmer is not true. He sees the farm workers as his friends and regards them with high esteem. Through this changing perception, Angel "grew away from old associations, and saw something new in life and humanity." The description of Angel in these chapters is significant in other ways: Angel Clare is a direct contrast to Alec d'Urberville. Angel makes himself aware of Tess in a slow methodical manner versus the abrupt, harsh forcefulness of Alec. Angel is well read, from a good family, and he does not regard his associates or colleagues with scorn. He uses his position of authority wisely, not to overpower his coworkers but to aid and assist them, unlike Alec who abuses his position over the servants of the house, using them for his own pleasures and whims. Angel is not opposed to working for a living, especially the hard life of a farmer. Angel seeks to better himself by furthering his own education, even offering to enhance Tess' education as his own expense. Angel is not perfect, however, as his relationship with an older woman in London suggests. Mr. Crick tells Tess how Angel views the aristocracy and the use of "old family names" as a means to establish dominance over others not so fortunate: "Oh no! he can't stomach old families!" Perhaps these views are not Crick's own but are part of Hardy's argument against establishment and order in Victorian England. It is interesting the comparison Hardy makes between Angel and his brothers. Angel is essentially a good man -- and remains a good man, despite his later inability to forgive Tess for her past and the bad decision he makes to leave her -- and we can admire his kindness, fairness, and strength. His brothers, on the other hand, although certainly not bad men, do not exhibit, the admirable qualities Angel possesses. Although this comparison will become more apparent in later chapters, Hardy begins it here, and in so doing, begins the revelation of Angel's character. What we know from the information about Angel's past is that he is his own man ; that he does not rely on family name to determine his own or others' worthiness ; and that he views others without the prejudices associated with his privileged class. Hardy describes Tess and Angel as "Adam and Eve" as it appears that they are the first and only people awake on earth . In describing the couple, Hardy uses these biblical references -- of Adam and Eve and Mary Magdalene -- to elevate the pair to a more heroic status. These allusions are interesting and significant in other ways: Mary Magdalene -- and by Hardy's analogy, Tess -- is identified with the repentant woman, specifically a reformed prostitute. Adam and Eve existed in a state of innocence in the Garden of Eden; their loss of innocence resulted in their loss of Paradise. Linking Angel and Tess with Adam and Eve foreshadows the revelation and the events that destroy Angel and Tess' happiness. When Hardy says that life at Talbothays is quite good and that "Tess had never in her recent life been so happy as she was now, possibly never would be so happy again," the reader can justifiably look to the coming action with foreboding. Glossary van Alsoot or Sallaert Seventeenth century Flemish painters of village life. psalter a version of the Psalms for use in religious services; here, Tess is thinking of the psalm that is part of the "Invitatory and Psalter" of the Daily Morning Prayer in The Book of Common Prayer. phlegmatic hard to rouse to action; specif., sluggish; dull; apathetic; calm; cool; stolid. milchers animals that give milk. Olympian shapes the shapes of the Greek gods, who lived on Mount Olympus. "pinner" a pinafore or apron with a bib. cowcumber cucumber. interlocutor a person taking part in a conversation or dialogue. vicissitudes unpredictable changes or variations that keep occurring in life, fortune, etc.; shifting circumstances; ups and downs. kex a dry, hollow plant stem. nott cows cows without horns. stave a set of verses, or lines, of a song or poem; stanza. tranters carriers; hawkers. leads milk pans made of lead. wrings cheese processes. "to take Orders" to become an ordained minister. redemptive theolatry the worship of a god that promises redemption, as in Christianity. thimble-riggers cheaters or swindlers. Article Four the fourth of the Thirty-Nine Articles of the Church of England asserts the literal resurrection of Christ from the dead. Hodge a familiar term for an agricultural laborer in England; shortened form of Roger. thought of Pascal's translated it means: "To the same degree as one has intelligence, one notices that many individuals possess distinctive qualities. People of an ordinary kind do not notice the differences between individuals." From the Pensees of Blaise Pascal , French philosopher and mathematician. "some mutely Miltonic, some potentially Cromwellian" an allusion to Thomas Gray's "Elegy Written in a Country Churchyard" . dusty death a phrase from Macbeth 5.5.23. apple-booth apple blossom. Valley of Humiliation from Part I and Part II of John Bunyan's Pilgrim's Progress. man of Uz Job. "My soul chooseth strangling . . . " Job 7:15-16. Peter the Great Peter I ; czar of Russia . Before becoming Emperor of Russia, Peter studied shipbuilding. Queen of Sheba queen who visited King Solomon to investigate his reputed wisdom: 1 Kings 10:1-13; here, a reference to the Queen's dispirited feeling after she experiences the wisdom and wealth of Solomon . "shine on the just and the unjust alike" an echo of the Sermon on the Mount . niaseries nonsense, foolish thought . convenances social conventions . Magdalene Mary Magdalene was a fallen woman. Christ's appearance to her after his Resurrection occurs in Mark 16. Artemis, Demeter goddesses associated with chastity, but the former also connected with hunting and both understood in the early anthropology of Hardy's time as fertility goddesses. barton barnyard.

pinkmonkey

all_chapterized_books/161-chapters/33.txt

finished_summaries/pinkmonkey/Sense and Sensibility/section_32_part_0.txt

Sense and Sensibility.chapter 33

chapter 33

{"name": "Chapter 33", "url": "https://web.archive.org/web/20180820034609/http://www.pinkmonkey.com/booknotes/monkeynotes/pmSenseSensibility48.asp", "summary": "Elinor tells the Colonel's story to Marianne, who believes it, but feels miserable on hearing this information. Her attitude towards Colonel Brandon improves. A letter arrives from Mrs. Dashwood, expressing concern for Marianne. She advises them to prolong their stay in London. The Middletons and the Palmers sympathize with Marianne and curse Willoughby for his deceit. Mrs. Palmer informs Elinor of Willoughby's wedding. Elinor conveys the news to her sister a few days later. Marianne breaks down after this. At about this time, the Steeles pay them a visit. They indulge in frivolous talk and insist on meeting Marianne.", "analysis": "Notes Marianne gradually comes to terms with her situation. First she hears about Willoughby's deceptive nature and his shameless behavior towards Miss Williams, followed by the news of his wedding. Her hopes are dashed and she is miserable. Everyone shows concern for Marianne, but their words of consolation only hurt the sensitive girl. In such circumstances, Lady Middleton's indifference proves to be a blessing in disguise. Her non-committal attitude neither hurts nor soothes Marianne's feelings. Mrs. Jennings is busy matchmaking, even during an unhappy period, such as the present one. When she observes Colonel Brandon talking to Elinor, she presumes that they are in love. Matchmaking is her favorite pursuit. The Steele sisters arrive and irritate Elinor with their frivolous behavior. Miss Steele talks coquettishly about Dr. Davies, while Lucy makes a show of her affection for Elinor. They feign concern for Marianne and insist on meeting with her. They are downright indiscreet in their behavior; the Steele sisters offer a complete contrast to the heroines of the novel. CHAPTER 33 Summary One day while they are out shopping, Elinor and Marianne have a chance encounter with their brother. He is apologetic for not having contacted them earlier but promises to pay them a visit the next day. True to his word, he keeps his appointment. He is introduced to Mrs. Jennings and Colonel Brandon, both of whom he treats respectfully. He considers Colonel Brandon an eligible match for Elinor and astonishes his sister with his congratulations on her impending marriage. He also meets the Middletons and is impressed by their wealth and status. Notes Jane Austen here portrays John Dashwood as a hen-pecked husband who is governed by nothing but money. He is impressed by Mrs. Jennings because she lives in elegance. He wants Elinor to marry Colonel Brandon because he possesses considerable property in Dorsetshire. He commends the abilities of Mrs. Ferrars in finding a good match for Edward in Miss Morton, who is to inherit thirty thousand pounds. Finally, he is impressed by the Middletons because \"they are people of large fortune.\" John Dashwood approves of just about anyone who is wealthy. John Dashwood is a humorous character, who never fails to amuse the readers through his talk and behavior. His conversation with Elinor is comical. He presumes that Colonel Brandon is in love with Elinor, and so he congratulates her on her good fortune in getting married to a man of status. In order to cover up his guilt for not helping his sisters financially, he paints a sorry picture of himself and exaggerates his own financial obligations. He then expresses the hope that Mrs. Jennings will bestow her wealth on Elinor and Marianne. He meets the Middletons and is impressed by their style of living, and he decides to introduce his wife to them because she would surely approve of such people. Elinor is embarrassed by his outlook and attitude. He is obsessed with money and entirely governed by his wife. CHAPTER 34 Summary Fanny Dashwood makes the acquaintance of Lady Middleton and is impressed by her. She also meets the Steele sisters and takes a liking to them. She thus invites all of them, including the Dashwood sisters, to a party at her house. Lucy Steele is eager to attend the party, as it will give her an opportunity to meet with Edward and Mrs. Ferrars. Elinor is apprehensive about the visit. At the party they meet Mrs. Ferrars, who is cold and snobbish. She looks down on Elinor, and in order to slight her, pays attention to Lucy. John Dashwood tries to impress Colonel Brandon by boasting about Elinor's talent. Marianne feels offended when Mrs. Ferrars tries to insult Elinor and answers her back, much to Fanny's dismay. To rectify the situation, John informs the Colonel of Marianne's delicate health and her loss of beauty, which he says is the cause of her anxiety. Notes This chapter focuses on Fanny and John Dashwood and Mrs. Ferrars. Both Mrs. Ferrars and her daughter, Fanny Dashwood, are molded in a similar fashion. They are haughty, snobbish and cold. They are obsessed with money and fascinated by the wealthy. Fanny Dashwood is in awe of Lady Middleton because she resembles herself in her tastes, temperament and status. \"There was a kind of cold-hearted selfishness on both sides, which mutually attracted them; and they sympathised with each other in an insipid propriety of demeanour, and a general want of understanding.\" Jane Austen is rather sarcastic about the relationship between the two snobbish ladies. Austen continues the same tone of harsh critique while describing Mrs. Ferrars: \"Mrs. Ferrars was a little, thin woman, upright, even to formality, in her figure, and serious, even to sourness, in her aspect. Her complexion was sallow; and her features small, without beauty, and naturally without expression: but a lucky contraction of the brow had rescued her countenance from the disgrace of insipidity, by giving it the strong characters of pride and ill-nature.\" But Austen chooses only such characters as Lady Middleton, Fanny Dashwood and Mrs. Ferrars to present as caricatures. Lucy and Elinor, who are both in love with Edward, get the opportunity to meet Mrs. Ferrars, and each responds differently to the situation. Lucy is excited about meeting her and tries her best to impress her, while Elinor is merely curious about Mrs. Ferrars. She acts normally and presents her true self before the old lady. Elinor is always composed and handles even an unfavorable situation to the best of her ability. Marianne, on the other hand, is easily excited by criticism or unjust remarks. When Mrs. Ferrars and Fanny Dashwood try to hurt Elinor by praising the talent of Miss Morton, Marianne rebukes them. She then becomes emotional and bursts into tears, thereby embarrassing the guests. The chapter also presents humorous situations. Marianne's defending her sister and offending Mrs. Ferrars, creates a furor at the party. When she finally breaks down after consoling her sister, her distress affects all the other characters. Jane Austen describes the scene thus: \"She could say no more; her spirits were quite overcome, and hiding her face on Elinor's shoulder, she burst into tears. Everybody's attention was called, and almost everybody was concerned. Colonel Brandon rose up and went to them without knowing what he did. Mrs. Jennings, with a very intelligent, 'Ah! poor dear,' immediately gave her salts; and Sir John felt so desperately enraged against the author of this nervous distress, that he instantly changed his seat to one close by Lucy Steele, and gave her, in a whisper, a brief account of the whole shocking affair.\" No one but Jane Austen could describe the confusion so effectively and amusingly."}

After some opposition, Marianne yielded to her sister's entreaties, and consented to go out with her and Mrs. Jennings one morning for half an hour. She expressly conditioned, however, for paying no visits, and would do no more than accompany them to Gray's in Sackville Street, where Elinor was carrying on a negotiation for the exchange of a few old-fashioned jewels of her mother. When they stopped at the door, Mrs. Jennings recollected that there was a lady at the other end of the street on whom she ought to call; and as she had no business at Gray's, it was resolved, that while her young friends transacted their's, she should pay her visit and return for them. On ascending the stairs, the Miss Dashwoods found so many people before them in the room, that there was not a person at liberty to tend to their orders; and they were obliged to wait. All that could be done was, to sit down at that end of the counter which seemed to promise the quickest succession; one gentleman only was standing there, and it is probable that Elinor was not without hope of exciting his politeness to a quicker despatch. But the correctness of his eye, and the delicacy of his taste, proved to be beyond his politeness. He was giving orders for a toothpick-case for himself, and till its size, shape, and ornaments were determined, all of which, after examining and debating for a quarter of an hour over every toothpick-case in the shop, were finally arranged by his own inventive fancy, he had no leisure to bestow any other attention on the two ladies, than what was comprised in three or four very broad stares; a kind of notice which served to imprint on Elinor the remembrance of a person and face, of strong, natural, sterling insignificance, though adorned in the first style of fashion. Marianne was spared from the troublesome feelings of contempt and resentment, on this impertinent examination of their features, and on the puppyism of his manner in deciding on all the different horrors of the different toothpick-cases presented to his inspection, by remaining unconscious of it all; for she was as well able to collect her thoughts within herself, and be as ignorant of what was passing around her, in Mr. Gray's shop, as in her own bedroom. At last the affair was decided. The ivory, the gold, and the pearls, all received their appointment, and the gentleman having named the last day on which his existence could be continued without the possession of the toothpick-case, drew on his gloves with leisurely care, and bestowing another glance on the Miss Dashwoods, but such a one as seemed rather to demand than express admiration, walked off with a happy air of real conceit and affected indifference. Elinor lost no time in bringing her business forward, was on the point of concluding it, when another gentleman presented himself at her side. She turned her eyes towards his face, and found him with some surprise to be her brother. Their affection and pleasure in meeting was just enough to make a very creditable appearance in Mr. Gray's shop. John Dashwood was really far from being sorry to see his sisters again; it rather gave them satisfaction; and his inquiries after their mother were respectful and attentive. Elinor found that he and Fanny had been in town two days. "I wished very much to call upon you yesterday," said he, "but it was impossible, for we were obliged to take Harry to see the wild beasts at Exeter Exchange; and we spent the rest of the day with Mrs. Ferrars. Harry was vastly pleased. THIS morning I had fully intended to call on you, if I could possibly find a spare half hour, but one has always so much to do on first coming to town. I am come here to bespeak Fanny a seal. But tomorrow I think I shall certainly be able to call in Berkeley Street, and be introduced to your friend Mrs. Jennings. I understand she is a woman of very good fortune. And the Middletons too, you must introduce me to THEM. As my mother-in-law's relations, I shall be happy to show them every respect. They are excellent neighbours to you in the country, I understand." "Excellent indeed. Their attention to our comfort, their friendliness in every particular, is more than I can express." "I am extremely glad to hear it, upon my word; extremely glad indeed. But so it ought to be; they are people of large fortune, they are related to you, and every civility and accommodation that can serve to make your situation pleasant might be reasonably expected. And so you are most comfortably settled in your little cottage and want for nothing! Edward brought us a most charming account of the place: the most complete thing of its kind, he said, that ever was, and you all seemed to enjoy it beyond any thing. It was a great satisfaction to us to hear it, I assure you." Elinor did feel a little ashamed of her brother; and was not sorry to be spared the necessity of answering him, by the arrival of Mrs. Jennings's servant, who came to tell her that his mistress waited for them at the door. Mr. Dashwood attended them down stairs, was introduced to Mrs. Jennings at the door of her carriage, and repeating his hope of being able to call on them the next day, took leave. His visit was duly paid. He came with a pretence at an apology from their sister-in-law, for not coming too; "but she was so much engaged with her mother, that really she had no leisure for going any where." Mrs. Jennings, however, assured him directly, that she should not stand upon ceremony, for they were all cousins, or something like it, and she should certainly wait on Mrs. John Dashwood very soon, and bring her sisters to see her. His manners to THEM, though calm, were perfectly kind; to Mrs. Jennings, most attentively civil; and on Colonel Brandon's coming in soon after himself, he eyed him with a curiosity which seemed to say, that he only wanted to know him to be rich, to be equally civil to HIM. After staying with them half an hour, he asked Elinor to walk with him to Conduit Street, and introduce him to Sir John and Lady Middleton. The weather was remarkably fine, and she readily consented. As soon as they were out of the house, his enquiries began. "Who is Colonel Brandon? Is he a man of fortune?" "Yes; he has very good property in Dorsetshire." "I am glad of it. He seems a most gentlemanlike man; and I think, Elinor, I may congratulate you on the prospect of a very respectable establishment in life." "Me, brother! what do you mean?" "He likes you. I observed him narrowly, and am convinced of it. What is the amount of his fortune?" "I believe about two thousand a year." "Two thousand a-year;" and then working himself up to a pitch of enthusiastic generosity, he added, "Elinor, I wish with all my heart it were TWICE as much, for your sake." "Indeed I believe you," replied Elinor; "but I am very sure that Colonel Brandon has not the smallest wish of marrying ME." "You are mistaken, Elinor; you are very much mistaken. A very little trouble on your side secures him. Perhaps just at present he may be undecided; the smallness of your fortune may make him hang back; his friends may all advise him against it. But some of those little attentions and encouragements which ladies can so easily give will fix him, in spite of himself. And there can be no reason why you should not try for him. It is not to be supposed that any prior attachment on your side--in short, you know as to an attachment of that kind, it is quite out of the question, the objections are insurmountable--you have too much sense not to see all that. Colonel Brandon must be the man; and no civility shall be wanting on my part to make him pleased with you and your family. It is a match that must give universal satisfaction. In short, it is a kind of thing that"--lowering his voice to an important whisper--"will be exceedingly welcome to ALL PARTIES." Recollecting himself, however, he added, "That is, I mean to say--your friends are all truly anxious to see you well settled; Fanny particularly, for she has your interest very much at heart, I assure you. And her mother too, Mrs. Ferrars, a very good-natured woman, I am sure it would give her great pleasure; she said as much the other day." Elinor would not vouchsafe any answer. "It would be something remarkable, now," he continued, "something droll, if Fanny should have a brother and I a sister settling at the same time. And yet it is not very unlikely." "Is Mr. Edward Ferrars," said Elinor, with resolution, "going to be married?" "It is not actually settled, but there is such a thing in agitation. He has a most excellent mother. Mrs. Ferrars, with the utmost liberality, will come forward, and settle on him a thousand a year, if the match takes place. The lady is the Hon. Miss Morton, only daughter of the late Lord Morton, with thirty thousand pounds. A very desirable connection on both sides, and I have not a doubt of its taking place in time. A thousand a-year is a great deal for a mother to give away, to make over for ever; but Mrs. Ferrars has a noble spirit. To give you another instance of her liberality:--The other day, as soon as we came to town, aware that money could not be very plenty with us just now, she put bank-notes into Fanny's hands to the amount of two hundred pounds. And extremely acceptable it is, for we must live at a great expense while we are here." He paused for her assent and compassion; and she forced herself to say, "Your expenses both in town and country must certainly be considerable; but your income is a large one." "Not so large, I dare say, as many people suppose. I do not mean to complain, however; it is undoubtedly a comfortable one, and I hope will in time be better. The enclosure of Norland Common, now carrying on, is a most serious drain. And then I have made a little purchase within this half year; East Kingham Farm, you must remember the place, where old Gibson used to live. The land was so very desirable for me in every respect, so immediately adjoining my own property, that I felt it my duty to buy it. I could not have answered it to my conscience to let it fall into any other hands. A man must pay for his convenience; and it HAS cost me a vast deal of money." "More than you think it really and intrinsically worth." "Why, I hope not that. I might have sold it again, the next day, for more than I gave: but, with regard to the purchase-money, I might have been very unfortunate indeed; for the stocks were at that time so low, that if I had not happened to have the necessary sum in my banker's hands, I must have sold out to very great loss." Elinor could only smile. "Other great and inevitable expenses too we have had on first coming to Norland. Our respected father, as you well know, bequeathed all the Stanhill effects that remained at Norland (and very valuable they were) to your mother. Far be it from me to repine at his doing so; he had an undoubted right to dispose of his own property as he chose, but, in consequence of it, we have been obliged to make large purchases of linen, china, &c. to supply the place of what was taken away. You may guess, after all these expenses, how very far we must be from being rich, and how acceptable Mrs. Ferrars's kindness is." "Certainly," said Elinor; "and assisted by her liberality, I hope you may yet live to be in easy circumstances." "Another year or two may do much towards it," he gravely replied; "but however there is still a great deal to be done. There is not a stone laid of Fanny's green-house, and nothing but the plan of the flower-garden marked out." "Where is the green-house to be?" "Upon the knoll behind the house. The old walnut trees are all come down to make room for it. It will be a very fine object from many parts of the park, and the flower-garden will slope down just before it, and be exceedingly pretty. We have cleared away all the old thorns that grew in patches over the brow." Elinor kept her concern and her censure to herself; and was very thankful that Marianne was not present, to share the provocation. Having now said enough to make his poverty clear, and to do away the necessity of buying a pair of ear-rings for each of his sisters, in his next visit at Gray's his thoughts took a cheerfuller turn, and he began to congratulate Elinor on having such a friend as Mrs. Jennings. "She seems a most valuable woman indeed--Her house, her style of living, all bespeak an exceeding good income; and it is an acquaintance that has not only been of great use to you hitherto, but in the end may prove materially advantageous.--Her inviting you to town is certainly a vast thing in your favour; and indeed, it speaks altogether so great a regard for you, that in all probability when she dies you will not be forgotten.-- She must have a great deal to leave." "Nothing at all, I should rather suppose; for she has only her jointure, which will descend to her children." "But it is not to be imagined that she lives up to her income. Few people of common prudence will do THAT; and whatever she saves, she will be able to dispose of." "And do you not think it more likely that she should leave it to her daughters, than to us?" "Her daughters are both exceedingly well married, and therefore I cannot perceive the necessity of her remembering them farther. Whereas, in my opinion, by her taking so much notice of you, and treating you in this kind of way, she has given you a sort of claim on her future consideration, which a conscientious woman would not disregard. Nothing can be kinder than her behaviour; and she can hardly do all this, without being aware of the expectation it raises." "But she raises none in those most concerned. Indeed, brother, your anxiety for our welfare and prosperity carries you too far." "Why, to be sure," said he, seeming to recollect himself, "people have little, have very little in their power. But, my dear Elinor, what is the matter with Marianne?-- she looks very unwell, has lost her colour, and is grown quite thin. Is she ill?" "She is not well, she has had a nervous complaint on her for several weeks." "I am sorry for that. At her time of life, any thing of an illness destroys the bloom for ever! Hers has been a very short one! She was as handsome a girl last September, as I ever saw; and as likely to attract the man. There was something in her style of beauty, to please them particularly. I remember Fanny used to say that she would marry sooner and better than you did; not but what she is exceedingly fond of YOU, but so it happened to strike her. She will be mistaken, however. I question whether Marianne NOW, will marry a man worth more than five or six hundred a-year, at the utmost, and I am very much deceived if YOU do not do better. Dorsetshire! I know very little of Dorsetshire; but, my dear Elinor, I shall be exceedingly glad to know more of it; and I think I can answer for your having Fanny and myself among the earliest and best pleased of your visitors." Elinor tried very seriously to convince him that there was no likelihood of her marrying Colonel Brandon; but it was an expectation of too much pleasure to himself to be relinquished, and he was really resolved on seeking an intimacy with that gentleman, and promoting the marriage by every possible attention. He had just compunction enough for having done nothing for his sisters himself, to be exceedingly anxious that everybody else should do a great deal; and an offer from Colonel Brandon, or a legacy from Mrs. Jennings, was the easiest means of atoning for his own neglect. They were lucky enough to find Lady Middleton at home, and Sir John came in before their visit ended. Abundance of civilities passed on all sides. Sir John was ready to like anybody, and though Mr. Dashwood did not seem to know much about horses, he soon set him down as a very good-natured fellow: while Lady Middleton saw enough of fashion in his appearance to think his acquaintance worth having; and Mr. Dashwood went away delighted with both. "I shall have a charming account to carry to Fanny," said he, as he walked back with his sister. "Lady Middleton is really a most elegant woman! Such a woman as I am sure Fanny will be glad to know. And Mrs. Jennings too, an exceedingly well-behaved woman, though not so elegant as her daughter. Your sister need not have any scruple even of visiting HER, which, to say the truth, has been a little the case, and very naturally; for we only knew that Mrs. Jennings was the widow of a man who had got all his money in a low way; and Fanny and Mrs. Ferrars were both strongly prepossessed, that neither she nor her daughters were such kind of women as Fanny would like to associate with. But now I can carry her a most satisfactory account of both."

Chapter 33

https://web.archive.org/web/20180820034609/http://www.pinkmonkey.com/booknotes/monkeynotes/pmSenseSensibility48.asp

Elinor tells the Colonel's story to Marianne, who believes it, but feels miserable on hearing this information. Her attitude towards Colonel Brandon improves. A letter arrives from Mrs. Dashwood, expressing concern for Marianne. She advises them to prolong their stay in London. The Middletons and the Palmers sympathize with Marianne and curse Willoughby for his deceit. Mrs. Palmer informs Elinor of Willoughby's wedding. Elinor conveys the news to her sister a few days later. Marianne breaks down after this. At about this time, the Steeles pay them a visit. They indulge in frivolous talk and insist on meeting Marianne.

Notes Marianne gradually comes to terms with her situation. First she hears about Willoughby's deceptive nature and his shameless behavior towards Miss Williams, followed by the news of his wedding. Her hopes are dashed and she is miserable. Everyone shows concern for Marianne, but their words of consolation only hurt the sensitive girl. In such circumstances, Lady Middleton's indifference proves to be a blessing in disguise. Her non-committal attitude neither hurts nor soothes Marianne's feelings. Mrs. Jennings is busy matchmaking, even during an unhappy period, such as the present one. When she observes Colonel Brandon talking to Elinor, she presumes that they are in love. Matchmaking is her favorite pursuit. The Steele sisters arrive and irritate Elinor with their frivolous behavior. Miss Steele talks coquettishly about Dr. Davies, while Lucy makes a show of her affection for Elinor. They feign concern for Marianne and insist on meeting with her. They are downright indiscreet in their behavior; the Steele sisters offer a complete contrast to the heroines of the novel. CHAPTER 33 Summary One day while they are out shopping, Elinor and Marianne have a chance encounter with their brother. He is apologetic for not having contacted them earlier but promises to pay them a visit the next day. True to his word, he keeps his appointment. He is introduced to Mrs. Jennings and Colonel Brandon, both of whom he treats respectfully. He considers Colonel Brandon an eligible match for Elinor and astonishes his sister with his congratulations on her impending marriage. He also meets the Middletons and is impressed by their wealth and status. Notes Jane Austen here portrays John Dashwood as a hen-pecked husband who is governed by nothing but money. He is impressed by Mrs. Jennings because she lives in elegance. He wants Elinor to marry Colonel Brandon because he possesses considerable property in Dorsetshire. He commends the abilities of Mrs. Ferrars in finding a good match for Edward in Miss Morton, who is to inherit thirty thousand pounds. Finally, he is impressed by the Middletons because "they are people of large fortune." John Dashwood approves of just about anyone who is wealthy. John Dashwood is a humorous character, who never fails to amuse the readers through his talk and behavior. His conversation with Elinor is comical. He presumes that Colonel Brandon is in love with Elinor, and so he congratulates her on her good fortune in getting married to a man of status. In order to cover up his guilt for not helping his sisters financially, he paints a sorry picture of himself and exaggerates his own financial obligations. He then expresses the hope that Mrs. Jennings will bestow her wealth on Elinor and Marianne. He meets the Middletons and is impressed by their style of living, and he decides to introduce his wife to them because she would surely approve of such people. Elinor is embarrassed by his outlook and attitude. He is obsessed with money and entirely governed by his wife. CHAPTER 34 Summary Fanny Dashwood makes the acquaintance of Lady Middleton and is impressed by her. She also meets the Steele sisters and takes a liking to them. She thus invites all of them, including the Dashwood sisters, to a party at her house. Lucy Steele is eager to attend the party, as it will give her an opportunity to meet with Edward and Mrs. Ferrars. Elinor is apprehensive about the visit. At the party they meet Mrs. Ferrars, who is cold and snobbish. She looks down on Elinor, and in order to slight her, pays attention to Lucy. John Dashwood tries to impress Colonel Brandon by boasting about Elinor's talent. Marianne feels offended when Mrs. Ferrars tries to insult Elinor and answers her back, much to Fanny's dismay. To rectify the situation, John informs the Colonel of Marianne's delicate health and her loss of beauty, which he says is the cause of her anxiety. Notes This chapter focuses on Fanny and John Dashwood and Mrs. Ferrars. Both Mrs. Ferrars and her daughter, Fanny Dashwood, are molded in a similar fashion. They are haughty, snobbish and cold. They are obsessed with money and fascinated by the wealthy. Fanny Dashwood is in awe of Lady Middleton because she resembles herself in her tastes, temperament and status. "There was a kind of cold-hearted selfishness on both sides, which mutually attracted them; and they sympathised with each other in an insipid propriety of demeanour, and a general want of understanding." Jane Austen is rather sarcastic about the relationship between the two snobbish ladies. Austen continues the same tone of harsh critique while describing Mrs. Ferrars: "Mrs. Ferrars was a little, thin woman, upright, even to formality, in her figure, and serious, even to sourness, in her aspect. Her complexion was sallow; and her features small, without beauty, and naturally without expression: but a lucky contraction of the brow had rescued her countenance from the disgrace of insipidity, by giving it the strong characters of pride and ill-nature." But Austen chooses only such characters as Lady Middleton, Fanny Dashwood and Mrs. Ferrars to present as caricatures. Lucy and Elinor, who are both in love with Edward, get the opportunity to meet Mrs. Ferrars, and each responds differently to the situation. Lucy is excited about meeting her and tries her best to impress her, while Elinor is merely curious about Mrs. Ferrars. She acts normally and presents her true self before the old lady. Elinor is always composed and handles even an unfavorable situation to the best of her ability. Marianne, on the other hand, is easily excited by criticism or unjust remarks. When Mrs. Ferrars and Fanny Dashwood try to hurt Elinor by praising the talent of Miss Morton, Marianne rebukes them. She then becomes emotional and bursts into tears, thereby embarrassing the guests. The chapter also presents humorous situations. Marianne's defending her sister and offending Mrs. Ferrars, creates a furor at the party. When she finally breaks down after consoling her sister, her distress affects all the other characters. Jane Austen describes the scene thus: "She could say no more; her spirits were quite overcome, and hiding her face on Elinor's shoulder, she burst into tears. Everybody's attention was called, and almost everybody was concerned. Colonel Brandon rose up and went to them without knowing what he did. Mrs. Jennings, with a very intelligent, 'Ah! poor dear,' immediately gave her salts; and Sir John felt so desperately enraged against the author of this nervous distress, that he instantly changed his seat to one close by Lucy Steele, and gave her, in a whisper, a brief account of the whole shocking affair." No one but Jane Austen could describe the confusion so effectively and amusingly.

pinkmonkey

all_chapterized_books/110-chapters/57.txt

finished_summaries/pinkmonkey/Tess of the D'Urbervilles/section_21_part_1.txt

Tess of the D'Urbervilles.chapter 56

chapter 56

{"name": "CHAPTER 56", "url": "https://web.archive.org/web/20180820050202/http://www.pinkmonkey.com/booknotes/monkeynotes/pmTessD66.asp", "summary": "The Herons' landlady, Mrs. Brooks, overhears a part of the conversation between Angel and Tess and grows curious. When Tess leaves Angel and returns to her room, Mrs. Brooks follows at a distance and peeks through the keyhole. She hears Tess scold Alec for making her believe that Angel would never return. She then listens to the heated exchange that occurs between the two. A movement inside the room finally makes Mrs. Brooks hurry downstairs. Awhile later, the landlady notices Tess going out. Soon after Tess's departure, Mrs. Brooks happens to glance at the ceiling and sees a red spot that seems to be growing in size. Convinced that something is wrong, she calls a workman who breaks into the D'Urberville's room. Alec is on the bed, stabbed to death.", "analysis": "Notes Alec's cunning temptations have caused Tess to betray her true feelings and her true husband. When she sees Angel in his pathetic state, she is overcome with feelings of grief and guilt. She tells Angel the truth and sends him away, which almost kills her. In confusion and anger, Tess goes back to the room and turns on Alec. She accuses him of making her believe what he wanted her to believe. They fight bitterly, and Tess obviously loses all self- control. Knowing she will never be able to escape her satanic tormentor, she stabs him to death. It is important to notice that the whole scene is portrayed through the eyes of the landlady, and the details have to be filled in. Hardy obviously wanted to spare the reader from excessive gore. CHAPTERS 57 - 58 Summary A dejected Angel plans to take the first train out of Sanbourne. He returns to his hotel and quickly packs. As he walks toward the station, he sees Tess running towards him. She immediately confesses to having killed Alec, but Angel believes his precious Tess is only having \"temporary hallucinations. Tess, however, insists the murder is real and tries to justify it. Angel begins to believe her and comfort her. He tells her that he loves her, that he will protect her, and that he will never desert her again. They wander around without any destination in mind while looking for a safe accommodation. At last they spy an empty mansion, which they enter through a window. They spent their first night together as a true couple. They remain at the mansion for the next five days, living in a dream world filled with love and happiness and never discussing the past year. The caretaker arrives early on the sixth morning and discovers the loving couple still in bed. It is time for them to move on. Tess dreads facing the reality of the outside world and feels her days are numbered. Angel tries to give her hope, saying they can escape to safety in the north. They travel at night to escape notice. They come upon the ancient pillars of Stonehenge, where Tess lies down exhausted from the flight. As Angel watches over her, she begs him to take care of her sister Liza Lu after her own death; she even suggests they might marry. Then Tess falls asleep amongst the ruins. As daylight breaks, Angel sees men closing in on them, and for the first time, he is forced to accept the truth of Tess's misdeed. When they draw near, he begs them to let Tess sleep, but Tess awakens and realizes what is happening. She is almost relieved that the ordeal of her life is at last coming to an end; she know that fate would never let her happiness last. Notes It is impossible for Angel to believe that Tess is capable of killing anybody, even Alec. For him, his wife is once again a fragile, vulnerable, and delicate woman, incapable of doing harm. Therefore, he thinks her confession is just a temporary imagining. He does not understand Tess's situation or the depth of her love for him. She knows that she will never be able to escape the evil of Alec and spend time with her husband. The thought of living without Angel or with Alec is more than she can bear. Her life means nothing to her in her present circumstances. In her total frustration, she can accomplish the murder. Her seducer's death frees Tess to spend her last moments with Angel, her only true love. During the next few days with him, Tess finds Angel to be everything she has always dreamed him to be. He is kind, loving, thoughtful, forgiving, protective, and encouraging. It is ironic that Angel could accept her as his wife and consummate the marriage when he learned that she was not a virgin; now he fully accepts her as his wife even though she is a murderess. Brazil has certainly changed Angel. It is important to recall Angel's fateful question in Chapter 36 when he asks Tess, \"How can we live together while that man lives. Now that Alec is gone, Tess and Angel have the opportunity to live in glorious bliss for five days, hidden away from the world and the truth. It is also important to notice the setting for the last scene that Tess and Angel will spend together. They are in the ruins of Stonehenge, a heathen temple. Tess lies upon the altar, which was used for sacrifices in ancient times. Now she is being sacrificed. Amazingly, she is at peace when her captors appear. She has spent her last days in joy with Angel at her side. She knows, because of fate, that her happiness could not continue; therefore, she can easily accept death"}

Mrs Brooks, the lady who was the householder at The Herons and owner of all the handsome furniture, was not a person of an unusually curious turn of mind. She was too deeply materialized, poor woman, by her long and enforced bondage to that arithmetical demon Profit-and-Loss, to retain much curiousity for its own sake, and apart from possible lodgers' pockets. Nevertheless, the visit of Angel Clare to her well-paying tenants, Mr and Mrs d'Urberville, as she deemed them, was sufficiently exceptional in point of time and manner to reinvigorate the feminine proclivity which had been stifled down as useless save in its bearings to the letting trade. Tess had spoken to her husband from the doorway, without entering the dining-room, and Mrs Brooks, who stood within the partly-closed door of her own sitting-room at the back of the passage, could hear fragments of the conversation--if conversation it could be called--between those two wretched souls. She heard Tess re-ascend the stairs to the first floor, and the departure of Clare, and the closing of the front door behind him. Then the door of the room above was shut, and Mrs Brooks knew that Tess had re-entered her apartment. As the young lady was not fully dressed, Mrs Brooks knew that she would not emerge again for some time. She accordingly ascended the stairs softly, and stood at the door of the front room--a drawing-room, connected with the room immediately behind it (which was a bedroom) by folding-doors in the common manner. This first floor, containing Mrs Brooks's best apartments, had been taken by the week by the d'Urbervilles. The back room was now in silence; but from the drawing-room there came sounds. All that she could at first distinguish of them was one syllable, continually repeated in a low note of moaning, as if it came from a soul bound to some Ixionian wheel-- "O--O--O!" Then a silence, then a heavy sigh, and again-- "O--O--O!" The landlady looked through the keyhole. Only a small space of the room inside was visible, but within that space came a corner of the breakfast table, which was already spread for the meal, and also a chair beside. Over the seat of the chair Tess's face was bowed, her posture being a kneeling one in front of it; her hands were clasped over her head, the skirts of her dressing-gown and the embroidery of her night-gown flowed upon the floor behind her, and her stockingless feet, from which the slippers had fallen, protruded upon the carpet. It was from her lips that came the murmur of unspeakable despair. Then a man's voice from the adjoining bedroom-- "What's the matter?" She did not answer, but went on, in a tone which was a soliloquy rather than an exclamation, and a dirge rather than a soliloquy. Mrs Brooks could only catch a portion: "And then my dear, dear husband came home to me ... and I did not know it! ... And you had used your cruel persuasion upon me ... you did not stop using it--no--you did not stop! My little sisters and brothers and my mother's needs--they were the things you moved me by ... and you said my husband would never come back--never; and you taunted me, and said what a simpleton I was to expect him! ... And at last I believed you and gave way! ... And then he came back! Now he is gone. Gone a second time, and I have lost him now for ever ... and he will not love me the littlest bit ever any more--only hate me! ... O yes, I have lost him now--again because of--you!" In writhing, with her head on the chair, she turned her face towards the door, and Mrs Brooks could see the pain upon it, and that her lips were bleeding from the clench of her teeth upon them, and that the long lashes of her closed eyes stuck in wet tags to her cheeks. She continued: "And he is dying--he looks as if he is dying! ... And my sin will kill him and not kill me! ... O, you have torn my life all to pieces ... made me be what I prayed you in pity not to make me be again! ... My own true husband will never, never--O God--I can't bear this!--I cannot!" There were more and sharper words from the man; then a sudden rustle; she had sprung to her feet. Mrs Brooks, thinking that the speaker was coming to rush out of the door, hastily retreated down the stairs. She need not have done so, however, for the door of the sitting-room was not opened. But Mrs Brooks felt it unsafe to watch on the landing again, and entered her own parlour below. She could hear nothing through the floor, although she listened intently, and thereupon went to the kitchen to finish her interrupted breakfast. Coming up presently to the front room on the ground floor she took up some sewing, waiting for her lodgers to ring that she might take away the breakfast, which she meant to do herself, to discover what was the matter if possible. Overhead, as she sat, she could now hear the floorboards slightly creak, as if some one were walking about, and presently the movement was explained by the rustle of garments against the banisters, the opening and the closing of the front door, and the form of Tess passing to the gate on her way into the street. She was fully dressed now in the walking costume of a well-to-do young lady in which she had arrived, with the sole addition that over her hat and black feathers a veil was drawn. Mrs Brooks had not been able to catch any word of farewell, temporary or otherwise, between her tenants at the door above. They might have quarrelled, or Mr d'Urberville might still be asleep, for he was not an early riser. She went into the back room, which was more especially her own apartment, and continued her sewing there. The lady lodger did not return, nor did the gentleman ring his bell. Mrs Brooks pondered on the delay, and on what probable relation the visitor who had called so early bore to the couple upstairs. In reflecting she leant back in her chair. As she did so her eyes glanced casually over the ceiling till they were arrested by a spot in the middle of its white surface which she had never noticed there before. It was about the size of a wafer when she first observed it, but it speedily grew as large as the palm of her hand, and then she could perceive that it was red. The oblong white ceiling, with this scarlet blot in the midst, had the appearance of a gigantic ace of hearts. Mrs Brooks had strange qualms of misgiving. She got upon the table, and touched the spot in the ceiling with her fingers. It was damp, and she fancied that it was a blood stain. Descending from the table, she left the parlour, and went upstairs, intending to enter the room overhead, which was the bedchamber at the back of the drawing-room. But, nerveless woman as she had now become, she could not bring herself to attempt the handle. She listened. The dead silence within was broken only by a regular beat. Drip, drip, drip. Mrs Brooks hastened downstairs, opened the front door, and ran into the street. A man she knew, one of the workmen employed at an adjoining villa, was passing by, and she begged him to come in and go upstairs with her; she feared something had happened to one of her lodgers. The workman assented, and followed her to the landing. She opened the door of the drawing-room, and stood back for him to pass in, entering herself behind him. The room was empty; the breakfast--a substantial repast of coffee, eggs, and a cold ham--lay spread upon the table untouched, as when she had taken it up, excepting that the carving-knife was missing. She asked the man to go through the folding-doors into the adjoining room. He opened the doors, entered a step or two, and came back almost instantly with a rigid face. "My good God, the gentleman in bed is dead! I think he has been hurt with a knife--a lot of blood had run down upon the floor!" The alarm was soon given, and the house which had lately been so quiet resounded with the tramp of many footsteps, a surgeon among the rest. The wound was small, but the point of the blade had touched the heart of the victim, who lay on his back, pale, fixed, dead, as if he had scarcely moved after the infliction of the blow. In a quarter of an hour the news that a gentleman who was a temporary visitor to the town had been stabbed in his bed, spread through every street and villa of the popular watering-place.

CHAPTER 56

https://web.archive.org/web/20180820050202/http://www.pinkmonkey.com/booknotes/monkeynotes/pmTessD66.asp

The Herons' landlady, Mrs. Brooks, overhears a part of the conversation between Angel and Tess and grows curious. When Tess leaves Angel and returns to her room, Mrs. Brooks follows at a distance and peeks through the keyhole. She hears Tess scold Alec for making her believe that Angel would never return. She then listens to the heated exchange that occurs between the two. A movement inside the room finally makes Mrs. Brooks hurry downstairs. Awhile later, the landlady notices Tess going out. Soon after Tess's departure, Mrs. Brooks happens to glance at the ceiling and sees a red spot that seems to be growing in size. Convinced that something is wrong, she calls a workman who breaks into the D'Urberville's room. Alec is on the bed, stabbed to death.

Notes Alec's cunning temptations have caused Tess to betray her true feelings and her true husband. When she sees Angel in his pathetic state, she is overcome with feelings of grief and guilt. She tells Angel the truth and sends him away, which almost kills her. In confusion and anger, Tess goes back to the room and turns on Alec. She accuses him of making her believe what he wanted her to believe. They fight bitterly, and Tess obviously loses all self- control. Knowing she will never be able to escape her satanic tormentor, she stabs him to death. It is important to notice that the whole scene is portrayed through the eyes of the landlady, and the details have to be filled in. Hardy obviously wanted to spare the reader from excessive gore. CHAPTERS 57 - 58 Summary A dejected Angel plans to take the first train out of Sanbourne. He returns to his hotel and quickly packs. As he walks toward the station, he sees Tess running towards him. She immediately confesses to having killed Alec, but Angel believes his precious Tess is only having "temporary hallucinations. Tess, however, insists the murder is real and tries to justify it. Angel begins to believe her and comfort her. He tells her that he loves her, that he will protect her, and that he will never desert her again. They wander around without any destination in mind while looking for a safe accommodation. At last they spy an empty mansion, which they enter through a window. They spent their first night together as a true couple. They remain at the mansion for the next five days, living in a dream world filled with love and happiness and never discussing the past year. The caretaker arrives early on the sixth morning and discovers the loving couple still in bed. It is time for them to move on. Tess dreads facing the reality of the outside world and feels her days are numbered. Angel tries to give her hope, saying they can escape to safety in the north. They travel at night to escape notice. They come upon the ancient pillars of Stonehenge, where Tess lies down exhausted from the flight. As Angel watches over her, she begs him to take care of her sister Liza Lu after her own death; she even suggests they might marry. Then Tess falls asleep amongst the ruins. As daylight breaks, Angel sees men closing in on them, and for the first time, he is forced to accept the truth of Tess's misdeed. When they draw near, he begs them to let Tess sleep, but Tess awakens and realizes what is happening. She is almost relieved that the ordeal of her life is at last coming to an end; she know that fate would never let her happiness last. Notes It is impossible for Angel to believe that Tess is capable of killing anybody, even Alec. For him, his wife is once again a fragile, vulnerable, and delicate woman, incapable of doing harm. Therefore, he thinks her confession is just a temporary imagining. He does not understand Tess's situation or the depth of her love for him. She knows that she will never be able to escape the evil of Alec and spend time with her husband. The thought of living without Angel or with Alec is more than she can bear. Her life means nothing to her in her present circumstances. In her total frustration, she can accomplish the murder. Her seducer's death frees Tess to spend her last moments with Angel, her only true love. During the next few days with him, Tess finds Angel to be everything she has always dreamed him to be. He is kind, loving, thoughtful, forgiving, protective, and encouraging. It is ironic that Angel could accept her as his wife and consummate the marriage when he learned that she was not a virgin; now he fully accepts her as his wife even though she is a murderess. Brazil has certainly changed Angel. It is important to recall Angel's fateful question in Chapter 36 when he asks Tess, "How can we live together while that man lives. Now that Alec is gone, Tess and Angel have the opportunity to live in glorious bliss for five days, hidden away from the world and the truth. It is also important to notice the setting for the last scene that Tess and Angel will spend together. They are in the ruins of Stonehenge, a heathen temple. Tess lies upon the altar, which was used for sacrifices in ancient times. Now she is being sacrificed. Amazingly, she is at peace when her captors appear. She has spent her last days in joy with Angel at her side. She knows, because of fate, that her happiness could not continue; therefore, she can easily accept death

gradesaver

all_chapterized_books/28054-chapters/book_12.txt

finished_summaries/gradesaver/The Brothers Karamazov/section_11_part_0.txt

The Brothers Karamazov.book 12.chapter 1-chapter 14

book 12

{"name": "Book 12", "url": "https://web.archive.org/web/20210422052201/https://www.gradesaver.com/the-brothers-karamazov/study-guide/summary-book-12", "summary": "Dmitri's trial is a public spectacle. People have heard the news of the case, and the courtroom is crowded with spectators, mostly women, Interestingly, many of them are hoping for Dmitri's acquittal. Most of the men at the trial are not as sympathetic to this ladies' man, hoping for a conviction. Many people also have come to witness what they think will be a dramatic confrontation between Katerina and Grushenka. Rumors about both women are flying, and the public is hungry for a showdown. When the news is read that Smerdyakov will not appear as a witness because he has committed suicide, Dmitri exclaims, \"A dog's death for a dog!\" When asked how he will plead, Dmitri goes on a tirade about how he is guilty of many things. He says that he is guilty of \"drunkenness and disorderly behavior ... laziness and debauchery.\" But he says he \"had resolved to become a decent man\" for the rest of his life when he was arrested for this crime, which he did not commit. He pleads \"not guilty\" to the charges against him, but everyone, including his supporters, know that the prosecution has quite a case against him. Dmitri's lawyer deftly discredits witnesses who testify against Dmitri, such as Captain Snegiryov, Rakitin, and Grigory, citing possible ulterior motives that each witness might have. His lawyer is very skilled, and he argues expertly for Dmitri. Alyosha is not discredited because he is known for his unquestionable honesty, and he makes a case for Dmitri's innocence. Alyosha cites a conversation he had with his brother proving that Dmitri indeed was in possession of a large sum of money before the murder took place. Alyosha contends that needing Fyodor's 3,000 rubles could not have been Dmitri's motive for the murder. This testimony proves that Dmitri has not stolen the money that the police found on his person; he had it before the murder. Katerina further strengthens Dmitri's case by recounting stories about Dmitri that show he is an honorable man at his core. She says that Dmitri did not blackmail or seduce her even though he had the chance. Katerina's testimony upsets Dmitri, for he believes this will besmirch her name, but she tells the story anyway to help the man she has sworn to support and cherish. Ivan suddenly appears in the courtroom, and when cross-examined, he proves to be of little help to anyone. He is clearly not well, and he does not make sense. He gives no evidence against Smerdyakov; he barely gives any evidence at all. But as he is leaving the courtroom, he shows the court the 3,000 rubles that Smerdyakov gave him. He asserts that Smerdyakov murdered and robbed Fyodor and that the 3,000 rubles are his blood money. He adds that he has been visited by a devil--and people begin to murmur. Because of his apparent insanity, his knowledge of Smerdyakov's confession is discredited, and he is removed from the courtroom. Katerina takes the stand again, inexplicably changing her position on Dmitri, showing the courtroom Dmitri's letter stating that he would kill Fyodor for money. The court asks her why she hid this evidence, and she answers that she had been trying to save her love at all costs, but his infidelity and lack of appreciation had finally gotten to her--she could take it no longer and felt she must tell the truth. Grushenka flies into a rage and insults Katerina for her duplicity, and the courtroom erupts into bedlam. The prosecutor closes. He earnestly believes that Dmitri is guilty and that the crime is despicable. He talks about the declining morals of the Russian people, among many of whom honor has been replaced with sordid intellectualization. He attacks Fyodor for his rampant sensualism and selfish greed. He says that the old man's actions must have made a son bitter and angry. Nevertheless, he says, this awfulness does not excuse the horrible murder that he believes Dmitri committed. The prosecutor analyzes each Karamazov brother, concluding with the accused. He says that Dmitri has been both passionate and desperate, which are two telltale qualities of a murderer. He adds that Smerdyakov had neither of these qualities, putting to rest the theory of his guilt. Also, he points out that Smerdyakov had a seizure the night of the murder. The most damning piece of evidence against Dmitri is the letter that Katerina showed the court. He asks the jury to convict Dmitri of parricide. Dmitri's lawyer is somewhat of a celebrity, and the courtroom is excited to hear his oration. He speaks precisely and warmly, charging the prosecution with \"malice\" and speaking with sensitive plaintiveness. He begins by setting out to prove why all the evidence against Dmitri is questionable. He makes subtle jibes at the prosecutor for his psychological inferences, pointing out how psychology is \"a knife that cuts both ways.\" He explains how psychology could as easily prove that Dmitri is a sympathetic, impulsive man or a cold, calculating fiend. Hence, psychological evidence is questionable and undependable. Besides, he adds, other pieces of evidence do not make sense. For instance, there is no proof that Fyodor had 3,000 rubles for Dmitri to steal. Dmitri's explanation of where the money came from is as good as the theory that he obtained it by robbing Fyodor. The defense sees great leaps of imagination, as if the events that have taken place are part of a great \"novel.\" The defense lawyer next explains how Fyodor was a horrible father, neglecting, abandoning, and generally abusing the boy. Dmitri was a misguided youth who essentially grew up without a father. In addition, Smerdyakov's guilt is called into question again. Finally, the lawyer argues that prisons are for reform, not punishment, but convicting Dmitri will actually ruin his chances for reform. When he finishes, the courtroom erupts into applause. After a brief respite, the jurors return and pronounce that Dmitri has been found guilty. Over the din of the courtroom, Dmitri yells that he is innocent, that he forgives Katerina, and that he wishes his family will take care of Grushenka. He is led out of the courtroom.", "analysis": "The final chapters of this novel take place in a courtroom, which is a fitting end to a novel centered around a murder. This is a novel about guilt, and though Dmitri is the one on trial, he is not the only one whose life is scrutinized during the legal proceedings. These final chapters are an allegory for the intense judgment every character faces, either internally or externally. Since religion is such a large part of the novel, this judgment calls to mind a spiritual reckoning. Whether it is with a court, with God, or with oneself, every character faces a trial. Father Zossima says that one's own conscience is the only meaningful means of punishment. Ivan's own struggle, for instance, is all in his own head . Smerdyakov has carried out his own sentence on himself. Though Dmitri's trial is public, suggesting that it is socially more important than the inner trials of the other characters, this is the least meaningful arena in which to assess moral guilt. In addition to the fact that public trial and punishment run counter to the ideas of Father Zossima , the reader knows from the beginning that Dmitri is innocent of the crime of which he is being accused. This trial is not about conscience, inner motives, or wickedness, which are all complicated and subject to interpretation. Despite the talk of psychology, this trial is about facts, and the state uses these facts to come to the false conclusion that Dmitri murdered his father. It is both sad and funny that the most explicit trial, with the most people analyzing it, is a failure of justice. This supports Father Zossima's posture that punishment by the state is a sham. One can only hope that self-analysis is more successful. The trial is also a public spectacle because people are interested in the scandal and intrigue. The lawyer for the defense is known for his brilliant orations and his entertaining pleas, not for his strict attention to detail. In this trial, emotion has a starring role, and truth has just a supporting role. The fact that Dmitri may be innocent or guilty takes a back seat to what he represents for each member of the crowd and jury. Some spectators are sympathetic to Dmitri's good heart. They hope to see such a forthright soul acquitted. Others have moral problems with his seduction of Katerina and subsequent abandonment, not to mention his unpaid debt. Indebtedness is an important concept in the novel. Partly because Russia has fallen under such difficult times, the presence or absence of money is tied into larger ideas of pride and honor. It is a very shameful thing not to pay one's debts, and characters such as Captain Snegiryov and Ivan go to great lengths to stay free from the burden of owing money. Their sense of integrity is based on their financial independence. It is a very disgraceful thing in the eyes of many townspeople that Dmitri has not paid back the generous loan from Katerina. The facts of the case aside, the trial is a public performance centered around a licentious family drama. It is a battleground of morality and intrigue based on the deeply held beliefs and feelings of those watching the trial, not on details. Dmitri has become a celebrity. Others define themselves by their stance about the trial. A townsperson can know what kind of person someone else is by his or her opinion about Dmitri Karamazov. In this way the trial is more about the people watching than about Dmitri. The myriad spectators are reflecting aspects of their own identities. The essence of each character becomes more clear as each one takes the stand. For instance, the testimonies of Grigory and Marfa are straightforward and condemning. These two are dedicated to their plain view of honesty, and if the truth puts a boy they helped to raise in prison, then so be it. This outcome is inevitable, for there is no other option for them. Alyosha is respectful, honest, warm, and insightful, and his testimony is not only beyond reproach but also, fortunately, helpful to Dmitri. Grushenka proves herself to be a good match for Dmitri, for her testimony is emotional and uncouth, but her devotion to Dmitri is clear. Katerina, for her part, shows herself to be very deceptive. She gives a personally embarrassing testimonial about Dmitri's character, again humbling herself to help the man she ostensibly loves, yet before the trial is through, she gives evidence that seals Dmitri's fate, saying she is fed up with his mockery of her. It is unclear why she does this, but it is certain that she has a personal agenda and that her actions are not coming from her heart but from some plan of hers. Perhaps she wants to become a martyr or to win some kind of salvation or vindication with a devotion she does not feel. In any case, she is shady; her calm and loving exterior is covering up something more calculating and shadowy. Ivan's \"testimony\" shows how deep his feelings of shame and guilt run. In this novel, as in Crime and Punishment, sickness has a direct correlation with conscience. The seriousness of Ivan's condition indicates his inner turmoil. Ivan, who seems so controlled and psychologically stable the rest of the time, has fallen apart. What at first seemed to be a cold and dispassionate manner is clearly a veneer. Under the light of a public inquisition, people like Ivan might reveal some hidden but true colors. Dmitri's conviction for his father's murder has ramifications that range beyond family to the political and religious. Why would Dostoevsky end his novel with the wrong character being convicted of a crime? The wrongful conviction points out the injustice of the world--unless it is the justice of conscience after all, succeeding even though the state has been incorrect in this particular determination of right and wrong. Does Dmitri need to suffer for his life? Does Dmitri deserve to go to jail, even if he did not kill anyone? Insofar as Zossima's idea of punishment involves one's own conscience, true justice is personal or spiritual, not political. Why, then, make a public trial so significant in the novel? Even though going to prison may not make a man change, it provides character-building hardships. As many characters in the novel explain, they long for suffering in order to purge their feelings of guilt and shame. Dmitri has been on the border between salvation and damnation the entire novel. This is Dmitri's chance to purge his guilt by enduring hardship, even if it is for the wrong crime. The conviction is thus a sort of blessing. Smerdyakov, who escapes conviction, has fared much worse than Dmitri, according to Zossima's sense of justice. The weight on Smerdyakov's conscience was apparently so great that he took his own life, alone and without the support of his society to help him. Ivan, who also feels guilt for the murder, is not put on trial either, but his feelings of guilt get the best of him, driving him insane. The trial does not show, at least not to us, that Dmitri is guilty of any crime beyond what he already has determined about himself. Likewise, the other characters, more or less, show that they have met a kind of justice that does not depend at all on the jury. Rather, the press of public attention does help people come clean. The trial is thus not really about the penal system and its imperfections. Instead, it is a platform giving Dmitri, and to some degree others, a chance for absolution in a social and political context, with personal and spiritual ramifications. The trial is a public platform that tests the true character of all those involved."}

Book XII. A Judicial Error Chapter I. The Fatal Day At ten o'clock in the morning of the day following the events I have described, the trial of Dmitri Karamazov began in our district court. I hasten to emphasize the fact that I am far from esteeming myself capable of reporting all that took place at the trial in full detail, or even in the actual order of events. I imagine that to mention everything with full explanation would fill a volume, even a very large one. And so I trust I may not be reproached, for confining myself to what struck me. I may have selected as of most interest what was of secondary importance, and may have omitted the most prominent and essential details. But I see I shall do better not to apologize. I will do my best and the reader will see for himself that I have done all I can. And, to begin with, before entering the court, I will mention what surprised me most on that day. Indeed, as it appeared later, every one was surprised at it, too. We all knew that the affair had aroused great interest, that every one was burning with impatience for the trial to begin, that it had been a subject of talk, conjecture, exclamation and surmise for the last two months in local society. Every one knew, too, that the case had become known throughout Russia, but yet we had not imagined that it had aroused such burning, such intense, interest in every one, not only among ourselves, but all over Russia. This became evident at the trial this day. Visitors had arrived not only from the chief town of our province, but from several other Russian towns, as well as from Moscow and Petersburg. Among them were lawyers, ladies, and even several distinguished personages. Every ticket of admission had been snatched up. A special place behind the table at which the three judges sat was set apart for the most distinguished and important of the men visitors; a row of arm-chairs had been placed there--something exceptional, which had never been allowed before. A large proportion--not less than half of the public--were ladies. There was such a large number of lawyers from all parts that they did not know where to seat them, for every ticket had long since been eagerly sought for and distributed. I saw at the end of the room, behind the platform, a special partition hurriedly put up, behind which all these lawyers were admitted, and they thought themselves lucky to have standing room there, for all chairs had been removed for the sake of space, and the crowd behind the partition stood throughout the case closely packed, shoulder to shoulder. Some of the ladies, especially those who came from a distance, made their appearance in the gallery very smartly dressed, but the majority of the ladies were oblivious even of dress. Their faces betrayed hysterical, intense, almost morbid, curiosity. A peculiar fact--established afterwards by many observations--was that almost all the ladies, or, at least the vast majority of them, were on Mitya's side and in favor of his being acquitted. This was perhaps chiefly owing to his reputation as a conqueror of female hearts. It was known that two women rivals were to appear in the case. One of them--Katerina Ivanovna--was an object of general interest. All sorts of extraordinary tales were told about her, amazing anecdotes of her passion for Mitya, in spite of his crime. Her pride and "aristocratic connections" were particularly insisted upon (she had called upon scarcely any one in the town). People said she intended to petition the Government for leave to accompany the criminal to Siberia and to be married to him somewhere in the mines. The appearance of Grushenka in court was awaited with no less impatience. The public was looking forward with anxious curiosity to the meeting of the two rivals--the proud aristocratic girl and "the hetaira." But Grushenka was a more familiar figure to the ladies of the district than Katerina Ivanovna. They had already seen "the woman who had ruined Fyodor Pavlovitch and his unhappy son," and all, almost without exception, wondered how father and son could be so in love with "such a very common, ordinary Russian girl, who was not even pretty." In brief, there was a great deal of talk. I know for a fact that there were several serious family quarrels on Mitya's account in our town. Many ladies quarreled violently with their husbands over differences of opinion about the dreadful case, and it was only natural that the husbands of these ladies, far from being favorably disposed to the prisoner, should enter the court bitterly prejudiced against him. In fact, one may say pretty certainly that the masculine, as distinguished from the feminine, part of the audience were biased against the prisoner. There were numbers of severe, frowning, even vindictive faces. Mitya, indeed, had managed to offend many people during his stay in the town. Some of the visitors were, of course, in excellent spirits and quite unconcerned as to the fate of Mitya personally. But all were interested in the trial, and the majority of the men were certainly hoping for the conviction of the criminal, except perhaps the lawyers, who were more interested in the legal than in the moral aspect of the case. Everybody was excited at the presence of the celebrated lawyer, Fetyukovitch. His talent was well known, and this was not the first time he had defended notorious criminal cases in the provinces. And if he defended them, such cases became celebrated and long remembered all over Russia. There were stories, too, about our prosecutor and about the President of the Court. It was said that Ippolit Kirillovitch was in a tremor at meeting Fetyukovitch, and that they had been enemies from the beginning of their careers in Petersburg, that though our sensitive prosecutor, who always considered that he had been aggrieved by some one in Petersburg because his talents had not been properly appreciated, was keenly excited over the Karamazov case, and was even dreaming of rebuilding his flagging fortunes by means of it, Fetyukovitch, they said, was his one anxiety. But these rumors were not quite just. Our prosecutor was not one of those men who lose heart in face of danger. On the contrary, his self-confidence increased with the increase of danger. It must be noted that our prosecutor was in general too hasty and morbidly impressionable. He would put his whole soul into some case and work at it as though his whole fate and his whole fortune depended on its result. This was the subject of some ridicule in the legal world, for just by this characteristic our prosecutor had gained a wider notoriety than could have been expected from his modest position. People laughed particularly at his passion for psychology. In my opinion, they were wrong, and our prosecutor was, I believe, a character of greater depth than was generally supposed. But with his delicate health he had failed to make his mark at the outset of his career and had never made up for it later. As for the President of our Court, I can only say that he was a humane and cultured man, who had a practical knowledge of his work and progressive views. He was rather ambitious, but did not concern himself greatly about his future career. The great aim of his life was to be a man of advanced ideas. He was, too, a man of connections and property. He felt, as we learnt afterwards, rather strongly about the Karamazov case, but from a social, not from a personal standpoint. He was interested in it as a social phenomenon, in its classification and its character as a product of our social conditions, as typical of the national character, and so on, and so on. His attitude to the personal aspect of the case, to its tragic significance and the persons involved in it, including the prisoner, was rather indifferent and abstract, as was perhaps fitting, indeed. The court was packed and overflowing long before the judges made their appearance. Our court is the best hall in the town--spacious, lofty, and good for sound. On the right of the judges, who were on a raised platform, a table and two rows of chairs had been put ready for the jury. On the left was the place for the prisoner and the counsel for the defense. In the middle of the court, near the judges, was a table with the "material proofs." On it lay Fyodor Pavlovitch's white silk dressing-gown, stained with blood; the fatal brass pestle with which the supposed murder had been committed; Mitya's shirt, with a blood-stained sleeve; his coat, stained with blood in patches over the pocket in which he had put his handkerchief; the handkerchief itself, stiff with blood and by now quite yellow; the pistol loaded by Mitya at Perhotin's with a view to suicide, and taken from him on the sly at Mokroe by Trifon Borissovitch; the envelope in which the three thousand roubles had been put ready for Grushenka, the narrow pink ribbon with which it had been tied, and many other articles I don't remember. In the body of the hall, at some distance, came the seats for the public. But in front of the balustrade a few chairs had been placed for witnesses who remained in the court after giving their evidence. At ten o'clock the three judges arrived--the President, one honorary justice of the peace, and one other. The prosecutor, of course, entered immediately after. The President was a short, stout, thick-set man of fifty, with a dyspeptic complexion, dark hair turning gray and cut short, and a red ribbon, of what Order I don't remember. The prosecutor struck me and the others, too, as looking particularly pale, almost green. His face seemed to have grown suddenly thinner, perhaps in a single night, for I had seen him looking as usual only two days before. The President began with asking the court whether all the jury were present. But I see I can't go on like this, partly because some things I did not hear, others I did not notice, and others I have forgotten, but most of all because, as I have said before, I have literally no time or space to mention everything that was said and done. I only know that neither side objected to very many of the jurymen. I remember the twelve jurymen--four were petty officials of the town, two were merchants, and six peasants and artisans of the town. I remember, long before the trial, questions were continually asked with some surprise, especially by ladies: "Can such a delicate, complex and psychological case be submitted for decision to petty officials and even peasants?" and "What can an official, still more a peasant, understand in such an affair?" All the four officials in the jury were, in fact, men of no consequence and of low rank. Except one who was rather younger, they were gray-headed men, little known in society, who had vegetated on a pitiful salary, and who probably had elderly, unpresentable wives and crowds of children, perhaps even without shoes and stockings. At most, they spent their leisure over cards and, of course, had never read a single book. The two merchants looked respectable, but were strangely silent and stolid. One of them was close-shaven, and was dressed in European style; the other had a small, gray beard, and wore a red ribbon with some sort of a medal upon it on his neck. There is no need to speak of the artisans and the peasants. The artisans of Skotoprigonyevsk are almost peasants, and even work on the land. Two of them also wore European dress, and, perhaps for that reason, were dirtier and more uninviting-looking than the others. So that one might well wonder, as I did as soon as I had looked at them, "what men like that could possibly make of such a case?" Yet their faces made a strangely imposing, almost menacing, impression; they were stern and frowning. At last the President opened the case of the murder of Fyodor Pavlovitch Karamazov. I don't quite remember how he described him. The court usher was told to bring in the prisoner, and Mitya made his appearance. There was a hush through the court. One could have heard a fly. I don't know how it was with others, but Mitya made a most unfavorable impression on me. He looked an awful dandy in a brand-new frock-coat. I heard afterwards that he had ordered it in Moscow expressly for the occasion from his own tailor, who had his measure. He wore immaculate black kid gloves and exquisite linen. He walked in with his yard-long strides, looking stiffly straight in front of him, and sat down in his place with a most unperturbed air. At the same moment the counsel for defense, the celebrated Fetyukovitch, entered, and a sort of subdued hum passed through the court. He was a tall, spare man, with long thin legs, with extremely long, thin, pale fingers, clean-shaven face, demurely brushed, rather short hair, and thin lips that were at times curved into something between a sneer and a smile. He looked about forty. His face would have been pleasant, if it had not been for his eyes, which, in themselves small and inexpressive, were set remarkably close together, with only the thin, long nose as a dividing line between them. In fact, there was something strikingly birdlike about his face. He was in evening dress and white tie. I remember the President's first questions to Mitya, about his name, his calling, and so on. Mitya answered sharply, and his voice was so unexpectedly loud that it made the President start and look at the prisoner with surprise. Then followed a list of persons who were to take part in the proceedings--that is, of the witnesses and experts. It was a long list. Four of the witnesses were not present--Miuesov, who had given evidence at the preliminary inquiry, but was now in Paris; Madame Hohlakov and Maximov, who were absent through illness; and Smerdyakov, through his sudden death, of which an official statement from the police was presented. The news of Smerdyakov's death produced a sudden stir and whisper in the court. Many of the audience, of course, had not heard of the sudden suicide. What struck people most was Mitya's sudden outburst As soon as the statement of Smerdyakov's death was made, he cried out aloud from his place: "He was a dog and died like a dog!" I remember how his counsel rushed to him, and how the President addressed him, threatening to take stern measures, if such an irregularity were repeated. Mitya nodded and in a subdued voice repeated several times abruptly to his counsel, with no show of regret: "I won't again, I won't. It escaped me. I won't do it again." And, of course, this brief episode did him no good with the jury or the public. His character was displayed, and it spoke for itself. It was under the influence of this incident that the opening statement was read. It was rather short, but circumstantial. It only stated the chief reasons why he had been arrested, why he must be tried, and so on. Yet it made a great impression on me. The clerk read it loudly and distinctly. The whole tragedy was suddenly unfolded before us, concentrated, in bold relief, in a fatal and pitiless light. I remember how, immediately after it had been read, the President asked Mitya in a loud impressive voice: "Prisoner, do you plead guilty?" Mitya suddenly rose from his seat. "I plead guilty to drunkenness and dissipation," he exclaimed, again in a startling, almost frenzied, voice, "to idleness and debauchery. I meant to become an honest man for good, just at the moment when I was struck down by fate. But I am not guilty of the death of that old man, my enemy and my father. No, no, I am not guilty of robbing him! I could not be. Dmitri Karamazov is a scoundrel, but not a thief." He sat down again, visibly trembling all over. The President again briefly, but impressively, admonished him to answer only what was asked, and not to go off into irrelevant exclamations. Then he ordered the case to proceed. All the witnesses were led up to take the oath. Then I saw them all together. The brothers of the prisoner were, however, allowed to give evidence without taking the oath. After an exhortation from the priest and the President, the witnesses were led away and were made to sit as far as possible apart from one another. Then they began calling them up one by one. Chapter II. Dangerous Witnesses I do not know whether the witnesses for the defense and for the prosecution were separated into groups by the President, and whether it was arranged to call them in a certain order. But no doubt it was so. I only know that the witnesses for the prosecution were called first. I repeat I don't intend to describe all the questions step by step. Besides, my account would be to some extent superfluous, because in the speeches for the prosecution and for the defense the whole course of the evidence was brought together and set in a strong and significant light, and I took down parts of those two remarkable speeches in full, and will quote them in due course, together with one extraordinary and quite unexpected episode, which occurred before the final speeches, and undoubtedly influenced the sinister and fatal outcome of the trial. I will only observe that from the first moments of the trial one peculiar characteristic of the case was conspicuous and observed by all, that is, the overwhelming strength of the prosecution as compared with the arguments the defense had to rely upon. Every one realized it from the first moment that the facts began to group themselves round a single point, and the whole horrible and bloody crime was gradually revealed. Every one, perhaps, felt from the first that the case was beyond dispute, that there was no doubt about it, that there could be really no discussion, and that the defense was only a matter of form, and that the prisoner was guilty, obviously and conclusively guilty. I imagine that even the ladies, who were so impatiently longing for the acquittal of the interesting prisoner, were at the same time, without exception, convinced of his guilt. What's more, I believe they would have been mortified if his guilt had not been so firmly established, as that would have lessened the effect of the closing scene of the criminal's acquittal. That he would be acquitted, all the ladies, strange to say, were firmly persuaded up to the very last moment. "He is guilty, but he will be acquitted, from motives of humanity, in accordance with the new ideas, the new sentiments that had come into fashion," and so on, and so on. And that was why they had crowded into the court so impatiently. The men were more interested in the contest between the prosecutor and the famous Fetyukovitch. All were wondering and asking themselves what could even a talent like Fetyukovitch's make of such a desperate case; and so they followed his achievements, step by step, with concentrated attention. But Fetyukovitch remained an enigma to all up to the very end, up to his speech. Persons of experience suspected that he had some design, that he was working towards some object, but it was almost impossible to guess what it was. His confidence and self-reliance were unmistakable, however. Every one noticed with pleasure, moreover, that he, after so short a stay, not more than three days, perhaps, among us, had so wonderfully succeeded in mastering the case and "had studied it to a nicety." People described with relish, afterwards, how cleverly he had "taken down" all the witnesses for the prosecution, and as far as possible perplexed them and, what's more, had aspersed their reputation and so depreciated the value of their evidence. But it was supposed that he did this rather by way of sport, so to speak, for professional glory, to show nothing had been omitted of the accepted methods, for all were convinced that he could do no real good by such disparagement of the witnesses, and probably was more aware of this than any one, having some idea of his own in the background, some concealed weapon of defense, which he would suddenly reveal when the time came. But meanwhile, conscious of his strength, he seemed to be diverting himself. So, for instance, when Grigory, Fyodor Pavlovitch's old servant, who had given the most damning piece of evidence about the open door, was examined, the counsel for the defense positively fastened upon him when his turn came to question him. It must be noted that Grigory entered the hall with a composed and almost stately air, not the least disconcerted by the majesty of the court or the vast audience listening to him. He gave evidence with as much confidence as though he had been talking with his Marfa, only perhaps more respectfully. It was impossible to make him contradict himself. The prosecutor questioned him first in detail about the family life of the Karamazovs. The family picture stood out in lurid colors. It was plain to ear and eye that the witness was guileless and impartial. In spite of his profound reverence for the memory of his deceased master, he yet bore witness that he had been unjust to Mitya and "hadn't brought up his children as he should. He'd have been devoured by lice when he was little, if it hadn't been for me," he added, describing Mitya's early childhood. "It wasn't fair either of the father to wrong his son over his mother's property, which was by right his." In reply to the prosecutor's question what grounds he had for asserting that Fyodor Pavlovitch had wronged his son in their money relations, Grigory, to the surprise of every one, had no proof at all to bring forward, but he still persisted that the arrangement with the son was "unfair," and that he ought "to have paid him several thousand roubles more." I must note, by the way, that the prosecutor asked this question whether Fyodor Pavlovitch had really kept back part of Mitya's inheritance with marked persistence of all the witnesses who could be asked it, not excepting Alyosha and Ivan, but he obtained no exact information from any one; all alleged that it was so, but were unable to bring forward any distinct proof. Grigory's description of the scene at the dinner-table, when Dmitri had burst in and beaten his father, threatening to come back to kill him, made a sinister impression on the court, especially as the old servant's composure in telling it, his parsimony of words and peculiar phraseology, were as effective as eloquence. He observed that he was not angry with Mitya for having knocked him down and struck him on the face; he had forgiven him long ago, he said. Of the deceased Smerdyakov he observed, crossing himself, that he was a lad of ability, but stupid and afflicted, and, worse still, an infidel, and that it was Fyodor Pavlovitch and his elder son who had taught him to be so. But he defended Smerdyakov's honesty almost with warmth, and related how Smerdyakov had once found the master's money in the yard, and, instead of concealing it, had taken it to his master, who had rewarded him with a "gold piece" for it, and trusted him implicitly from that time forward. He maintained obstinately that the door into the garden had been open. But he was asked so many questions that I can't recall them all. At last the counsel for the defense began to cross-examine him, and the first question he asked was about the envelope in which Fyodor Pavlovitch was supposed to have put three thousand roubles for "a certain person." "Have you ever seen it, you, who were for so many years in close attendance on your master?" Grigory answered that he had not seen it and had never heard of the money from any one "till everybody was talking about it." This question about the envelope Fetyukovitch put to every one who could conceivably have known of it, as persistently as the prosecutor asked his question about Dmitri's inheritance, and got the same answer from all, that no one had seen the envelope, though many had heard of it. From the beginning every one noticed Fetyukovitch's persistence on this subject. "Now, with your permission I'll ask you a question," Fetyukovitch said, suddenly and unexpectedly. "Of what was that balsam, or, rather, decoction, made, which, as we learn from the preliminary inquiry, you used on that evening to rub your lumbago, in the hope of curing it?" Grigory looked blankly at the questioner, and after a brief silence muttered, "There was saffron in it." "Nothing but saffron? Don't you remember any other ingredient?" "There was milfoil in it, too." "And pepper perhaps?" Fetyukovitch queried. "Yes, there was pepper, too." "Etcetera. And all dissolved in vodka?" "In spirit." There was a faint sound of laughter in the court. "You see, in spirit. After rubbing your back, I believe, you drank what was left in the bottle with a certain pious prayer, only known to your wife?" "I did." "Did you drink much? Roughly speaking, a wine-glass or two?" "It might have been a tumbler-full." "A tumbler-full, even. Perhaps a tumbler and a half?" Grigory did not answer. He seemed to see what was meant. "A glass and a half of neat spirit--is not at all bad, don't you think? You might see the gates of heaven open, not only the door into the garden?" Grigory remained silent. There was another laugh in the court. The President made a movement. "Do you know for a fact," Fetyukovitch persisted, "whether you were awake or not when you saw the open door?" "I was on my legs." "That's not a proof that you were awake." (There was again laughter in the court.) "Could you have answered at that moment, if any one had asked you a question--for instance, what year it is?" "I don't know." "And what year is it, Anno Domini, do you know?" Grigory stood with a perplexed face, looking straight at his tormentor. Strange to say, it appeared he really did not know what year it was. "But perhaps you can tell me how many fingers you have on your hands?" "I am a servant," Grigory said suddenly, in a loud and distinct voice. "If my betters think fit to make game of me, it is my duty to suffer it." Fetyukovitch was a little taken aback, and the President intervened, reminding him that he must ask more relevant questions. Fetyukovitch bowed with dignity and said that he had no more questions to ask of the witness. The public and the jury, of course, were left with a grain of doubt in their minds as to the evidence of a man who might, while undergoing a certain cure, have seen "the gates of heaven," and who did not even know what year he was living in. But before Grigory left the box another episode occurred. The President, turning to the prisoner, asked him whether he had any comment to make on the evidence of the last witness. "Except about the door, all he has said is true," cried Mitya, in a loud voice. "For combing the lice off me, I thank him; for forgiving my blows, I thank him. The old man has been honest all his life and as faithful to my father as seven hundred poodles." "Prisoner, be careful in your language," the President admonished him. "I am not a poodle," Grigory muttered. "All right, it's I am a poodle myself," cried Mitya. "If it's an insult, I take it to myself and I beg his pardon. I was a beast and cruel to him. I was cruel to AEsop too." "What AEsop?" the President asked sternly again. "Oh, Pierrot ... my father, Fyodor Pavlovitch." The President again and again warned Mitya impressively and very sternly to be more careful in his language. "You are injuring yourself in the opinion of your judges." The counsel for the defense was equally clever in dealing with the evidence of Rakitin. I may remark that Rakitin was one of the leading witnesses and one to whom the prosecutor attached great significance. It appeared that he knew everything; his knowledge was amazing, he had been everywhere, seen everything, talked to everybody, knew every detail of the biography of Fyodor Pavlovitch and all the Karamazovs. Of the envelope, it is true, he had only heard from Mitya himself. But he described minutely Mitya's exploits in the "Metropolis," all his compromising doings and sayings, and told the story of Captain Snegiryov's "wisp of tow." But even Rakitin could say nothing positive about Mitya's inheritance, and confined himself to contemptuous generalities. "Who could tell which of them was to blame, and which was in debt to the other, with their crazy Karamazov way of muddling things so that no one could make head or tail of it?" He attributed the tragic crime to the habits that had become ingrained by ages of serfdom and the distressed condition of Russia, due to the lack of appropriate institutions. He was, in fact, allowed some latitude of speech. This was the first occasion on which Rakitin showed what he could do, and attracted notice. The prosecutor knew that the witness was preparing a magazine article on the case, and afterwards in his speech, as we shall see later, quoted some ideas from the article, showing that he had seen it already. The picture drawn by the witness was a gloomy and sinister one, and greatly strengthened the case for the prosecution. Altogether, Rakitin's discourse fascinated the public by its independence and the extraordinary nobility of its ideas. There were even two or three outbreaks of applause when he spoke of serfdom and the distressed condition of Russia. But Rakitin, in his youthful ardor, made a slight blunder, of which the counsel for the defense at once adroitly took advantage. Answering certain questions about Grushenka, and carried away by the loftiness of his own sentiments and his success, of which he was, of course, conscious, he went so far as to speak somewhat contemptuously of Agrafena Alexandrovna as "the kept mistress of Samsonov." He would have given a good deal to take back his words afterwards, for Fetyukovitch caught him out over it at once. And it was all because Rakitin had not reckoned on the lawyer having been able to become so intimately acquainted with every detail in so short a time. "Allow me to ask," began the counsel for the defense, with the most affable and even respectful smile, "you are, of course, the same Mr. Rakitin whose pamphlet, _The Life of the Deceased Elder, Father Zossima_, published by the diocesan authorities, full of profound and religious reflections and preceded by an excellent and devout dedication to the bishop, I have just read with such pleasure?" "I did not write it for publication ... it was published afterwards," muttered Rakitin, for some reason fearfully disconcerted and almost ashamed. "Oh, that's excellent! A thinker like you can, and indeed ought to, take the widest view of every social question. Your most instructive pamphlet has been widely circulated through the patronage of the bishop, and has been of appreciable service.... But this is the chief thing I should like to learn from you. You stated just now that you were very intimately acquainted with Madame Svyetlov." (It must be noted that Grushenka's surname was Svyetlov. I heard it for the first time that day, during the case.) "I cannot answer for all my acquaintances.... I am a young man ... and who can be responsible for every one he meets?" cried Rakitin, flushing all over. "I understand, I quite understand," cried Fetyukovitch, as though he, too, were embarrassed and in haste to excuse himself. "You, like any other, might well be interested in an acquaintance with a young and beautiful woman who would readily entertain the _elite_ of the youth of the neighborhood, but ... I only wanted to know ... It has come to my knowledge that Madame Svyetlov was particularly anxious a couple of months ago to make the acquaintance of the younger Karamazov, Alexey Fyodorovitch, and promised you twenty-five roubles, if you would bring him to her in his monastic dress. And that actually took place on the evening of the day on which the terrible crime, which is the subject of the present investigation, was committed. You brought Alexey Karamazov to Madame Svyetlov, and did you receive the twenty-five roubles from Madame Svyetlov as a reward, that's what I wanted to hear from you?" "It was a joke.... I don't see of what interest that can be to you.... I took it for a joke ... meaning to give it back later...." "Then you did take-- But you have not given it back yet ... or have you?" "That's of no consequence," muttered Rakitin, "I refuse to answer such questions.... Of course I shall give it back." The President intervened, but Fetyukovitch declared he had no more questions to ask of the witness. Mr. Rakitin left the witness-box not absolutely without a stain upon his character. The effect left by the lofty idealism of his speech was somewhat marred, and Fetyukovitch's expression, as he watched him walk away, seemed to suggest to the public "this is a specimen of the lofty-minded persons who accuse him." I remember that this incident, too, did not pass off without an outbreak from Mitya. Enraged by the tone in which Rakitin had referred to Grushenka, he suddenly shouted "Bernard!" When, after Rakitin's cross- examination, the President asked the prisoner if he had anything to say, Mitya cried loudly: "Since I've been arrested, he has borrowed money from me! He is a contemptible Bernard and opportunist, and he doesn't believe in God; he took the bishop in!" Mitya, of course, was pulled up again for the intemperance of his language, but Rakitin was done for. Captain Snegiryov's evidence was a failure, too, but from quite a different reason. He appeared in ragged and dirty clothes, muddy boots, and in spite of the vigilance and expert observation of the police officers, he turned out to be hopelessly drunk. On being asked about Mitya's attack upon him, he refused to answer. "God bless him. Ilusha told me not to. God will make it up to me yonder." "Who told you not to tell? Of whom are you talking?" "Ilusha, my little son. 'Father, father, how he insulted you!' He said that at the stone. Now he is dying...." The captain suddenly began sobbing, and plumped down on his knees before the President. He was hurriedly led away amidst the laughter of the public. The effect prepared by the prosecutor did not come off at all. Fetyukovitch went on making the most of every opportunity, and amazed people more and more by his minute knowledge of the case. Thus, for example, Trifon Borissovitch made a great impression, of course, very prejudicial to Mitya. He calculated almost on his fingers that on his first visit to Mokroe, Mitya must have spent three thousand roubles, "or very little less. Just think what he squandered on those gypsy girls alone! And as for our lousy peasants, it wasn't a case of flinging half a rouble in the street, he made them presents of twenty-five roubles each, at least, he didn't give them less. And what a lot of money was simply stolen from him! And if any one did steal, he did not leave a receipt. How could one catch the thief when he was flinging his money away all the time? Our peasants are robbers, you know; they have no care for their souls. And the way he went on with the girls, our village girls! They're completely set up since then, I tell you, they used to be poor." He recalled, in fact, every item of expense and added it all up. So the theory that only fifteen hundred had been spent and the rest had been put aside in a little bag seemed inconceivable. "I saw three thousand as clear as a penny in his hands, I saw it with my own eyes; I should think I ought to know how to reckon money," cried Trifon Borissovitch, doing his best to satisfy "his betters." When Fetyukovitch had to cross-examine him, he scarcely tried to refute his evidence, but began asking him about an incident at the first carousal at Mokroe, a month before the arrest, when Timofey and another peasant called Akim had picked up on the floor in the passage a hundred roubles dropped by Mitya when he was drunk, and had given them to Trifon Borissovitch and received a rouble each from him for doing so. "Well," asked the lawyer, "did you give that hundred roubles back to Mr. Karamazov?" Trifon Borissovitch shuffled in vain.... He was obliged, after the peasants had been examined, to admit the finding of the hundred roubles, only adding that he had religiously returned it all to Dmitri Fyodorovitch "in perfect honesty, and it's only because his honor was in liquor at the time, he wouldn't remember it." But, as he had denied the incident of the hundred roubles till the peasants had been called to prove it, his evidence as to returning the money to Mitya was naturally regarded with great suspicion. So one of the most dangerous witnesses brought forward by the prosecution was again discredited. The same thing happened with the Poles. They took up an attitude of pride and independence; they vociferated loudly that they had both been in the service of the Crown, and that "Pan Mitya" had offered them three thousand "to buy their honor," and that they had seen a large sum of money in his hands. Pan Mussyalovitch introduced a terrible number of Polish words into his sentences, and seeing that this only increased his consequence in the eyes of the President and the prosecutor, grew more and more pompous, and ended by talking in Polish altogether. But Fetyukovitch caught them, too, in his snares. Trifon Borissovitch, recalled, was forced, in spite of his evasions, to admit that Pan Vrublevsky had substituted another pack of cards for the one he had provided, and that Pan Mussyalovitch had cheated during the game. Kalganov confirmed this, and both the Poles left the witness-box with damaged reputations, amidst laughter from the public. Then exactly the same thing happened with almost all the most dangerous witnesses. Fetyukovitch succeeded in casting a slur on all of them, and dismissing them with a certain derision. The lawyers and experts were lost in admiration, and were only at a loss to understand what good purpose could be served by it, for all, I repeat, felt that the case for the prosecution could not be refuted, but was growing more and more tragically overwhelming. But from the confidence of the "great magician" they saw that he was serene, and they waited, feeling that "such a man" had not come from Petersburg for nothing, and that he was not a man to return unsuccessful. Chapter III. The Medical Experts And A Pound Of Nuts The evidence of the medical experts, too, was of little use to the prisoner. And it appeared later that Fetyukovitch had not reckoned much upon it. The medical line of defense had only been taken up through the insistence of Katerina Ivanovna, who had sent for a celebrated doctor from Moscow on purpose. The case for the defense could, of course, lose nothing by it and might, with luck, gain something from it. There was, however, an element of comedy about it, through the difference of opinion of the doctors. The medical experts were the famous doctor from Moscow, our doctor, Herzenstube, and the young doctor, Varvinsky. The two latter appeared also as witnesses for the prosecution. The first to be called in the capacity of expert was Doctor Herzenstube. He was a gray and bald old man of seventy, of middle height and sturdy build. He was much esteemed and respected by every one in the town. He was a conscientious doctor and an excellent and pious man, a Hernguter or Moravian brother, I am not quite sure which. He had been living amongst us for many years and behaved with wonderful dignity. He was a kind-hearted and humane man. He treated the sick poor and peasants for nothing, visited them in their slums and huts, and left money for medicine, but he was as obstinate as a mule. If once he had taken an idea into his head, there was no shaking it. Almost every one in the town was aware, by the way, that the famous doctor had, within the first two or three days of his presence among us, uttered some extremely offensive allusions to Doctor Herzenstube's qualifications. Though the Moscow doctor asked twenty-five roubles for a visit, several people in the town were glad to take advantage of his arrival, and rushed to consult him regardless of expense. All these had, of course, been previously patients of Doctor Herzenstube, and the celebrated doctor had criticized his treatment with extreme harshness. Finally, he had asked the patients as soon as he saw them, "Well, who has been cramming you with nostrums? Herzenstube? He, he!" Doctor Herzenstube, of course, heard all this, and now all the three doctors made their appearance, one after another, to be examined. Doctor Herzenstube roundly declared that the abnormality of the prisoner's mental faculties was self-evident. Then giving his grounds for this opinion, which I omit here, he added that the abnormality was not only evident in many of the prisoner's actions in the past, but was apparent even now at this very moment. When he was asked to explain how it was apparent now at this moment, the old doctor, with simple-hearted directness, pointed out that the prisoner on entering the court had "an extraordinary air, remarkable in the circumstances"; that he had "marched in like a soldier, looking straight before him, though it would have been more natural for him to look to the left where, among the public, the ladies were sitting, seeing that he was a great admirer of the fair sex and must be thinking much of what the ladies are saying of him now," the old man concluded in his peculiar language. I must add that he spoke Russian readily, but every phrase was formed in German style, which did not, however, trouble him, for it had always been a weakness of his to believe that he spoke Russian perfectly, better indeed than Russians. And he was very fond of using Russian proverbs, always declaring that the Russian proverbs were the best and most expressive sayings in the whole world. I may remark, too, that in conversation, through absent-mindedness he often forgot the most ordinary words, which sometimes went out of his head, though he knew them perfectly. The same thing happened, though, when he spoke German, and at such times he always waved his hand before his face as though trying to catch the lost word, and no one could induce him to go on speaking till he had found the missing word. His remark that the prisoner ought to have looked at the ladies on entering roused a whisper of amusement in the audience. All our ladies were very fond of our old doctor; they knew, too, that having been all his life a bachelor and a religious man of exemplary conduct, he looked upon women as lofty creatures. And so his unexpected observation struck every one as very queer. The Moscow doctor, being questioned in his turn, definitely and emphatically repeated that he considered the prisoner's mental condition abnormal in the highest degree. He talked at length and with erudition of "aberration" and "mania," and argued that, from all the facts collected, the prisoner had undoubtedly been in a condition of aberration for several days before his arrest, and, if the crime had been committed by him, it must, even if he were conscious of it, have been almost involuntary, as he had not the power to control the morbid impulse that possessed him. But apart from temporary aberration, the doctor diagnosed mania, which premised, in his words, to lead to complete insanity in the future. (It must be noted that I report this in my own words, the doctor made use of very learned and professional language.) "All his actions are in contravention of common sense and logic," he continued. "Not to refer to what I have not seen, that is, the crime itself and the whole catastrophe, the day before yesterday, while he was talking to me, he had an unaccountably fixed look in his eye. He laughed unexpectedly when there was nothing to laugh at. He showed continual and inexplicable irritability, using strange words, 'Bernard!' 'Ethics!' and others equally inappropriate." But the doctor detected mania, above all, in the fact that the prisoner could not even speak of the three thousand roubles, of which he considered himself to have been cheated, without extraordinary irritation, though he could speak comparatively lightly of other misfortunes and grievances. According to all accounts, he had even in the past, whenever the subject of the three thousand roubles was touched on, flown into a perfect frenzy, and yet he was reported to be a disinterested and not grasping man. "As to the opinion of my learned colleague," the Moscow doctor added ironically in conclusion, "that the prisoner would, on entering the court, have naturally looked at the ladies and not straight before him, I will only say that, apart from the playfulness of this theory, it is radically unsound. For though I fully agree that the prisoner, on entering the court where his fate will be decided, would not naturally look straight before him in that fixed way, and that that may really be a sign of his abnormal mental condition, at the same time I maintain that he would naturally not look to the left at the ladies, but, on the contrary, to the right to find his legal adviser, on whose help all his hopes rest and on whose defense all his future depends." The doctor expressed his opinion positively and emphatically. But the unexpected pronouncement of Doctor Varvinsky gave the last touch of comedy to the difference of opinion between the experts. In his opinion the prisoner was now, and had been all along, in a perfectly normal condition, and, although he certainly must have been in a nervous and exceedingly excited state before his arrest, this might have been due to several perfectly obvious causes, jealousy, anger, continual drunkenness, and so on. But this nervous condition would not involve the mental aberration of which mention had just been made. As to the question whether the prisoner should have looked to the left or to the right on entering the court, "in his modest opinion," the prisoner would naturally look straight before him on entering the court, as he had in fact done, as that was where the judges, on whom his fate depended, were sitting. So that it was just by looking straight before him that he showed his perfectly normal state of mind at the present. The young doctor concluded his "modest" testimony with some heat. "Bravo, doctor!" cried Mitya, from his seat, "just so!" Mitya, of course, was checked, but the young doctor's opinion had a decisive influence on the judges and on the public, and, as appeared afterwards, every one agreed with him. But Doctor Herzenstube, when called as a witness, was quite unexpectedly of use to Mitya. As an old resident in the town who had known the Karamazov family for years, he furnished some facts of great value for the prosecution, and suddenly, as though recalling something, he added: "But the poor young man might have had a very different life, for he had a good heart both in childhood and after childhood, that I know. But the Russian proverb says, 'If a man has one head, it's good, but if another clever man comes to visit him, it would be better still, for then there will be two heads and not only one.' " "One head is good, but two are better," the prosecutor put in impatiently. He knew the old man's habit of talking slowly and deliberately, regardless of the impression he was making and of the delay he was causing, and highly prizing his flat, dull and always gleefully complacent German wit. The old man was fond of making jokes. "Oh, yes, that's what I say," he went on stubbornly. "One head is good, but two are much better, but he did not meet another head with wits, and his wits went. Where did they go? I've forgotten the word." He went on, passing his hand before his eyes, "Oh, yes, _spazieren_." "Wandering?" "Oh, yes, wandering, that's what I say. Well, his wits went wandering and fell in such a deep hole that he lost himself. And yet he was a grateful and sensitive boy. Oh, I remember him very well, a little chap so high, left neglected by his father in the back yard, when he ran about without boots on his feet, and his little breeches hanging by one button." A note of feeling and tenderness suddenly came into the honest old man's voice. Fetyukovitch positively started, as though scenting something, and caught at it instantly. "Oh, yes, I was a young man then.... I was ... well, I was forty-five then, and had only just come here. And I was so sorry for the boy then; I asked myself why shouldn't I buy him a pound of ... a pound of what? I've forgotten what it's called. A pound of what children are very fond of, what is it, what is it?" The doctor began waving his hands again. "It grows on a tree and is gathered and given to every one...." "Apples?" "Oh, no, no. You have a dozen of apples, not a pound.... No, there are a lot of them, and all little. You put them in the mouth and crack." "Nuts?" "Quite so, nuts, I say so." The doctor repeated in the calmest way as though he had been at no loss for a word. "And I bought him a pound of nuts, for no one had ever bought the boy a pound of nuts before. And I lifted my finger and said to him, 'Boy, _Gott der Vater_.' He laughed and said, '_Gott der Vater_.'... '_Gott der Sohn_.' He laughed again and lisped, '_Gott der Sohn_.' '_Gott der heilige Geist_.' Then he laughed and said as best he could, '_Gott der heilige Geist_.' I went away, and two days after I happened to be passing, and he shouted to me of himself, 'Uncle, _Gott der Vater, Gott der Sohn_,' and he had only forgotten '_Gott der heilige Geist_.' But I reminded him of it and I felt very sorry for him again. But he was taken away, and I did not see him again. Twenty- three years passed. I am sitting one morning in my study, a white-haired old man, when there walks into the room a blooming young man, whom I should never have recognized, but he held up his finger and said, laughing, '_Gott der Vater, Gott der Sohn_, and _Gott der heilige Geist_. I have just arrived and have come to thank you for that pound of nuts, for no one else ever bought me a pound of nuts; you are the only one that ever did.' And then I remembered my happy youth and the poor child in the yard, without boots on his feet, and my heart was touched and I said, 'You are a grateful young man, for you have remembered all your life the pound of nuts I bought you in your childhood.' And I embraced him and blessed him. And I shed tears. He laughed, but he shed tears, too ... for the Russian often laughs when he ought to be weeping. But he did weep; I saw it. And now, alas!..." "And I am weeping now, German, I am weeping now, too, you saintly man," Mitya cried suddenly. In any case the anecdote made a certain favorable impression on the public. But the chief sensation in Mitya's favor was created by the evidence of Katerina Ivanovna, which I will describe directly. Indeed, when the witnesses _a decharge_, that is, called by the defense, began giving evidence, fortune seemed all at once markedly more favorable to Mitya, and what was particularly striking, this was a surprise even to the counsel for the defense. But before Katerina Ivanovna was called, Alyosha was examined, and he recalled a fact which seemed to furnish positive evidence against one important point made by the prosecution. Chapter IV. Fortune Smiles On Mitya It came quite as a surprise even to Alyosha himself. He was not required to take the oath, and I remember that both sides addressed him very gently and sympathetically. It was evident that his reputation for goodness had preceded him. Alyosha gave his evidence modestly and with restraint, but his warm sympathy for his unhappy brother was unmistakable. In answer to one question, he sketched his brother's character as that of a man, violent-tempered perhaps and carried away by his passions, but at the same time honorable, proud and generous, capable of self-sacrifice, if necessary. He admitted, however, that, through his passion for Grushenka and his rivalry with his father, his brother had been of late in an intolerable position. But he repelled with indignation the suggestion that his brother might have committed a murder for the sake of gain, though he recognized that the three thousand roubles had become almost an obsession with Mitya; that he looked upon them as part of the inheritance he had been cheated of by his father, and that, indifferent as he was to money as a rule, he could not even speak of that three thousand without fury. As for the rivalry of the two "ladies," as the prosecutor expressed it--that is, of Grushenka and Katya--he answered evasively and was even unwilling to answer one or two questions altogether. "Did your brother tell you, anyway, that he intended to kill your father?" asked the prosecutor. "You can refuse to answer if you think necessary," he added. "He did not tell me so directly," answered Alyosha. "How so? Did he indirectly?" "He spoke to me once of his hatred for our father and his fear that at an extreme moment ... at a moment of fury, he might perhaps murder him." "And you believed him?" "I am afraid to say that I did. But I never doubted that some higher feeling would always save him at the fatal moment, as it has indeed saved him, for it was not he killed my father," Alyosha said firmly, in a loud voice that was heard throughout the court. The prosecutor started like a war-horse at the sound of a trumpet. "Let me assure you that I fully believe in the complete sincerity of your conviction and do not explain it by or identify it with your affection for your unhappy brother. Your peculiar view of the whole tragic episode is known to us already from the preliminary investigation. I won't attempt to conceal from you that it is highly individual and contradicts all the other evidence collected by the prosecution. And so I think it essential to press you to tell me what facts have led you to this conviction of your brother's innocence and of the guilt of another person against whom you gave evidence at the preliminary inquiry?" "I only answered the questions asked me at the preliminary inquiry," replied Alyosha, slowly and calmly. "I made no accusation against Smerdyakov of myself." "Yet you gave evidence against him?" "I was led to do so by my brother Dmitri's words. I was told what took place at his arrest and how he had pointed to Smerdyakov before I was examined. I believe absolutely that my brother is innocent, and if he didn't commit the murder, then--" "Then Smerdyakov? Why Smerdyakov? And why are you so completely persuaded of your brother's innocence?" "I cannot help believing my brother. I know he wouldn't lie to me. I saw from his face he wasn't lying." "Only from his face? Is that all the proof you have?" "I have no other proof." "And of Smerdyakov's guilt you have no proof whatever but your brother's word and the expression of his face?" "No, I have no other proof." The prosecutor dropped the examination at this point. The impression left by Alyosha's evidence on the public was most disappointing. There had been talk about Smerdyakov before the trial; some one had heard something, some one had pointed out something else, it was said that Alyosha had gathered together some extraordinary proofs of his brother's innocence and Smerdyakov's guilt, and after all there was nothing, no evidence except certain moral convictions so natural in a brother. But Fetyukovitch began his cross-examination. On his asking Alyosha when it was that the prisoner had told him of his hatred for his father and that he might kill him, and whether he had heard it, for instance, at their last meeting before the catastrophe, Alyosha started as he answered, as though only just recollecting and understanding something. "I remember one circumstance now which I'd quite forgotten myself. It wasn't clear to me at the time, but now--" And, obviously only now for the first time struck by an idea, he recounted eagerly how, at his last interview with Mitya that evening under the tree, on the road to the monastery, Mitya had struck himself on the breast, "the upper part of the breast," and had repeated several times that he had a means of regaining his honor, that that means was here, here on his breast. "I thought, when he struck himself on the breast, he meant that it was in his heart," Alyosha continued, "that he might find in his heart strength to save himself from some awful disgrace which was awaiting him and which he did not dare confess even to me. I must confess I did think at the time that he was speaking of our father, and that the disgrace he was shuddering at was the thought of going to our father and doing some violence to him. Yet it was just then that he pointed to something on his breast, so that I remember the idea struck me at the time that the heart is not on that part of the breast, but below, and that he struck himself much too high, just below the neck, and kept pointing to that place. My idea seemed silly to me at the time, but he was perhaps pointing then to that little bag in which he had fifteen hundred roubles!" "Just so," Mitya cried from his place. "That's right, Alyosha, it was the little bag I struck with my fist." Fetyukovitch flew to him in hot haste entreating him to keep quiet, and at the same instant pounced on Alyosha. Alyosha, carried away himself by his recollection, warmly expressed his theory that this disgrace was probably just that fifteen hundred roubles on him, which he might have returned to Katerina Ivanovna as half of what he owed her, but which he had yet determined not to repay her and to use for another purpose--namely, to enable him to elope with Grushenka, if she consented. "It is so, it must be so," exclaimed Alyosha, in sudden excitement. "My brother cried several times that half of the disgrace, half of it (he said _half_ several times) he could free himself from at once, but that he was so unhappy in his weakness of will that he wouldn't do it ... that he knew beforehand he was incapable of doing it!" "And you clearly, confidently remember that he struck himself just on this part of the breast?" Fetyukovitch asked eagerly. "Clearly and confidently, for I thought at the time, 'Why does he strike himself up there when the heart is lower down?' and the thought seemed stupid to me at the time ... I remember its seeming stupid ... it flashed through my mind. That's what brought it back to me just now. How could I have forgotten it till now? It was that little bag he meant when he said he had the means but wouldn't give back that fifteen hundred. And when he was arrested at Mokroe he cried out--I know, I was told it--that he considered it the most disgraceful act of his life that when he had the means of repaying Katerina Ivanovna half (half, note!) what he owed her, he yet could not bring himself to repay the money and preferred to remain a thief in her eyes rather than part with it. And what torture, what torture that debt has been to him!" Alyosha exclaimed in conclusion. The prosecutor, of course, intervened. He asked Alyosha to describe once more how it had all happened, and several times insisted on the question, "Had the prisoner seemed to point to anything? Perhaps he had simply struck himself with his fist on the breast?" "But it was not with his fist," cried Alyosha; "he pointed with his fingers and pointed here, very high up.... How could I have so completely forgotten it till this moment?" The President asked Mitya what he had to say to the last witness's evidence. Mitya confirmed it, saying that he had been pointing to the fifteen hundred roubles which were on his breast, just below the neck, and that that was, of course, the disgrace, "A disgrace I cannot deny, the most shameful act of my whole life," cried Mitya. "I might have repaid it and didn't repay it. I preferred to remain a thief in her eyes rather than give it back. And the most shameful part of it was that I knew beforehand I shouldn't give it back! You are right, Alyosha! Thanks, Alyosha!" So Alyosha's cross-examination ended. What was important and striking about it was that one fact at least had been found, and even though this were only one tiny bit of evidence, a mere hint at evidence, it did go some little way towards proving that the bag had existed and had contained fifteen hundred roubles and that the prisoner had not been lying at the preliminary inquiry when he alleged at Mokroe that those fifteen hundred roubles were "his own." Alyosha was glad. With a flushed face he moved away to the seat assigned to him. He kept repeating to himself: "How was it I forgot? How could I have forgotten it? And what made it come back to me now?" Katerina Ivanovna was called to the witness-box. As she entered something extraordinary happened in the court. The ladies clutched their lorgnettes and opera-glasses. There was a stir among the men: some stood up to get a better view. Everybody alleged afterwards that Mitya had turned "white as a sheet" on her entrance. All in black, she advanced modestly, almost timidly. It was impossible to tell from her face that she was agitated; but there was a resolute gleam in her dark and gloomy eyes. I may remark that many people mentioned that she looked particularly handsome at that moment. She spoke softly but clearly, so that she was heard all over the court. She expressed herself with composure, or at least tried to appear composed. The President began his examination discreetly and very respectfully, as though afraid to touch on "certain chords," and showing consideration for her great unhappiness. But in answer to one of the first questions Katerina Ivanovna replied firmly that she had been formerly betrothed to the prisoner, "until he left me of his own accord..." she added quietly. When they asked her about the three thousand she had entrusted to Mitya to post to her relations, she said firmly, "I didn't give him the money simply to send it off. I felt at the time that he was in great need of money.... I gave him the three thousand on the understanding that he should post it within the month if he cared to. There was no need for him to worry himself about that debt afterwards." I will not repeat all the questions asked her and all her answers in detail. I will only give the substance of her evidence. "I was firmly convinced that he would send off that sum as soon as he got money from his father," she went on. "I have never doubted his disinterestedness and his honesty ... his scrupulous honesty ... in money matters. He felt quite certain that he would receive the money from his father, and spoke to me several times about it. I knew he had a feud with his father and have always believed that he had been unfairly treated by his father. I don't remember any threat uttered by him against his father. He certainly never uttered any such threat before me. If he had come to me at that time, I should have at once relieved his anxiety about that unlucky three thousand roubles, but he had given up coming to see me ... and I myself was put in such a position ... that I could not invite him.... And I had no right, indeed, to be exacting as to that money," she added suddenly, and there was a ring of resolution in her voice. "I was once indebted to him for assistance in money for more than three thousand, and I took it, although I could not at that time foresee that I should ever be in a position to repay my debt." There was a note of defiance in her voice. It was then Fetyukovitch began his cross-examination. "Did that take place not here, but at the beginning of your acquaintance?" Fetyukovitch suggested cautiously, feeling his way, instantly scenting something favorable. I must mention in parenthesis that, though Fetyukovitch had been brought from Petersburg partly at the instance of Katerina Ivanovna herself, he knew nothing about the episode of the four thousand roubles given her by Mitya, and of her "bowing to the ground to him." She concealed this from him and said nothing about it, and that was strange. It may be pretty certainly assumed that she herself did not know till the very last minute whether she would speak of that episode in the court, and waited for the inspiration of the moment. No, I can never forget those moments. She began telling her story. She told everything, the whole episode that Mitya had told Alyosha, and her bowing to the ground, and her reason. She told about her father and her going to Mitya, and did not in one word, in a single hint, suggest that Mitya had himself, through her sister, proposed they should "send him Katerina Ivanovna" to fetch the money. She generously concealed that and was not ashamed to make it appear as though she had of her own impulse run to the young officer, relying on something ... to beg him for the money. It was something tremendous! I turned cold and trembled as I listened. The court was hushed, trying to catch each word. It was something unexampled. Even from such a self-willed and contemptuously proud girl as she was, such an extremely frank avowal, such sacrifice, such self-immolation, seemed incredible. And for what, for whom? To save the man who had deceived and insulted her and to help, in however small a degree, in saving him, by creating a strong impression in his favor. And, indeed, the figure of the young officer who, with a respectful bow to the innocent girl, handed her his last four thousand roubles--all he had in the world--was thrown into a very sympathetic and attractive light, but ... I had a painful misgiving at heart! I felt that calumny might come of it later (and it did, in fact, it did). It was repeated all over the town afterwards with spiteful laughter that the story was perhaps not quite complete--that is, in the statement that the officer had let the young lady depart "with nothing but a respectful bow." It was hinted that something was here omitted. "And even if nothing had been omitted, if this were the whole story," the most highly respected of our ladies maintained, "even then it's very doubtful whether it was creditable for a young girl to behave in that way, even for the sake of saving her father." And can Katerina Ivanovna, with her intelligence, her morbid sensitiveness, have failed to understand that people would talk like that? She must have understood it, yet she made up her mind to tell everything. Of course, all these nasty little suspicions as to the truth of her story only arose afterwards and at the first moment all were deeply impressed by it. As for the judges and the lawyers, they listened in reverent, almost shame-faced silence to Katerina Ivanovna. The prosecutor did not venture upon even one question on the subject. Fetyukovitch made a low bow to her. Oh, he was almost triumphant! Much ground had been gained. For a man to give his last four thousand on a generous impulse and then for the same man to murder his father for the sake of robbing him of three thousand--the idea seemed too incongruous. Fetyukovitch felt that now the charge of theft, at least, was as good as disproved. "The case" was thrown into quite a different light. There was a wave of sympathy for Mitya. As for him.... I was told that once or twice, while Katerina Ivanovna was giving her evidence, he jumped up from his seat, sank back again, and hid his face in his hands. But when she had finished, he suddenly cried in a sobbing voice: "Katya, why have you ruined me?" and his sobs were audible all over the court. But he instantly restrained himself, and cried again: "Now I am condemned!" Then he sat rigid in his place, with his teeth clenched and his arms across his chest. Katerina Ivanovna remained in the court and sat down in her place. She was pale and sat with her eyes cast down. Those who were sitting near her declared that for a long time she shivered all over as though in a fever. Grushenka was called. I am approaching the sudden catastrophe which was perhaps the final cause of Mitya's ruin. For I am convinced, so is every one--all the lawyers said the same afterwards--that if the episode had not occurred, the prisoner would at least have been recommended to mercy. But of that later. A few words first about Grushenka. She, too, was dressed entirely in black, with her magnificent black shawl on her shoulders. She walked to the witness-box with her smooth, noiseless tread, with the slightly swaying gait common in women of full figure. She looked steadily at the President, turning her eyes neither to the right nor to the left. To my thinking she looked very handsome at that moment, and not at all pale, as the ladies alleged afterwards. They declared, too, that she had a concentrated and spiteful expression. I believe that she was simply irritated and painfully conscious of the contemptuous and inquisitive eyes of our scandal-loving public. She was proud and could not stand contempt. She was one of those people who flare up, angry and eager to retaliate, at the mere suggestion of contempt. There was an element of timidity, too, of course, and inward shame at her own timidity, so it was not strange that her tone kept changing. At one moment it was angry, contemptuous and rough, and at another there was a sincere note of self- condemnation. Sometimes she spoke as though she were taking a desperate plunge; as though she felt, "I don't care what happens, I'll say it...." Apropos of her acquaintance with Fyodor Pavlovitch, she remarked curtly, "That's all nonsense, and was it my fault that he would pester me?" But a minute later she added, "It was all my fault. I was laughing at them both--at the old man and at him, too--and I brought both of them to this. It was all on account of me it happened." Samsonov's name came up somehow. "That's nobody's business," she snapped at once, with a sort of insolent defiance. "He was my benefactor; he took me when I hadn't a shoe to my foot, when my family had turned me out." The President reminded her, though very politely, that she must answer the questions directly, without going off into irrelevant details. Grushenka crimsoned and her eyes flashed. The envelope with the notes in it she had not seen, but had only heard from "that wicked wretch" that Fyodor Pavlovitch had an envelope with notes for three thousand in it. "But that was all foolishness. I was only laughing. I wouldn't have gone to him for anything." "To whom are you referring as 'that wicked wretch'?" inquired the prosecutor. "The lackey, Smerdyakov, who murdered his master and hanged himself last night." She was, of course, at once asked what ground she had for such a definite accusation; but it appeared that she, too, had no grounds for it. "Dmitri Fyodorovitch told me so himself; you can believe him. The woman who came between us has ruined him; she is the cause of it all, let me tell you," Grushenka added. She seemed to be quivering with hatred, and there was a vindictive note in her voice. She was again asked to whom she was referring. "The young lady, Katerina Ivanovna there. She sent for me, offered me chocolate, tried to fascinate me. There's not much true shame about her, I can tell you that...." At this point the President checked her sternly, begging her to moderate her language. But the jealous woman's heart was burning, and she did not care what she did. "When the prisoner was arrested at Mokroe," the prosecutor asked, "every one saw and heard you run out of the next room and cry out: 'It's all my fault. We'll go to Siberia together!' So you already believed him to have murdered his father?" "I don't remember what I felt at the time," answered Grushenka. "Every one was crying out that he had killed his father, and I felt that it was my fault, that it was on my account he had murdered him. But when he said he wasn't guilty, I believed him at once, and I believe him now and always shall believe him. He is not the man to tell a lie." Fetyukovitch began his cross-examination. I remember that among other things he asked about Rakitin and the twenty-five roubles "you paid him for bringing Alexey Fyodorovitch Karamazov to see you." "There was nothing strange about his taking the money," sneered Grushenka, with angry contempt. "He was always coming to me for money: he used to get thirty roubles a month at least out of me, chiefly for luxuries: he had enough to keep him without my help." "What led you to be so liberal to Mr. Rakitin?" Fetyukovitch asked, in spite of an uneasy movement on the part of the President. "Why, he is my cousin. His mother was my mother's sister. But he's always besought me not to tell any one here of it, he is so dreadfully ashamed of me." This fact was a complete surprise to every one; no one in the town nor in the monastery, not even Mitya, knew of it. I was told that Rakitin turned purple with shame where he sat. Grushenka had somehow heard before she came into the court that he had given evidence against Mitya, and so she was angry. The whole effect on the public, of Rakitin's speech, of his noble sentiments, of his attacks upon serfdom and the political disorder of Russia, was this time finally ruined. Fetyukovitch was satisfied: it was another godsend. Grushenka's cross-examination did not last long and, of course, there could be nothing particularly new in her evidence. She left a very disagreeable impression on the public; hundreds of contemptuous eyes were fixed upon her, as she finished giving her evidence and sat down again in the court, at a good distance from Katerina Ivanovna. Mitya was silent throughout her evidence. He sat as though turned to stone, with his eyes fixed on the ground. Ivan was called to give evidence. Chapter V. A Sudden Catastrophe I may note that he had been called before Alyosha. But the usher of the court announced to the President that, owing to an attack of illness or some sort of fit, the witness could not appear at the moment, but was ready to give his evidence as soon as he recovered. But no one seemed to have heard it and it only came out later. His entrance was for the first moment almost unnoticed. The principal witnesses, especially the two rival ladies, had already been questioned. Curiosity was satisfied for the time; the public was feeling almost fatigued. Several more witnesses were still to be heard, who probably had little information to give after all that had been given. Time was passing. Ivan walked up with extraordinary slowness, looking at no one, and with his head bowed, as though plunged in gloomy thought. He was irreproachably dressed, but his face made a painful impression, on me at least: there was an earthy look in it, a look like a dying man's. His eyes were lusterless; he raised them and looked slowly round the court. Alyosha jumped up from his seat and moaned "Ah!" I remember that, but it was hardly noticed. The President began by informing him that he was a witness not on oath, that he might answer or refuse to answer, but that, of course, he must bear witness according to his conscience, and so on, and so on. Ivan listened and looked at him blankly, but his face gradually relaxed into a smile, and as soon as the President, looking at him in astonishment, finished, he laughed outright. "Well, and what else?" he asked in a loud voice. There was a hush in the court; there was a feeling of something strange. The President showed signs of uneasiness. "You ... are perhaps still unwell?" he began, looking everywhere for the usher. "Don't trouble yourself, your excellency, I am well enough and can tell you something interesting," Ivan answered with sudden calmness and respectfulness. "You have some special communication to make?" the President went on, still mistrustfully. Ivan looked down, waited a few seconds and, raising his head, answered, almost stammering: "No ... I haven't. I have nothing particular." They began asking him questions. He answered, as it were, reluctantly, with extreme brevity, with a sort of disgust which grew more and more marked, though he answered rationally. To many questions he answered that he did not know. He knew nothing of his father's money relations with Dmitri. "I wasn't interested in the subject," he added. Threats to murder his father he had heard from the prisoner. Of the money in the envelope he had heard from Smerdyakov. "The same thing over and over again," he interrupted suddenly, with a look of weariness. "I have nothing particular to tell the court." "I see you are unwell and understand your feelings," the President began. He turned to the prosecutor and the counsel for the defense to invite them to examine the witness, if necessary, when Ivan suddenly asked in an exhausted voice: "Let me go, your excellency, I feel very ill." And with these words, without waiting for permission, he turned to walk out of the court. But after taking four steps he stood still, as though he had reached a decision, smiled slowly, and went back. "I am like the peasant girl, your excellency ... you know. How does it go? 'I'll stand up if I like, and I won't if I don't.' They were trying to put on her sarafan to take her to church to be married, and she said, 'I'll stand up if I like, and I won't if I don't.'... It's in some book about the peasantry." "What do you mean by that?" the President asked severely. "Why, this," Ivan suddenly pulled out a roll of notes. "Here's the money ... the notes that lay in that envelope" (he nodded towards the table on which lay the material evidence), "for the sake of which our father was murdered. Where shall I put them? Mr. Superintendent, take them." The usher of the court took the whole roll and handed it to the President. "How could this money have come into your possession if it is the same money?" the President asked wonderingly. "I got them from Smerdyakov, from the murderer, yesterday.... I was with him just before he hanged himself. It was he, not my brother, killed our father. He murdered him and I incited him to do it ... Who doesn't desire his father's death?" "Are you in your right mind?" broke involuntarily from the President. "I should think I am in my right mind ... in the same nasty mind as all of you ... as all these ... ugly faces." He turned suddenly to the audience. "My father has been murdered and they pretend they are horrified," he snarled, with furious contempt. "They keep up the sham with one another. Liars! They all desire the death of their fathers. One reptile devours another.... If there hadn't been a murder, they'd have been angry and gone home ill-humored. It's a spectacle they want! _Panem et circenses_. Though I am one to talk! Have you any water? Give me a drink for Christ's sake!" He suddenly clutched his head. The usher at once approached him. Alyosha jumped up and cried, "He is ill. Don't believe him: he has brain fever." Katerina Ivanovna rose impulsively from her seat and, rigid with horror, gazed at Ivan. Mitya stood up and greedily looked at his brother and listened to him with a wild, strange smile. "Don't disturb yourselves. I am not mad, I am only a murderer," Ivan began again. "You can't expect eloquence from a murderer," he added suddenly for some reason and laughed a queer laugh. The prosecutor bent over to the President in obvious dismay. The two other judges communicated in agitated whispers. Fetyukovitch pricked up his ears as he listened: the hall was hushed in expectation. The President seemed suddenly to recollect himself. "Witness, your words are incomprehensible and impossible here. Calm yourself, if you can, and tell your story ... if you really have something to tell. How can you confirm your statement ... if indeed you are not delirious?" "That's just it. I have no proof. That cur Smerdyakov won't send you proofs from the other world ... in an envelope. You think of nothing but envelopes--one is enough. I've no witnesses ... except one, perhaps," he smiled thoughtfully. "Who is your witness?" "He has a tail, your excellency, and that would be irregular! _Le diable n'existe point!_ Don't pay attention: he is a paltry, pitiful devil," he added suddenly. He ceased laughing and spoke as it were, confidentially. "He is here somewhere, no doubt--under that table with the material evidence on it, perhaps. Where should he sit if not there? You see, listen to me. I told him I don't want to keep quiet, and he talked about the geological cataclysm ... idiocy! Come, release the monster ... he's been singing a hymn. That's because his heart is light! It's like a drunken man in the street bawling how 'Vanka went to Petersburg,' and I would give a quadrillion quadrillions for two seconds of joy. You don't know me! Oh, how stupid all this business is! Come, take me instead of him! I didn't come for nothing.... Why, why is everything so stupid?..." And he began slowly, and as it were reflectively, looking round him again. But the court was all excitement by now. Alyosha rushed towards him, but the court usher had already seized Ivan by the arm. "What are you about?" he cried, staring into the man's face, and suddenly seizing him by the shoulders, he flung him violently to the floor. But the police were on the spot and he was seized. He screamed furiously. And all the time he was being removed, he yelled and screamed something incoherent. The whole court was thrown into confusion. I don't remember everything as it happened. I was excited myself and could not follow. I only know that afterwards, when everything was quiet again and every one understood what had happened, the court usher came in for a reprimand, though he very reasonably explained that the witness had been quite well, that the doctor had seen him an hour ago, when he had a slight attack of giddiness, but that, until he had come into the court, he had talked quite consecutively, so that nothing could have been foreseen--that he had, in fact, insisted on giving evidence. But before every one had completely regained their composure and recovered from this scene, it was followed by another. Katerina Ivanovna had an attack of hysterics. She sobbed, shrieking loudly, but refused to leave the court, struggled, and besought them not to remove her. Suddenly she cried to the President: "There is more evidence I must give at once ... at once! Here is a document, a letter ... take it, read it quickly, quickly! It's a letter from that monster ... that man there, there!" she pointed to Mitya. "It was he killed his father, you will see that directly. He wrote to me how he would kill his father! But the other one is ill, he is ill, he is delirious!" she kept crying out, beside herself. The court usher took the document she held out to the President, and she, dropping into her chair, hiding her face in her hands, began convulsively and noiselessly sobbing, shaking all over, and stifling every sound for fear she should be ejected from the court. The document she had handed up was that letter Mitya had written at the "Metropolis" tavern, which Ivan had spoken of as a "mathematical proof." Alas! its mathematical conclusiveness was recognized, and had it not been for that letter, Mitya might have escaped his doom or, at least, that doom would have been less terrible. It was, I repeat, difficult to notice every detail. What followed is still confused to my mind. The President must, I suppose, have at once passed on the document to the judges, the jury, and the lawyers on both sides. I only remember how they began examining the witness. On being gently asked by the President whether she had recovered sufficiently, Katerina Ivanovna exclaimed impetuously: "I am ready, I am ready! I am quite equal to answering you," she added, evidently still afraid that she would somehow be prevented from giving evidence. She was asked to explain in detail what this letter was and under what circumstances she received it. "I received it the day before the crime was committed, but he wrote it the day before that, at the tavern--that is, two days before he committed the crime. Look, it is written on some sort of bill!" she cried breathlessly. "He hated me at that time, because he had behaved contemptibly and was running after that creature ... and because he owed me that three thousand.... Oh! he was humiliated by that three thousand on account of his own meanness! This is how it happened about that three thousand. I beg you, I beseech you, to hear me. Three weeks before he murdered his father, he came to me one morning. I knew he was in want of money, and what he wanted it for. Yes, yes--to win that creature and carry her off. I knew then that he had been false to me and meant to abandon me, and it was I, I, who gave him that money, who offered it to him on the pretext of his sending it to my sister in Moscow. And as I gave it him, I looked him in the face and said that he could send it when he liked, 'in a month's time would do.' How, how could he have failed to understand that I was practically telling him to his face, 'You want money to be false to me with your creature, so here's the money for you. I give it to you myself. Take it, if you have so little honor as to take it!' I wanted to prove what he was, and what happened? He took it, he took it, and squandered it with that creature in one night.... But he knew, he knew that I knew all about it. I assure you he understood, too, that I gave him that money to test him, to see whether he was so lost to all sense of honor as to take it from me. I looked into his eyes and he looked into mine, and he understood it all and he took it--he carried off my money!" "That's true, Katya," Mitya roared suddenly, "I looked into your eyes and I knew that you were dishonoring me, and yet I took your money. Despise me as a scoundrel, despise me, all of you! I've deserved it!" "Prisoner," cried the President, "another word and I will order you to be removed." "That money was a torment to him," Katya went on with impulsive haste. "He wanted to repay it me. He wanted to, that's true; but he needed money for that creature, too. So he murdered his father, but he didn't repay me, and went off with her to that village where he was arrested. There, again, he squandered the money he had stolen after the murder of his father. And a day before the murder he wrote me this letter. He was drunk when he wrote it. I saw it at once, at the time. He wrote it from spite, and feeling certain, positively certain, that I should never show it to any one, even if he did kill him, or else he wouldn't have written it. For he knew I shouldn't want to revenge myself and ruin him! But read it, read it attentively--more attentively, please--and you will see that he had described it all in his letter, all beforehand, how he would kill his father and where his money was kept. Look, please, don't overlook that, there's one phrase there, 'I shall kill him as soon as Ivan has gone away.' So he thought it all out beforehand how he would kill him," Katerina Ivanovna pointed out to the court with venomous and malignant triumph. Oh! it was clear she had studied every line of that letter and detected every meaning underlining it. "If he hadn't been drunk, he wouldn't have written to me; but, look, everything is written there beforehand, just as he committed the murder after. A complete program of it!" she exclaimed frantically. She was reckless now of all consequences to herself, though, no doubt, she had foreseen them even a month ago, for even then, perhaps, shaking with anger, she had pondered whether to show it at the trial or not. Now she had taken the fatal plunge. I remember that the letter was read aloud by the clerk, directly afterwards, I believe. It made an overwhelming impression. They asked Mitya whether he admitted having written the letter. "It's mine, mine!" cried Mitya. "I shouldn't have written it, if I hadn't been drunk!... We've hated each other for many things, Katya, but I swear, I swear I loved you even while I hated you, and you didn't love me!" He sank back on his seat, wringing his hands in despair. The prosecutor and counsel for the defense began cross-examining her, chiefly to ascertain what had induced her to conceal such a document and to give her evidence in quite a different tone and spirit just before. "Yes, yes. I was telling lies just now. I was lying against my honor and my conscience, but I wanted to save him, for he has hated and despised me so!" Katya cried madly. "Oh, he has despised me horribly, he has always despised me, and do you know, he has despised me from the very moment that I bowed down to him for that money. I saw that.... I felt it at once at the time, but for a long time I wouldn't believe it. How often I have read it in his eyes, 'You came of yourself, though.' Oh, he didn't understand, he had no idea why I ran to him, he can suspect nothing but baseness, he judged me by himself, he thought every one was like himself!" Katya hissed furiously, in a perfect frenzy. "And he only wanted to marry me, because I'd inherited a fortune, because of that, because of that! I always suspected it was because of that! Oh, he is a brute! He was always convinced that I should be trembling with shame all my life before him, because I went to him then, and that he had a right to despise me for ever for it, and so to be superior to me--that's why he wanted to marry me! That's so, that's all so! I tried to conquer him by my love--a love that knew no bounds. I even tried to forgive his faithlessness; but he understood nothing, nothing! How could he understand indeed? He is a monster! I only received that letter the next evening: it was brought me from the tavern--and only that morning, only that morning I wanted to forgive him everything, everything--even his treachery!" The President and the prosecutor, of course, tried to calm her. I can't help thinking that they felt ashamed of taking advantage of her hysteria and of listening to such avowals. I remember hearing them say to her, "We understand how hard it is for you; be sure we are able to feel for you," and so on, and so on. And yet they dragged the evidence out of the raving, hysterical woman. She described at last with extraordinary clearness, which is so often seen, though only for a moment, in such over-wrought states, how Ivan had been nearly driven out of his mind during the last two months trying to save "the monster and murderer," his brother. "He tortured himself," she exclaimed, "he was always trying to minimize his brother's guilt and confessing to me that he, too, had never loved his father, and perhaps desired his death himself. Oh, he has a tender, over- tender conscience! He tormented himself with his conscience! He told me everything, everything! He came every day and talked to me as his only friend. I have the honor to be his only friend!" she cried suddenly with a sort of defiance, and her eyes flashed. "He had been twice to see Smerdyakov. One day he came to me and said, 'If it was not my brother, but Smerdyakov committed the murder' (for the legend was circulating everywhere that Smerdyakov had done it), 'perhaps I too am guilty, for Smerdyakov knew I didn't like my father and perhaps believed that I desired my father's death.' Then I brought out that letter and showed it him. He was entirely convinced that his brother had done it, and he was overwhelmed by it. He couldn't endure the thought that his own brother was a parricide! Only a week ago I saw that it was making him ill. During the last few days he has talked incoherently in my presence. I saw his mind was giving way. He walked about, raving; he was seen muttering in the streets. The doctor from Moscow, at my request, examined him the day before yesterday and told me that he was on the eve of brain fever--and all on his account, on account of this monster! And last night he learnt that Smerdyakov was dead! It was such a shock that it drove him out of his mind ... and all through this monster, all for the sake of saving the monster!" Oh, of course, such an outpouring, such an avowal is only possible once in a lifetime--at the hour of death, for instance, on the way to the scaffold! But it was in Katya's character, and it was such a moment in her life. It was the same impetuous Katya who had thrown herself on the mercy of a young profligate to save her father; the same Katya who had just before, in her pride and chastity, sacrificed herself and her maidenly modesty before all these people, telling of Mitya's generous conduct, in the hope of softening his fate a little. And now, again, she sacrificed herself; but this time it was for another, and perhaps only now--perhaps only at this moment--she felt and knew how dear that other was to her! She had sacrificed herself in terror for him, conceiving all of a sudden that he had ruined himself by his confession that it was he who had committed the murder, not his brother, she had sacrificed herself to save him, to save his good name, his reputation! And yet one terrible doubt occurred to one--was she lying in her description of her former relations with Mitya?--that was the question. No, she had not intentionally slandered him when she cried that Mitya despised her for her bowing down to him! She believed it herself. She had been firmly convinced, perhaps ever since that bow, that the simple-hearted Mitya, who even then adored her, was laughing at her and despising her. She had loved him with an hysterical, "lacerated" love only from pride, from wounded pride, and that love was not like love, but more like revenge. Oh! perhaps that lacerated love would have grown into real love, perhaps Katya longed for nothing more than that, but Mitya's faithlessness had wounded her to the bottom of her heart, and her heart could not forgive him. The moment of revenge had come upon her suddenly, and all that had been accumulating so long and so painfully in the offended woman's breast burst out all at once and unexpectedly. She betrayed Mitya, but she betrayed herself, too. And no sooner had she given full expression to her feelings than the tension of course was over and she was overwhelmed with shame. Hysterics began again: she fell on the floor, sobbing and screaming. She was carried out. At that moment Grushenka, with a wail, rushed towards Mitya before they had time to prevent her. "Mitya," she wailed, "your serpent has destroyed you! There, she has shown you what she is!" she shouted to the judges, shaking with anger. At a signal from the President they seized her and tried to remove her from the court. She wouldn't allow it. She fought and struggled to get back to Mitya. Mitya uttered a cry and struggled to get to her. He was overpowered. Yes, I think the ladies who came to see the spectacle must have been satisfied--the show had been a varied one. Then I remember the Moscow doctor appeared on the scene. I believe the President had previously sent the court usher to arrange for medical aid for Ivan. The doctor announced to the court that the sick man was suffering from a dangerous attack of brain fever, and that he must be at once removed. In answer to questions from the prosecutor and the counsel for the defense he said that the patient had come to him of his own accord the day before yesterday and that he had warned him that he had such an attack coming on, but he had not consented to be looked after. "He was certainly not in a normal state of mind: he told me himself that he saw visions when he was awake, that he met several persons in the street, who were dead, and that Satan visited him every evening," said the doctor, in conclusion. Having given his evidence, the celebrated doctor withdrew. The letter produced by Katerina Ivanovna was added to the material proofs. After some deliberation, the judges decided to proceed with the trial and to enter both the unexpected pieces of evidence (given by Ivan and Katerina Ivanovna) on the protocol. But I will not detail the evidence of the other witnesses, who only repeated and confirmed what had been said before, though all with their characteristic peculiarities. I repeat, all was brought together in the prosecutor's speech, which I shall quote immediately. Every one was excited, every one was electrified by the late catastrophe, and all were awaiting the speeches for the prosecution and the defense with intense impatience. Fetyukovitch was obviously shaken by Katerina Ivanovna's evidence. But the prosecutor was triumphant. When all the evidence had been taken, the court was adjourned for almost an hour. I believe it was just eight o'clock when the President returned to his seat and our prosecutor, Ippolit Kirillovitch, began his speech. Chapter VI. The Prosecutor's Speech. Sketches Of Character Ippolit Kirillovitch began his speech, trembling with nervousness, with cold sweat on his forehead, feeling hot and cold all over by turns. He described this himself afterwards. He regarded this speech as his _chef- d'oeuvre_, the _chef-d'oeuvre_ of his whole life, as his swan-song. He died, it is true, nine months later of rapid consumption, so that he had the right, as it turned out, to compare himself to a swan singing his last song. He had put his whole heart and all the brain he had into that speech. And poor Ippolit Kirillovitch unexpectedly revealed that at least some feeling for the public welfare and "the eternal question" lay concealed in him. Where his speech really excelled was in its sincerity. He genuinely believed in the prisoner's guilt; he was accusing him not as an official duty only, and in calling for vengeance he quivered with a genuine passion "for the security of society." Even the ladies in the audience, though they remained hostile to Ippolit Kirillovitch, admitted that he made an extraordinary impression on them. He began in a breaking voice, but it soon gained strength and filled the court to the end of his speech. But as soon as he had finished, he almost fainted. "Gentlemen of the jury," began the prosecutor, "this case has made a stir throughout Russia. But what is there to wonder at, what is there so peculiarly horrifying in it for us? We are so accustomed to such crimes! That's what's so horrible, that such dark deeds have ceased to horrify us. What ought to horrify us is that we are so accustomed to it, and not this or that isolated crime. What are the causes of our indifference, our lukewarm attitude to such deeds, to such signs of the times, ominous of an unenviable future? Is it our cynicism, is it the premature exhaustion of intellect and imagination in a society that is sinking into decay, in spite of its youth? Is it that our moral principles are shattered to their foundations, or is it, perhaps, a complete lack of such principles among us? I cannot answer such questions; nevertheless they are disturbing, and every citizen not only must, but ought to be harassed by them. Our newborn and still timid press has done good service to the public already, for without it we should never have heard of the horrors of unbridled violence and moral degradation which are continually made known by the press, not merely to those who attend the new jury courts established in the present reign, but to every one. And what do we read almost daily? Of things beside which the present case grows pale, and seems almost commonplace. But what is most important is that the majority of our national crimes of violence bear witness to a widespread evil, now so general among us that it is difficult to contend against it. "One day we see a brilliant young officer of high society, at the very outset of his career, in a cowardly underhand way, without a pang of conscience, murdering an official who had once been his benefactor, and the servant girl, to steal his own I.O.U. and what ready money he could find on him; 'it will come in handy for my pleasures in the fashionable world and for my career in the future.' After murdering them, he puts pillows under the head of each of his victims; he goes away. Next, a young hero 'decorated for bravery' kills the mother of his chief and benefactor, like a highwayman, and to urge his companions to join him he asserts that 'she loves him like a son, and so will follow all his directions and take no precautions.' Granted that he is a monster, yet I dare not say in these days that he is unique. Another man will not commit the murder, but will feel and think like him, and is as dishonorable in soul. In silence, alone with his conscience, he asks himself perhaps, 'What is honor, and isn't the condemnation of bloodshed a prejudice?' "Perhaps people will cry out against me that I am morbid, hysterical, that it is a monstrous slander, that I am exaggerating. Let them say so--and heavens! I should be the first to rejoice if it were so! Oh, don't believe me, think of me as morbid, but remember my words; if only a tenth, if only a twentieth part of what I say is true--even so it's awful! Look how our young people commit suicide, without asking themselves Hamlet's question what there is beyond, without a sign of such a question, as though all that relates to the soul and to what awaits us beyond the grave had long been erased in their minds and buried under the sands. Look at our vice, at our profligates. Fyodor Pavlovitch, the luckless victim in the present case, was almost an innocent babe compared with many of them. And yet we all knew him, 'he lived among us!'... "Yes, one day perhaps the leading intellects of Russia and of Europe will study the psychology of Russian crime, for the subject is worth it. But this study will come later, at leisure, when all the tragic topsy-turvydom of to-day is farther behind us, so that it's possible to examine it with more insight and more impartiality than I can do. Now we are either horrified or pretend to be horrified, though we really gloat over the spectacle, and love strong and eccentric sensations which tickle our cynical, pampered idleness. Or, like little children, we brush the dreadful ghosts away and hide our heads in the pillow so as to return to our sports and merriment as soon as they have vanished. But we must one day begin life in sober earnest, we must look at ourselves as a society; it's time we tried to grasp something of our social position, or at least to make a beginning in that direction. "A great writer(9) of the last epoch, comparing Russia to a swift troika galloping to an unknown goal, exclaims, 'Oh, troika, birdlike troika, who invented thee!' and adds, in proud ecstasy, that all the peoples of the world stand aside respectfully to make way for the recklessly galloping troika to pass. That may be, they may stand aside, respectfully or no, but in my poor opinion the great writer ended his book in this way either in an access of childish and naive optimism, or simply in fear of the censorship of the day. For if the troika were drawn by his heroes, Sobakevitch, Nozdryov, Tchitchikov, it could reach no rational goal, whoever might be driving it. And those were the heroes of an older generation, ours are worse specimens still...." At this point Ippolit Kirillovitch's speech was interrupted by applause. The liberal significance of this simile was appreciated. The applause was, it's true, of brief duration, so that the President did not think it necessary to caution the public, and only looked severely in the direction of the offenders. But Ippolit Kirillovitch was encouraged; he had never been applauded before! He had been all his life unable to get a hearing, and now he suddenly had an opportunity of securing the ear of all Russia. "What, after all, is this Karamazov family, which has gained such an unenviable notoriety throughout Russia?" he continued. "Perhaps I am exaggerating, but it seems to me that certain fundamental features of the educated class of to-day are reflected in this family picture--only, of course, in miniature, 'like the sun in a drop of water.' Think of that unhappy, vicious, unbridled old man, who has met with such a melancholy end, the head of a family! Beginning life of noble birth, but in a poor dependent position, through an unexpected marriage he came into a small fortune. A petty knave, a toady and buffoon, of fairly good, though undeveloped, intelligence, he was, above all, a moneylender, who grew bolder with growing prosperity. His abject and servile characteristics disappeared, his malicious and sarcastic cynicism was all that remained. On the spiritual side he was undeveloped, while his vitality was excessive. He saw nothing in life but sensual pleasure, and he brought his children up to be the same. He had no feelings for his duties as a father. He ridiculed those duties. He left his little children to the servants, and was glad to be rid of them, forgot about them completely. The old man's maxim was _Apres moi le deluge_. He was an example of everything that is opposed to civic duty, of the most complete and malignant individualism. 'The world may burn for aught I care, so long as I am all right,' and he was all right; he was content, he was eager to go on living in the same way for another twenty or thirty years. He swindled his own son and spent his money, his maternal inheritance, on trying to get his mistress from him. No, I don't intend to leave the prisoner's defense altogether to my talented colleague from Petersburg. I will speak the truth myself, I can well understand what resentment he had heaped up in his son's heart against him. "But enough, enough of that unhappy old man; he has paid the penalty. Let us remember, however, that he was a father, and one of the typical fathers of to-day. Am I unjust, indeed, in saying that he is typical of many modern fathers? Alas! many of them only differ in not openly professing such cynicism, for they are better educated, more cultured, but their philosophy is essentially the same as his. Perhaps I am a pessimist, but you have agreed to forgive me. Let us agree beforehand, you need not believe me, but let me speak. Let me say what I have to say, and remember something of my words. "Now for the children of this father, this head of a family. One of them is the prisoner before us, all the rest of my speech will deal with him. Of the other two I will speak only cursorily. "The elder is one of those modern young men of brilliant education and vigorous intellect, who has lost all faith in everything. He has denied and rejected much already, like his father. We have all heard him, he was a welcome guest in local society. He never concealed his opinions, quite the contrary in fact, which justifies me in speaking rather openly of him now, of course, not as an individual, but as a member of the Karamazov family. Another personage closely connected with the case died here by his own hand last night. I mean an afflicted idiot, formerly the servant, and possibly the illegitimate son, of Fyodor Pavlovitch, Smerdyakov. At the preliminary inquiry, he told me with hysterical tears how the young Ivan Karamazov had horrified him by his spiritual audacity. 'Everything in the world is lawful according to him, and nothing must be forbidden in the future--that is what he always taught me.' I believe that idiot was driven out of his mind by this theory, though, of course, the epileptic attacks from which he suffered, and this terrible catastrophe, have helped to unhinge his faculties. But he dropped one very interesting observation, which would have done credit to a more intelligent observer, and that is, indeed, why I've mentioned it: 'If there is one of the sons that is like Fyodor Pavlovitch in character, it is Ivan Fyodorovitch.' "With that remark I conclude my sketch of his character, feeling it indelicate to continue further. Oh, I don't want to draw any further conclusions and croak like a raven over the young man's future. We've seen to-day in this court that there are still good impulses in his young heart, that family feeling has not been destroyed in him by lack of faith and cynicism, which have come to him rather by inheritance than by the exercise of independent thought. "Then the third son. Oh, he is a devout and modest youth, who does not share his elder brother's gloomy and destructive theory of life. He has sought to cling to the 'ideas of the people,' or to what goes by that name in some circles of our intellectual classes. He clung to the monastery, and was within an ace of becoming a monk. He seems to me to have betrayed unconsciously, and so early, that timid despair which leads so many in our unhappy society, who dread cynicism and its corrupting influences, and mistakenly attribute all the mischief to European enlightenment, to return to their 'native soil,' as they say, to the bosom, so to speak, of their mother earth, like frightened children, yearning to fall asleep on the withered bosom of their decrepit mother, and to sleep there for ever, only to escape the horrors that terrify them. "For my part I wish the excellent and gifted young man every success; I trust that his youthful idealism and impulse towards the ideas of the people may never degenerate, as often happens, on the moral side into gloomy mysticism, and on the political into blind chauvinism--two elements which are even a greater menace to Russia than the premature decay, due to misunderstanding and gratuitous adoption of European ideas, from which his elder brother is suffering." Two or three people clapped their hands at the mention of chauvinism and mysticism. Ippolit Kirillovitch had been, indeed, carried away by his own eloquence. All this had little to do with the case in hand, to say nothing of the fact of its being somewhat vague, but the sickly and consumptive man was overcome by the desire to express himself once in his life. People said afterwards that he was actuated by unworthy motives in his criticism of Ivan, because the latter had on one or two occasions got the better of him in argument, and Ippolit Kirillovitch, remembering it, tried now to take his revenge. But I don't know whether it was true. All this was only introductory, however, and the speech passed to more direct consideration of the case. "But to return to the eldest son," Ippolit Kirillovitch went on. "He is the prisoner before us. We have his life and his actions, too, before us; the fatal day has come and all has been brought to the surface. While his brothers seem to stand for 'Europeanism' and 'the principles of the people,' he seems to represent Russia as she is. Oh, not all Russia, not all! God preserve us, if it were! Yet, here we have her, our mother Russia, the very scent and sound of her. Oh, he is spontaneous, he is a marvelous mingling of good and evil, he is a lover of culture and Schiller, yet he brawls in taverns and plucks out the beards of his boon companions. Oh, he, too, can be good and noble, but only when all goes well with him. What is more, he can be carried off his feet, positively carried off his feet by noble ideals, but only if they come of themselves, if they fall from heaven for him, if they need not be paid for. He dislikes paying for anything, but is very fond of receiving, and that's so with him in everything. Oh, give him every possible good in life (he couldn't be content with less), and put no obstacle in his way, and he will show that he, too, can be noble. He is not greedy, no, but he must have money, a great deal of money, and you will see how generously, with what scorn of filthy lucre, he will fling it all away in the reckless dissipation of one night. But if he has not money, he will show what he is ready to do to get it when he is in great need of it. But all this later, let us take events in their chronological order. "First, we have before us a poor abandoned child, running about the back- yard 'without boots on his feet,' as our worthy and esteemed fellow citizen, of foreign origin, alas! expressed it just now. I repeat it again, I yield to no one the defense of the criminal. I am here to accuse him, but to defend him also. Yes, I, too, am human; I, too, can weigh the influence of home and childhood on the character. But the boy grows up and becomes an officer; for a duel and other reckless conduct he is exiled to one of the remote frontier towns of Russia. There he led a wild life as an officer. And, of course, he needed money, money before all things, and so after prolonged disputes he came to a settlement with his father, and the last six thousand was sent him. A letter is in existence in which he practically gives up his claim to the rest and settles his conflict with his father over the inheritance on the payment of this six thousand. "Then came his meeting with a young girl of lofty character and brilliant education. Oh, I do not venture to repeat the details; you have only just heard them. Honor, self-sacrifice were shown there, and I will be silent. The figure of the young officer, frivolous and profligate, doing homage to true nobility and a lofty ideal, was shown in a very sympathetic light before us. But the other side of the medal was unexpectedly turned to us immediately after in this very court. Again I will not venture to conjecture why it happened so, but there were causes. The same lady, bathed in tears of long-concealed indignation, alleged that he, he of all men, had despised her for her action, which, though incautious, reckless perhaps, was still dictated by lofty and generous motives. He, he, the girl's betrothed, looked at her with that smile of mockery, which was more insufferable from him than from any one. And knowing that he had already deceived her (he had deceived her, believing that she was bound to endure everything from him, even treachery), she intentionally offered him three thousand roubles, and clearly, too clearly, let him understand that she was offering him money to deceive her. 'Well, will you take it or not, are you so lost to shame?' was the dumb question in her scrutinizing eyes. He looked at her, saw clearly what was in her mind (he's admitted here before you that he understood it all), appropriated that three thousand unconditionally, and squandered it in two days with the new object of his affections. "What are we to believe then? The first legend of the young officer sacrificing his last farthing in a noble impulse of generosity and doing reverence to virtue, or this other revolting picture? As a rule, between two extremes one has to find the mean, but in the present case this is not true. The probability is that in the first case he was genuinely noble, and in the second as genuinely base. And why? Because he was of the broad Karamazov character--that's just what I am leading up to--capable of combining the most incongruous contradictions, and capable of the greatest heights and of the greatest depths. Remember the brilliant remark made by a young observer who has seen the Karamazov family at close quarters--Mr. Rakitin: 'The sense of their own degradation is as essential to those reckless, unbridled natures as the sense of their lofty generosity.' And that's true, they need continually this unnatural mixture. Two extremes at the same moment, or they are miserable and dissatisfied and their existence is incomplete. They are wide, wide as mother Russia; they include everything and put up with everything. "By the way, gentlemen of the jury, we've just touched upon that three thousand roubles, and I will venture to anticipate things a little. Can you conceive that a man like that, on receiving that sum and in such a way, at the price of such shame, such disgrace, such utter degradation, could have been capable that very day of setting apart half that sum, that very day, and sewing it up in a little bag, and would have had the firmness of character to carry it about with him for a whole month afterwards, in spite of every temptation and his extreme need of it! Neither in drunken debauchery in taverns, nor when he was flying into the country, trying to get from God knows whom, the money so essential to him to remove the object of his affections from being tempted by his father, did he bring himself to touch that little bag! Why, if only to avoid abandoning his mistress to the rival of whom he was so jealous, he would have been certain to have opened that bag and to have stayed at home to keep watch over her, and to await the moment when she would say to him at last 'I am yours,' and to fly with her far from their fatal surroundings. "But no, he did not touch his talisman, and what is the reason he gives for it? The chief reason, as I have just said, was that when she would say, 'I am yours, take me where you will,' he might have the wherewithal to take her. But that first reason, in the prisoner's own words, was of little weight beside the second. While I have that money on me, he said, I am a scoundrel, not a thief, for I can always go to my insulted betrothed, and, laying down half the sum I have fraudulently appropriated, I can always say to her, 'You see, I've squandered half your money, and shown I am a weak and immoral man, and, if you like, a scoundrel' (I use the prisoner's own expressions), 'but though I am a scoundrel, I am not a thief, for if I had been a thief, I shouldn't have brought you back this half of the money, but should have taken it as I did the other half!' A marvelous explanation! This frantic, but weak man, who could not resist the temptation of accepting the three thousand roubles at the price of such disgrace, this very man suddenly develops the most stoical firmness, and carries about a thousand roubles without daring to touch it. Does that fit in at all with the character we have analyzed? No, and I venture to tell you how the real Dmitri Karamazov would have behaved in such circumstances, if he really had brought himself to put away the money. "At the first temptation--for instance, to entertain the woman with whom he had already squandered half the money--he would have unpicked his little bag and have taken out some hundred roubles, for why should he have taken back precisely half the money, that is, fifteen hundred roubles? why not fourteen hundred? He could just as well have said then that he was not a thief, because he brought back fourteen hundred roubles. Then another time he would have unpicked it again and taken out another hundred, and then a third, and then a fourth, and before the end of the month he would have taken the last note but one, feeling that if he took back only a hundred it would answer the purpose, for a thief would have stolen it all. And then he would have looked at this last note, and have said to himself, 'It's really not worth while to give back one hundred; let's spend that, too!' That's how the real Dmitri Karamazov, as we know him, would have behaved. One cannot imagine anything more incongruous with the actual fact than this legend of the little bag. Nothing could be more inconceivable. But we shall return to that later." After touching upon what had come out in the proceedings concerning the financial relations of father and son, and arguing again and again that it was utterly impossible, from the facts known, to determine which was in the wrong, Ippolit Kirillovitch passed to the evidence of the medical experts in reference to Mitya's fixed idea about the three thousand owing him. Chapter VII. An Historical Survey "The medical experts have striven to convince us that the prisoner is out of his mind and, in fact, a maniac. I maintain that he is in his right mind, and that if he had not been, he would have behaved more cleverly. As for his being a maniac, that I would agree with, but only in one point, that is, his fixed idea about the three thousand. Yet I think one might find a much simpler cause than his tendency to insanity. For my part I agree thoroughly with the young doctor who maintained that the prisoner's mental faculties have always been normal, and that he has only been irritable and exasperated. The object of the prisoner's continual and violent anger was not the sum itself; there was a special motive at the bottom of it. That motive is jealousy!" Here Ippolit Kirillovitch described at length the prisoner's fatal passion for Grushenka. He began from the moment when the prisoner went to the "young person's" lodgings "to beat her"--"I use his own expression," the prosecutor explained--"but instead of beating her, he remained there, at her feet. That was the beginning of the passion. At the same time the prisoner's father was captivated by the same young person--a strange and fatal coincidence, for they both lost their hearts to her simultaneously, though both had known her before. And she inspired in both of them the most violent, characteristically Karamazov passion. We have her own confession: 'I was laughing at both of them.' Yes, the sudden desire to make a jest of them came over her, and she conquered both of them at once. The old man, who worshiped money, at once set aside three thousand roubles as a reward for one visit from her, but soon after that, he would have been happy to lay his property and his name at her feet, if only she would become his lawful wife. We have good evidence of this. As for the prisoner, the tragedy of his fate is evident; it is before us. But such was the young person's 'game.' The enchantress gave the unhappy young man no hope until the last moment, when he knelt before her, stretching out hands that were already stained with the blood of his father and rival. It was in that position that he was arrested. 'Send me to Siberia with him, I have brought him to this, I am most to blame,' the woman herself cried, in genuine remorse at the moment of his arrest. "The talented young man, to whom I have referred already, Mr. Rakitin, characterized this heroine in brief and impressive terms: 'She was disillusioned early in life, deceived and ruined by a betrothed, who seduced and abandoned her. She was left in poverty, cursed by her respectable family, and taken under the protection of a wealthy old man, whom she still, however, considers as her benefactor. There was perhaps much that was good in her young heart, but it was embittered too early. She became prudent and saved money. She grew sarcastic and resentful against society.' After this sketch of her character it may well be understood that she might laugh at both of them simply from mischief, from malice. "After a month of hopeless love and moral degradation, during which he betrayed his betrothed and appropriated money entrusted to his honor, the prisoner was driven almost to frenzy, almost to madness by continual jealousy--and of whom? His father! And the worst of it was that the crazy old man was alluring and enticing the object of his affection by means of that very three thousand roubles, which the son looked upon as his own property, part of his inheritance from his mother, of which his father was cheating him. Yes, I admit it was hard to bear! It might well drive a man to madness. It was not the money, but the fact that this money was used with such revolting cynicism to ruin his happiness!" Then the prosecutor went on to describe how the idea of murdering his father had entered the prisoner's head, and illustrated his theory with facts. "At first he only talked about it in taverns--he was talking about it all that month. Ah, he likes being always surrounded with company, and he likes to tell his companions everything, even his most diabolical and dangerous ideas; he likes to share every thought with others, and expects, for some reason, that those he confides in will meet him with perfect sympathy, enter into all his troubles and anxieties, take his part and not oppose him in anything. If not, he flies into a rage and smashes up everything in the tavern. [Then followed the anecdote about Captain Snegiryov.] Those who heard the prisoner began to think at last that he might mean more than threats, and that such a frenzy might turn threats into actions." Here the prosecutor described the meeting of the family at the monastery, the conversations with Alyosha, and the horrible scene of violence when the prisoner had rushed into his father's house just after dinner. "I cannot positively assert," the prosecutor continued, "that the prisoner fully intended to murder his father before that incident. Yet the idea had several times presented itself to him, and he had deliberated on it--for that we have facts, witnesses, and his own words. I confess, gentlemen of the jury," he added, "that till to-day I have been uncertain whether to attribute to the prisoner conscious premeditation. I was firmly convinced that he had pictured the fatal moment beforehand, but had only pictured it, contemplating it as a possibility. He had not definitely considered when and how he might commit the crime. "But I was only uncertain till to-day, till that fatal document was presented to the court just now. You yourselves heard that young lady's exclamation, 'It is the plan, the program of the murder!' That is how she defined that miserable, drunken letter of the unhappy prisoner. And, in fact, from that letter we see that the whole fact of the murder was premeditated. It was written two days before, and so we know now for a fact that, forty-eight hours before the perpetration of his terrible design, the prisoner swore that, if he could not get money next day, he would murder his father in order to take the envelope with the notes from under his pillow, as soon as Ivan had left. 'As soon as Ivan had gone away'--you hear that; so he had thought everything out, weighing every circumstance, and he carried it all out just as he had written it. The proof of premeditation is conclusive; the crime must have been committed for the sake of the money, that is stated clearly, that is written and signed. The prisoner does not deny his signature. "I shall be told he was drunk when he wrote it. But that does not diminish the value of the letter, quite the contrary; he wrote when drunk what he had planned when sober. Had he not planned it when sober, he would not have written it when drunk. I shall be asked: Then why did he talk about it in taverns? A man who premeditates such a crime is silent and keeps it to himself. Yes, but he talked about it before he had formed a plan, when he had only the desire, only the impulse to it. Afterwards he talked less about it. On the evening he wrote that letter at the 'Metropolis' tavern, contrary to his custom he was silent, though he had been drinking. He did not play billiards, he sat in a corner, talked to no one. He did indeed turn a shopman out of his seat, but that was done almost unconsciously, because he could never enter a tavern without making a disturbance. It is true that after he had taken the final decision, he must have felt apprehensive that he had talked too much about his design beforehand, and that this might lead to his arrest and prosecution afterwards. But there was nothing for it; he could not take his words back, but his luck had served him before, it would serve him again. He believed in his star, you know! I must confess, too, that he did a great deal to avoid the fatal catastrophe. 'To-morrow I shall try and borrow the money from every one,' as he writes in his peculiar language, 'and if they won't give it to me, there will be bloodshed.' " Here Ippolit Kirillovitch passed to a detailed description of all Mitya's efforts to borrow the money. He described his visit to Samsonov, his journey to Lyagavy. "Harassed, jeered at, hungry, after selling his watch to pay for the journey (though he tells us he had fifteen hundred roubles on him--a likely story), tortured by jealousy at having left the object of his affections in the town, suspecting that she would go to Fyodor Pavlovitch in his absence, he returned at last to the town, to find, to his joy, that she had not been near his father. He accompanied her himself to her protector. (Strange to say, he doesn't seem to have been jealous of Samsonov, which is psychologically interesting.) Then he hastens back to his ambush in the back gardens, and there learns that Smerdyakov is in a fit, that the other servant is ill--the coast is clear and he knows the 'signals'--what a temptation! Still he resists it; he goes off to a lady who has for some time been residing in the town, and who is highly esteemed among us, Madame Hohlakov. That lady, who had long watched his career with compassion, gave him the most judicious advice, to give up his dissipated life, his unseemly love-affair, the waste of his youth and vigor in pot-house debauchery, and to set off to Siberia to the gold- mines: 'that would be an outlet for your turbulent energies, your romantic character, your thirst for adventure.' " After describing the result of this conversation and the moment when the prisoner learnt that Grushenka had not remained at Samsonov's, the sudden frenzy of the luckless man worn out with jealousy and nervous exhaustion, at the thought that she had deceived him and was now with his father, Ippolit Kirillovitch concluded by dwelling upon the fatal influence of chance. "Had the maid told him that her mistress was at Mokroe with her former lover, nothing would have happened. But she lost her head, she could only swear and protest her ignorance, and if the prisoner did not kill her on the spot, it was only because he flew in pursuit of his false mistress. "But note, frantic as he was, he took with him a brass pestle. Why that? Why not some other weapon? But since he had been contemplating his plan and preparing himself for it for a whole month, he would snatch up anything like a weapon that caught his eye. He had realized for a month past that any object of the kind would serve as a weapon, so he instantly, without hesitation, recognized that it would serve his purpose. So it was by no means unconsciously, by no means involuntarily, that he snatched up that fatal pestle. And then we find him in his father's garden--the coast is clear, there are no witnesses, darkness and jealousy. The suspicion that she was there, with him, with his rival, in his arms, and perhaps laughing at him at that moment--took his breath away. And it was not mere suspicion, the deception was open, obvious. She must be there, in that lighted room, she must be behind the screen; and the unhappy man would have us believe that he stole up to the window, peeped respectfully in, and discreetly withdrew, for fear something terrible and immoral should happen. And he tries to persuade us of that, us, who understand his character, who know his state of mind at the moment, and that he knew the signals by which he could at once enter the house." At this point Ippolit Kirillovitch broke off to discuss exhaustively the suspected connection of Smerdyakov with the murder. He did this very circumstantially, and every one realized that, although he professed to despise that suspicion, he thought the subject of great importance. Chapter VIII. A Treatise On Smerdyakov "To begin with, what was the source of this suspicion?" (Ippolit Kirillovitch began.) "The first person who cried out that Smerdyakov had committed the murder was the prisoner himself at the moment of his arrest, yet from that time to this he had not brought forward a single fact to confirm the charge, nor the faintest suggestion of a fact. The charge is confirmed by three persons only--the two brothers of the prisoner and Madame Svyetlov. The elder of these brothers expressed his suspicions only to-day, when he was undoubtedly suffering from brain fever. But we know that for the last two months he has completely shared our conviction of his brother's guilt and did not attempt to combat that idea. But of that later. The younger brother has admitted that he has not the slightest fact to support his notion of Smerdyakov's guilt, and has only been led to that conclusion from the prisoner's own words and the expression of his face. Yes, that astounding piece of evidence has been brought forward twice to- day by him. Madame Svyetlov was even more astounding. 'What the prisoner tells you, you must believe; he is not a man to tell a lie.' That is all the evidence against Smerdyakov produced by these three persons, who are all deeply concerned in the prisoner's fate. And yet the theory of Smerdyakov's guilt has been noised about, has been and is still maintained. Is it credible? Is it conceivable?" Here Ippolit Kirillovitch thought it necessary to describe the personality of Smerdyakov, "who had cut short his life in a fit of insanity." He depicted him as a man of weak intellect, with a smattering of education, who had been thrown off his balance by philosophical ideas above his level and certain modern theories of duty, which he learnt in practice from the reckless life of his master, who was also perhaps his father--Fyodor Pavlovitch; and, theoretically, from various strange philosophical conversations with his master's elder son, Ivan Fyodorovitch, who readily indulged in this diversion, probably feeling dull or wishing to amuse himself at the valet's expense. "He spoke to me himself of his spiritual condition during the last few days at his father's house," Ippolit Kirillovitch explained; "but others too have borne witness to it--the prisoner himself, his brother, and the servant Grigory--that is, all who knew him well. "Moreover, Smerdyakov, whose health was shaken by his attacks of epilepsy, had not the courage of a chicken. 'He fell at my feet and kissed them,' the prisoner himself has told us, before he realized how damaging such a statement was to himself. 'He is an epileptic chicken,' he declared about him in his characteristic language. And the prisoner chose him for his confidant (we have his own word for it) and he frightened him into consenting at last to act as a spy for him. In that capacity he deceived his master, revealing to the prisoner the existence of the envelope with the notes in it and the signals by means of which he could get into the house. How could he help telling him, indeed? 'He would have killed me, I could see that he would have killed me,' he said at the inquiry, trembling and shaking even before us, though his tormentor was by that time arrested and could do him no harm. 'He suspected me at every instant. In fear and trembling I hastened to tell him every secret to pacify him, that he might see that I had not deceived him and let me off alive.' Those are his own words. I wrote them down and I remember them. 'When he began shouting at me, I would fall on my knees.' "He was naturally very honest and enjoyed the complete confidence of his master, ever since he had restored him some money he had lost. So it may be supposed that the poor fellow suffered pangs of remorse at having deceived his master, whom he loved as his benefactor. Persons severely afflicted with epilepsy are, so the most skillful doctors tell us, always prone to continual and morbid self-reproach. They worry over their 'wickedness,' they are tormented by pangs of conscience, often entirely without cause; they exaggerate and often invent all sorts of faults and crimes. And here we have a man of that type who had really been driven to wrong-doing by terror and intimidation. "He had, besides, a strong presentiment that something terrible would be the outcome of the situation that was developing before his eyes. When Ivan Fyodorovitch was leaving for Moscow, just before the catastrophe, Smerdyakov besought him to remain, though he was too timid to tell him plainly what he feared. He confined himself to hints, but his hints were not understood. "It must be observed that he looked on Ivan Fyodorovitch as a protector, whose presence in the house was a guarantee that no harm would come to pass. Remember the phrase in Dmitri Karamazov's drunken letter, 'I shall kill the old man, if only Ivan goes away.' So Ivan Fyodorovitch's presence seemed to every one a guarantee of peace and order in the house. "But he went away, and within an hour of his young master's departure Smerdyakov was taken with an epileptic fit. But that's perfectly intelligible. Here I must mention that Smerdyakov, oppressed by terror and despair of a sort, had felt during those last few days that one of the fits from which he had suffered before at moments of strain, might be coming upon him again. The day and hour of such an attack cannot, of course, be foreseen, but every epileptic can feel beforehand that he is likely to have one. So the doctors tell us. And so, as soon as Ivan Fyodorovitch had driven out of the yard, Smerdyakov, depressed by his lonely and unprotected position, went to the cellar. He went down the stairs wondering if he would have a fit or not, and what if it were to come upon him at once. And that very apprehension, that very wonder, brought on the spasm in his throat that always precedes such attacks, and he fell unconscious into the cellar. And in this perfectly natural occurrence people try to detect a suspicion, a hint that he was shamming an attack _on purpose_. But, if it were on purpose, the question arises at once, what was his motive? What was he reckoning on? What was he aiming at? I say nothing about medicine: science, I am told, may go astray: the doctors were not able to discriminate between the counterfeit and the real. That may be so, but answer me one question: what motive had he for such a counterfeit? Could he, had he been plotting the murder, have desired to attract the attention of the household by having a fit just before? "You see, gentlemen of the jury, on the night of the murder, there were five persons in Fyodor Pavlovitch's--Fyodor Pavlovitch himself (but he did not kill himself, that's evident); then his servant, Grigory, but he was almost killed himself; the third person was Grigory's wife, Marfa Ignatyevna, but it would be simply shameful to imagine her murdering her master. Two persons are left--the prisoner and Smerdyakov. But, if we are to believe the prisoner's statement that he is not the murderer, then Smerdyakov must have been, for there is no other alternative, no one else can be found. That is what accounts for the artful, astounding accusation against the unhappy idiot who committed suicide yesterday. Had a shadow of suspicion rested on any one else, had there been any sixth person, I am persuaded that even the prisoner would have been ashamed to accuse Smerdyakov, and would have accused that sixth person, for to charge Smerdyakov with that murder is perfectly absurd. "Gentlemen, let us lay aside psychology, let us lay aside medicine, let us even lay aside logic, let us turn only to the facts and see what the facts tell us. If Smerdyakov killed him, how did he do it? Alone or with the assistance of the prisoner? Let us consider the first alternative--that he did it alone. If he had killed him it must have been with some object, for some advantage to himself. But not having a shadow of the motive that the prisoner had for the murder--hatred, jealousy, and so on--Smerdyakov could only have murdered him for the sake of gain, in order to appropriate the three thousand roubles he had seen his master put in the envelope. And yet he tells another person--and a person most closely interested, that is, the prisoner--everything about the money and the signals, where the envelope lay, what was written on it, what it was tied up with, and, above all, told him of those signals by which he could enter the house. Did he do this simply to betray himself, or to invite to the same enterprise one who would be anxious to get that envelope for himself? 'Yes,' I shall be told, 'but he betrayed it from fear.' But how do you explain this? A man who could conceive such an audacious, savage act, and carry it out, tells facts which are known to no one else in the world, and which, if he held his tongue, no one would ever have guessed! "No, however cowardly he might be, if he had plotted such a crime, nothing would have induced him to tell any one about the envelope and the signals, for that was as good as betraying himself beforehand. He would have invented something, he would have told some lie if he had been forced to give information, but he would have been silent about that. For, on the other hand, if he had said nothing about the money, but had committed the murder and stolen the money, no one in the world could have charged him with murder for the sake of robbery, since no one but he had seen the money, no one but he knew of its existence in the house. Even if he had been accused of the murder, it could only have been thought that he had committed it from some other motive. But since no one had observed any such motive in him beforehand, and every one saw, on the contrary, that his master was fond of him and honored him with his confidence, he would, of course, have been the last to be suspected. People would have suspected first the man who had a motive, a man who had himself declared he had such motives, who had made no secret of it; they would, in fact, have suspected the son of the murdered man, Dmitri Fyodorovitch. Had Smerdyakov killed and robbed him, and the son been accused of it, that would, of course, have suited Smerdyakov. Yet are we to believe that, though plotting the murder, he told that son, Dmitri, about the money, the envelope, and the signals? Is that logical? Is that clear? "When the day of the murder planned by Smerdyakov came, we have him falling downstairs in a _feigned_ fit--with what object? In the first place that Grigory, who had been intending to take his medicine, might put it off and remain on guard, seeing there was no one to look after the house, and, in the second place, I suppose, that his master seeing that there was no one to guard him, and in terror of a visit from his son, might redouble his vigilance and precaution. And, most of all, I suppose that he, Smerdyakov, disabled by the fit, might be carried from the kitchen, where he always slept, apart from all the rest, and where he could go in and out as he liked, to Grigory's room at the other end of the lodge, where he was always put, shut off by a screen three paces from their own bed. This was the immemorial custom established by his master and the kind-hearted Marfa Ignatyevna, whenever he had a fit. There, lying behind the screen, he would most likely, to keep up the sham, have begun groaning, and so keeping them awake all night (as Grigory and his wife testified). And all this, we are to believe, that he might more conveniently get up and murder his master! "But I shall be told that he shammed illness on purpose that he might not be suspected and that he told the prisoner of the money and the signals to tempt him to commit the murder, and when he had murdered him and had gone away with the money, making a noise, most likely, and waking people, Smerdyakov got up, am I to believe, and went in--what for? To murder his master a second time and carry off the money that had already been stolen? Gentlemen, are you laughing? I am ashamed to put forward such suggestions, but, incredible as it seems, that's just what the prisoner alleges. When he had left the house, had knocked Grigory down and raised an alarm, he tells us Smerdyakov got up, went in and murdered his master and stole the money! I won't press the point that Smerdyakov could hardly have reckoned on this beforehand, and have foreseen that the furious and exasperated son would simply come to peep in respectfully, though he knew the signals, and beat a retreat, leaving Smerdyakov his booty. Gentlemen of the jury, I put this question to you in earnest; when was the moment when Smerdyakov could have committed his crime? Name that moment, or you can't accuse him. "But, perhaps, the fit was a real one, the sick man suddenly recovered, heard a shout, and went out. Well--what then? He looked about him and said, 'Why not go and kill the master?' And how did he know what had happened, since he had been lying unconscious till that moment? But there's a limit to these flights of fancy. " 'Quite so,' some astute people will tell me, 'but what if they were in agreement? What if they murdered him together and shared the money--what then?' A weighty question, truly! And the facts to confirm it are astounding. One commits the murder and takes all the trouble while his accomplice lies on one side shamming a fit, apparently to arouse suspicion in every one, alarm in his master and alarm in Grigory. It would be interesting to know what motives could have induced the two accomplices to form such an insane plan. "But perhaps it was not a case of active complicity on Smerdyakov's part, but only of passive acquiescence; perhaps Smerdyakov was intimidated and agreed not to prevent the murder, and foreseeing that he would be blamed for letting his master be murdered, without screaming for help or resisting, he may have obtained permission from Dmitri Karamazov to get out of the way by shamming a fit--'you may murder him as you like; it's nothing to me.' But as this attack of Smerdyakov's was bound to throw the household into confusion, Dmitri Karamazov could never have agreed to such a plan. I will waive that point however. Supposing that he did agree, it would still follow that Dmitri Karamazov is the murderer and the instigator, and Smerdyakov is only a passive accomplice, and not even an accomplice, but merely acquiesced against his will through terror. "But what do we see? As soon as he is arrested the prisoner instantly throws all the blame on Smerdyakov, not accusing him of being his accomplice, but of being himself the murderer. 'He did it alone,' he says. 'He murdered and robbed him. It was the work of his hands.' Strange sort of accomplices who begin to accuse one another at once! And think of the risk for Karamazov. After committing the murder while his accomplice lay in bed, he throws the blame on the invalid, who might well have resented it and in self-preservation might well have confessed the truth. For he might well have seen that the court would at once judge how far he was responsible, and so he might well have reckoned that if he were punished, it would be far less severely than the real murderer. But in that case he would have been certain to make a confession, yet he has not done so. Smerdyakov never hinted at their complicity, though the actual murderer persisted in accusing him and declaring that he had committed the crime alone. "What's more, Smerdyakov at the inquiry volunteered the statement that it was _he_ who had told the prisoner of the envelope of notes and of the signals, and that, but for him, he would have known nothing about them. If he had really been a guilty accomplice, would he so readily have made this statement at the inquiry? On the contrary, he would have tried to conceal it, to distort the facts or minimize them. But he was far from distorting or minimizing them. No one but an innocent man, who had no fear of being charged with complicity, could have acted as he did. And in a fit of melancholy arising from his disease and this catastrophe he hanged himself yesterday. He left a note written in his peculiar language, 'I destroy myself of my own will and inclination so as to throw no blame on any one.' What would it have cost him to add: 'I am the murderer, not Karamazov'? But that he did not add. Did his conscience lead him to suicide and not to avowing his guilt? "And what followed? Notes for three thousand roubles were brought into the court just now, and we were told that they were the same that lay in the envelope now on the table before us, and that the witness had received them from Smerdyakov the day before. But I need not recall the painful scene, though I will make one or two comments, selecting such trivial ones as might not be obvious at first sight to every one, and so may be overlooked. In the first place, Smerdyakov must have given back the money and hanged himself yesterday from remorse. And only yesterday he confessed his guilt to Ivan Karamazov, as the latter informs us. If it were not so, indeed, why should Ivan Fyodorovitch have kept silence till now? And so, if he has confessed, then why, I ask again, did he not avow the whole truth in the last letter he left behind, knowing that the innocent prisoner had to face this terrible ordeal the next day? "The money alone is no proof. A week ago, quite by chance, the fact came to the knowledge of myself and two other persons in this court that Ivan Fyodorovitch had sent two five per cent. coupons of five thousand each--that is, ten thousand in all--to the chief town of the province to be changed. I only mention this to point out that any one may have money, and that it can't be proved that these notes are the same as were in Fyodor Pavlovitch's envelope. "Ivan Karamazov, after receiving yesterday a communication of such importance from the real murderer, did not stir. Why didn't he report it at once? Why did he put it all off till morning? I think I have a right to conjecture why. His health had been giving way for a week past: he had admitted to a doctor and to his most intimate friends that he was suffering from hallucinations and seeing phantoms of the dead: he was on the eve of the attack of brain fever by which he has been stricken down to-day. In this condition he suddenly heard of Smerdyakov's death, and at once reflected, 'The man is dead, I can throw the blame on him and save my brother. I have money. I will take a roll of notes and say that Smerdyakov gave them me before his death.' You will say that was dishonorable: it's dishonorable to slander even the dead, and even to save a brother. True, but what if he slandered him unconsciously? What if, finally unhinged by the sudden news of the valet's death, he imagined it really was so? You saw the recent scene: you have seen the witness's condition. He was standing up and was speaking, but where was his mind? "Then followed the document, the prisoner's letter written two days before the crime, and containing a complete program of the murder. Why, then, are we looking for any other program? The crime was committed precisely according to this program, and by no other than the writer of it. Yes, gentlemen of the jury, it went off without a hitch! He did not run respectfully and timidly away from his father's window, though he was firmly convinced that the object of his affections was with him. No, that is absurd and unlikely! He went in and murdered him. Most likely he killed him in anger, burning with resentment, as soon as he looked on his hated rival. But having killed him, probably with one blow of the brass pestle, and having convinced himself, after careful search, that she was not there, he did not, however, forget to put his hand under the pillow and take out the envelope, the torn cover of which lies now on the table before us. "I mention this fact that you may note one, to my thinking, very characteristic circumstance. Had he been an experienced murderer and had he committed the murder for the sake of gain only, would he have left the torn envelope on the floor as it was found, beside the corpse? Had it been Smerdyakov, for instance, murdering his master to rob him, he would have simply carried away the envelope with him, without troubling himself to open it over his victim's corpse, for he would have known for certain that the notes were in the envelope--they had been put in and sealed up in his presence--and had he taken the envelope with him, no one would ever have known of the robbery. I ask you, gentlemen, would Smerdyakov have behaved in that way? Would he have left the envelope on the floor? "No, this was the action of a frantic murderer, a murderer who was not a thief and had never stolen before that day, who snatched the notes from under the pillow, not like a thief stealing them, but as though seizing his own property from the thief who had stolen it. For that was the idea which had become almost an insane obsession in Dmitri Karamazov in regard to that money. And pouncing upon the envelope, which he had never seen before, he tore it open to make sure whether the money was in it, and ran away with the money in his pocket, even forgetting to consider that he had left an astounding piece of evidence against himself in that torn envelope on the floor. All because it was Karamazov, not Smerdyakov, he didn't think, he didn't reflect, and how should he? He ran away; he heard behind him the servant cry out; the old man caught him, stopped him and was felled to the ground by the brass pestle. "The prisoner, moved by pity, leapt down to look at him. Would you believe it, he tells us that he leapt down out of pity, out of compassion, to see whether he could do anything for him. Was that a moment to show compassion? No; he jumped down simply to make certain whether the only witness of his crime were dead or alive. Any other feeling, any other motive would be unnatural. Note that he took trouble over Grigory, wiped his head with his handkerchief and, convincing himself he was dead, he ran to the house of his mistress, dazed and covered with blood. How was it he never thought that he was covered with blood and would be at once detected? But the prisoner himself assures us that he did not even notice that he was covered with blood. That may be believed, that is very possible, that always happens at such moments with criminals. On one point they will show diabolical cunning, while another will escape them altogether. But he was thinking at that moment of one thing only--where was _she_? He wanted to find out at once where she was, so he ran to her lodging and learnt an unexpected and astounding piece of news--she had gone off to Mokroe to meet her first lover." Chapter IX. The Galloping Troika. The End Of The Prosecutor's Speech. Ippolit Kirillovitch had chosen the historical method of exposition, beloved by all nervous orators, who find in its limitation a check on their own eager rhetoric. At this moment in his speech he went off into a dissertation on Grushenka's "first lover," and brought forward several interesting thoughts on this theme. "Karamazov, who had been frantically jealous of every one, collapsed, so to speak, and effaced himself at once before this first lover. What makes it all the more strange is that he seems to have hardly thought of this formidable rival. But he had looked upon him as a remote danger, and Karamazov always lives in the present. Possibly he regarded him as a fiction. But his wounded heart grasped instantly that the woman had been concealing this new rival and deceiving him, because he was anything but a fiction to her, because he was the one hope of her life. Grasping this instantly, he resigned himself. "Gentlemen of the jury, I cannot help dwelling on this unexpected trait in the prisoner's character. He suddenly evinces an irresistible desire for justice, a respect for woman and a recognition of her right to love. And all this at the very moment when he had stained his hands with his father's blood for her sake! It is true that the blood he had shed was already crying out for vengeance, for, after having ruined his soul and his life in this world, he was forced to ask himself at that same instant what he was and what he could be now to her, to that being, dearer to him than his own soul, in comparison with that former lover who had returned penitent, with new love, to the woman he had once betrayed, with honorable offers, with the promise of a reformed and happy life. And he, luckless man, what could he give her now, what could he offer her? "Karamazov felt all this, knew that all ways were barred to him by his crime and that he was a criminal under sentence, and not a man with life before him! This thought crushed him. And so he instantly flew to one frantic plan, which, to a man of Karamazov's character, must have appeared the one inevitable way out of his terrible position. That way out was suicide. He ran for the pistols he had left in pledge with his friend Perhotin and on the way, as he ran, he pulled out of his pocket the money, for the sake of which he had stained his hands with his father's gore. Oh, now he needed money more than ever. Karamazov would die, Karamazov would shoot himself and it should be remembered! To be sure, he was a poet and had burnt the candle at both ends all his life. 'To her, to her! and there, oh, there I will give a feast to the whole world, such as never was before, that will be remembered and talked of long after! In the midst of shouts of wild merriment, reckless gypsy songs and dances I shall raise the glass and drink to the woman I adore and her new-found happiness! And then, on the spot, at her feet, I shall dash out my brains before her and punish myself! She will remember Mitya Karamazov sometimes, she will see how Mitya loved her, she will feel for Mitya!' "Here we see in excess a love of effect, a romantic despair and sentimentality, and the wild recklessness of the Karamazovs. Yes, but there is something else, gentlemen of the jury, something that cries out in the soul, throbs incessantly in the mind, and poisons the heart unto death--that _something_ is conscience, gentlemen of the jury, its judgment, its terrible torments! The pistol will settle everything, the pistol is the only way out! But _beyond_--I don't know whether Karamazov wondered at that moment 'What lies beyond,' and whether Karamazov could, like Hamlet, wonder 'What lies beyond.' No, gentlemen of the jury, they have their Hamlets, but we still have our Karamazovs!" Here Ippolit Kirillovitch drew a minute picture of Mitya's preparations, the scene at Perhotin's, at the shop, with the drivers. He quoted numerous words and actions, confirmed by witnesses, and the picture made a terrible impression on the audience. The guilt of this harassed and desperate man stood out clear and convincing, when the facts were brought together. "What need had he of precaution? Two or three times he almost confessed, hinted at it, all but spoke out." (Then followed the evidence given by witnesses.) "He even cried out to the peasant who drove him, 'Do you know, you are driving a murderer!' But it was impossible for him to speak out, he had to get to Mokroe and there to finish his romance. But what was awaiting the luckless man? Almost from the first minute at Mokroe he saw that his invincible rival was perhaps by no means so invincible, that the toast to their new-found happiness was not desired and would not be acceptable. But you know the facts, gentlemen of the jury, from the preliminary inquiry. Karamazov's triumph over his rival was complete and his soul passed into quite a new phase, perhaps the most terrible phase through which his soul has passed or will pass. "One may say with certainty, gentlemen of the jury," the prosecutor continued, "that outraged nature and the criminal heart bring their own vengeance more completely than any earthly justice. What's more, justice and punishment on earth positively alleviate the punishment of nature and are, indeed, essential to the soul of the criminal at such moments, as its salvation from despair. For I cannot imagine the horror and moral suffering of Karamazov when he learnt that she loved him, that for his sake she had rejected her first lover, that she was summoning him, Mitya, to a new life, that she was promising him happiness--and when? When everything was over for him and nothing was possible! "By the way, I will note in parenthesis a point of importance for the light it throws on the prisoner's position at the moment. This woman, this love of his, had been till the last moment, till the very instant of his arrest, a being unattainable, passionately desired by him but unattainable. Yet why did he not shoot himself then, why did he relinquish his design and even forget where his pistol was? It was just that passionate desire for love and the hope of satisfying it that restrained him. Throughout their revels he kept close to his adored mistress, who was at the banquet with him and was more charming and fascinating to him than ever--he did not leave her side, abasing himself in his homage before her. "His passion might well, for a moment, stifle not only the fear of arrest, but even the torments of conscience. For a moment, oh, only for a moment! I can picture the state of mind of the criminal hopelessly enslaved by these influences--first, the influence of drink, of noise and excitement, of the thud of the dance and the scream of the song, and of her, flushed with wine, singing and dancing and laughing to him! Secondly, the hope in the background that the fatal end might still be far off, that not till next morning, at least, they would come and take him. So he had a few hours and that's much, very much! In a few hours one can think of many things. I imagine that he felt something like what criminals feel when they are being taken to the scaffold. They have another long, long street to pass down and at walking pace, past thousands of people. Then there will be a turning into another street and only at the end of that street the dread place of execution! I fancy that at the beginning of the journey the condemned man, sitting on his shameful cart, must feel that he has infinite life still before him. The houses recede, the cart moves on--oh, that's nothing, it's still far to the turning into the second street and he still looks boldly to right and to left at those thousands of callously curious people with their eyes fixed on him, and he still fancies that he is just such a man as they. But now the turning comes to the next street. Oh, that's nothing, nothing, there's still a whole street before him, and however many houses have been passed, he will still think there are many left. And so to the very end, to the very scaffold. "This I imagine is how it was with Karamazov then. 'They've not had time yet,' he must have thought, 'I may still find some way out, oh, there's still time to make some plan of defense, and now, now--she is so fascinating!' "His soul was full of confusion and dread, but he managed, however, to put aside half his money and hide it somewhere--I cannot otherwise explain the disappearance of quite half of the three thousand he had just taken from his father's pillow. He had been in Mokroe more than once before, he had caroused there for two days together already, he knew the old big house with all its passages and outbuildings. I imagine that part of the money was hidden in that house, not long before the arrest, in some crevice, under some floor, in some corner, under the roof. With what object? I shall be asked. Why, the catastrophe may take place at once, of course; he hadn't yet considered how to meet it, he hadn't the time, his head was throbbing and his heart was with _her_, but money--money was indispensable in any case! With money a man is always a man. Perhaps such foresight at such a moment may strike you as unnatural? But he assures us himself that a month before, at a critical and exciting moment, he had halved his money and sewn it up in a little bag. And though that was not true, as we shall prove directly, it shows the idea was a familiar one to Karamazov, he had contemplated it. What's more, when he declared at the inquiry that he had put fifteen hundred roubles in a bag (which never existed) he may have invented that little bag on the inspiration of the moment, because he had two hours before divided his money and hidden half of it at Mokroe till morning, in case of emergency, simply not to have it on himself. Two extremes, gentlemen of the jury, remember that Karamazov can contemplate two extremes and both at once. "We have looked in the house, but we haven't found the money. It may still be there or it may have disappeared next day and be in the prisoner's hands now. In any case he was at her side, on his knees before her, she was lying on the bed, he had his hands stretched out to her and he had so entirely forgotten everything that he did not even hear the men coming to arrest him. He hadn't time to prepare any line of defense in his mind. He was caught unawares and confronted with his judges, the arbiters of his destiny. "Gentlemen of the jury, there are moments in the execution of our duties when it is terrible for us to face a man, terrible on his account, too! The moments of contemplating that animal fear, when the criminal sees that all is lost, but still struggles, still means to struggle, the moments when every instinct of self-preservation rises up in him at once and he looks at you with questioning and suffering eyes, studies you, your face, your thoughts, uncertain on which side you will strike, and his distracted mind frames thousands of plans in an instant, but he is still afraid to speak, afraid of giving himself away! This purgatory of the spirit, this animal thirst for self-preservation, these humiliating moments of the human soul, are awful, and sometimes arouse horror and compassion for the criminal even in the lawyer. And this was what we all witnessed then. "At first he was thunderstruck and in his terror dropped some very compromising phrases. 'Blood! I've deserved it!' But he quickly restrained himself. He had not prepared what he was to say, what answer he was to make, he had nothing but a bare denial ready. 'I am not guilty of my father's death.' That was his fence for the moment and behind it he hoped to throw up a barricade of some sort. His first compromising exclamations he hastened to explain by declaring that he was responsible for the death of the servant Grigory only. 'Of that bloodshed I am guilty, but who has killed my father, gentlemen, who has killed him? Who can have killed him, _if not I_?' Do you hear, he asked us that, us, who had come to ask him that question! Do you hear that phrase uttered with such premature haste--'if not I'--the animal cunning, the naivete, the Karamazov impatience of it? 'I didn't kill him and you mustn't think I did! I wanted to kill him, gentlemen, I wanted to kill him,' he hastens to admit (he was in a hurry, in a terrible hurry), 'but still I am not guilty, it is not I murdered him.' He concedes to us that he wanted to murder him, as though to say, you can see for yourselves how truthful I am, so you'll believe all the sooner that I didn't murder him. Oh, in such cases the criminal is often amazingly shallow and credulous. "At that point one of the lawyers asked him, as it were incidentally, the most simple question, 'Wasn't it Smerdyakov killed him?' Then, as we expected, he was horribly angry at our having anticipated him and caught him unawares, before he had time to pave the way to choose and snatch the moment when it would be most natural to bring in Smerdyakov's name. He rushed at once to the other extreme, as he always does, and began to assure us that Smerdyakov could not have killed him, was not capable of it. But don't believe him, that was only his cunning; he didn't really give up the idea of Smerdyakov; on the contrary, he meant to bring him forward again; for, indeed, he had no one else to bring forward, but he would do that later, because for the moment that line was spoiled for him. He would bring him forward perhaps next day, or even a few days later, choosing an opportunity to cry out to us, 'You know I was more skeptical about Smerdyakov than you, you remember that yourselves, but now I am convinced. He killed him, he must have done!' And for the present he falls back upon a gloomy and irritable denial. Impatience and anger prompted him, however, to the most inept and incredible explanation of how he looked into his father's window and how he respectfully withdrew. The worst of it was that he was unaware of the position of affairs, of the evidence given by Grigory. "We proceeded to search him. The search angered, but encouraged him, the whole three thousand had not been found on him, only half of it. And no doubt only at that moment of angry silence, the fiction of the little bag first occurred to him. No doubt he was conscious himself of the improbability of the story and strove painfully to make it sound more likely, to weave it into a romance that would sound plausible. In such cases the first duty, the chief task of the investigating lawyers, is to prevent the criminal being prepared, to pounce upon him unexpectedly so that he may blurt out his cherished ideas in all their simplicity, improbability and inconsistency. The criminal can only be made to speak by the sudden and apparently incidental communication of some new fact, of some circumstance of great importance in the case, of which he had no previous idea and could not have foreseen. We had such a fact in readiness--that was Grigory's evidence about the open door through which the prisoner had run out. He had completely forgotten about that door and had not even suspected that Grigory could have seen it. "The effect of it was amazing. He leapt up and shouted to us, 'Then Smerdyakov murdered him, it was Smerdyakov!' and so betrayed the basis of the defense he was keeping back, and betrayed it in its most improbable shape, for Smerdyakov could only have committed the murder after he had knocked Grigory down and run away. When we told him that Grigory saw the door was open before he fell down, and had heard Smerdyakov behind the screen as he came out of his bedroom--Karamazov was positively crushed. My esteemed and witty colleague, Nikolay Parfenovitch, told me afterwards that he was almost moved to tears at the sight of him. And to improve matters, the prisoner hastened to tell us about the much-talked-of little bag--so be it, you shall hear this romance! "Gentlemen of the jury, I have told you already why I consider this romance not only an absurdity, but the most improbable invention that could have been brought forward in the circumstances. If one tried for a bet to invent the most unlikely story, one could hardly find anything more incredible. The worst of such stories is that the triumphant romancers can always be put to confusion and crushed by the very details in which real life is so rich and which these unhappy and involuntary story-tellers neglect as insignificant trifles. Oh, they have no thought to spare for such details, their minds are concentrated on their grand invention as a whole, and fancy any one daring to pull them up for a trifle! But that's how they are caught. The prisoner was asked the question, 'Where did you get the stuff for your little bag and who made it for you?' 'I made it myself.' 'And where did you get the linen?' The prisoner was positively offended, he thought it almost insulting to ask him such a trivial question, and would you believe it, his resentment was genuine! But they are all like that. 'I tore it off my shirt.' 'Then we shall find that shirt among your linen to-morrow, with a piece torn off.' And only fancy, gentlemen of the jury, if we really had found that torn shirt (and how could we have failed to find it in his chest of drawers or trunk?) that would have been a fact, a material fact in support of his statement! But he was incapable of that reflection. 'I don't remember, it may not have been off my shirt, I sewed it up in one of my landlady's caps.' 'What sort of a cap?' 'It was an old cotton rag of hers lying about.' 'And do you remember that clearly?' 'No, I don't.' And he was angry, very angry, and yet imagine not remembering it! At the most terrible moments of man's life, for instance when he is being led to execution, he remembers just such trifles. He will forget anything but some green roof that has flashed past him on the road, or a jackdaw on a cross--that he will remember. He concealed the making of that little bag from his household, he must have remembered his humiliating fear that some one might come in and find him needle in hand, how at the slightest sound he slipped behind the screen (there is a screen in his lodgings). "But, gentlemen of the jury, why do I tell you all this, all these details, trifles?" cried Ippolit Kirillovitch suddenly. "Just because the prisoner still persists in these absurdities to this moment. He has not explained anything since that fatal night two months ago, he has not added one actual illuminating fact to his former fantastic statements; all those are trivialities. 'You must believe it on my honor.' Oh, we are glad to believe it, we are eager to believe it, even if only on his word of honor! Are we jackals thirsting for human blood? Show us a single fact in the prisoner's favor and we shall rejoice; but let it be a substantial, real fact, and not a conclusion drawn from the prisoner's expression by his own brother, or that when he beat himself on the breast he must have meant to point to the little bag, in the darkness, too. We shall rejoice at the new fact, we shall be the first to repudiate our charge, we shall hasten to repudiate it. But now justice cries out and we persist, we cannot repudiate anything." Ippolit Kirillovitch passed to his final peroration. He looked as though he was in a fever, he spoke of the blood that cried for vengeance, the blood of the father murdered by his son, with the base motive of robbery! He pointed to the tragic and glaring consistency of the facts. "And whatever you may hear from the talented and celebrated counsel for the defense," Ippolit Kirillovitch could not resist adding, "whatever eloquent and touching appeals may be made to your sensibilities, remember that at this moment you are in a temple of justice. Remember that you are the champions of our justice, the champions of our holy Russia, of her principles, her family, everything that she holds sacred! Yes, you represent Russia here at this moment, and your verdict will be heard not in this hall only but will reecho throughout the whole of Russia, and all Russia will hear you, as her champions and her judges, and she will be encouraged or disheartened by your verdict. Do not disappoint Russia and her expectations. Our fatal troika dashes on in her headlong flight perhaps to destruction and in all Russia for long past men have stretched out imploring hands and called a halt to its furious reckless course. And if other nations stand aside from that troika that may be, not from respect, as the poet would fain believe, but simply from horror. From horror, perhaps from disgust. And well it is that they stand aside, but maybe they will cease one day to do so and will form a firm wall confronting the hurrying apparition and will check the frenzied rush of our lawlessness, for the sake of their own safety, enlightenment and civilization. Already we have heard voices of alarm from Europe, they already begin to sound. Do not tempt them! Do not heap up their growing hatred by a sentence justifying the murder of a father by his son!" Though Ippolit Kirillovitch was genuinely moved, he wound up his speech with this rhetorical appeal--and the effect produced by him was extraordinary. When he had finished his speech, he went out hurriedly and, as I have mentioned before, almost fainted in the adjoining room. There was no applause in the court, but serious persons were pleased. The ladies were not so well satisfied, though even they were pleased with his eloquence, especially as they had no apprehensions as to the upshot of the trial and had full trust in Fetyukovitch. "He will speak at last and of course carry all before him." Every one looked at Mitya; he sat silent through the whole of the prosecutor's speech, clenching his teeth, with his hands clasped, and his head bowed. Only from time to time he raised his head and listened, especially when Grushenka was spoken of. When the prosecutor mentioned Rakitin's opinion of her, a smile of contempt and anger passed over his face and he murmured rather audibly, "The Bernards!" When Ippolit Kirillovitch described how he had questioned and tortured him at Mokroe, Mitya raised his head and listened with intense curiosity. At one point he seemed about to jump up and cry out, but controlled himself and only shrugged his shoulders disdainfully. People talked afterwards of the end of the speech, of the prosecutor's feat in examining the prisoner at Mokroe, and jeered at Ippolit Kirillovitch. "The man could not resist boasting of his cleverness," they said. The court was adjourned, but only for a short interval, a quarter of an hour or twenty minutes at most. There was a hum of conversation and exclamations in the audience. I remember some of them. "A weighty speech," a gentleman in one group observed gravely. "He brought in too much psychology," said another voice. "But it was all true, the absolute truth!" "Yes, he is first rate at it." "He summed it all up." "Yes, he summed us up, too," chimed in another voice. "Do you remember, at the beginning of his speech, making out we were all like Fyodor Pavlovitch?" "And at the end, too. But that was all rot." "And obscure too." "He was a little too much carried away." "It's unjust, it's unjust." "No, it was smartly done, anyway. He's had long to wait, but he's had his say, ha ha!" "What will the counsel for the defense say?" In another group I heard: "He had no business to make a thrust at the Petersburg man like that; 'appealing to your sensibilities'--do you remember?" "Yes, that was awkward of him." "He was in too great a hurry." "He is a nervous man." "We laugh, but what must the prisoner be feeling?" "Yes, what must it be for Mitya?" In a third group: "What lady is that, the fat one, with the lorgnette, sitting at the end?" "She is a general's wife, divorced, I know her." "That's why she has the lorgnette." "She is not good for much." "Oh, no, she is a piquante little woman." "Two places beyond her there is a little fair woman, she is prettier." "They caught him smartly at Mokroe, didn't they, eh?" "Oh, it was smart enough. We've heard it before, how often he has told the story at people's houses!" "And he couldn't resist doing it now. That's vanity." "He is a man with a grievance, he he!" "Yes, and quick to take offense. And there was too much rhetoric, such long sentences." "Yes, he tries to alarm us, he kept trying to alarm us. Do you remember about the troika? Something about 'They have Hamlets, but we have, so far, only Karamazovs!' That was cleverly said!" "That was to propitiate the liberals. He is afraid of them." "Yes, and he is afraid of the lawyer, too." "Yes, what will Fetyukovitch say?" "Whatever he says, he won't get round our peasants." "Don't you think so?" A fourth group: "What he said about the troika was good, that piece about the other nations." "And that was true what he said about other nations not standing it." "What do you mean?" "Why, in the English Parliament a Member got up last week and speaking about the Nihilists asked the Ministry whether it was not high time to intervene, to educate this barbarous people. Ippolit was thinking of him, I know he was. He was talking about that last week." "Not an easy job." "Not an easy job? Why not?" "Why, we'd shut up Kronstadt and not let them have any corn. Where would they get it?" "In America. They get it from America now." "Nonsense!" But the bell rang, all rushed to their places. Fetyukovitch mounted the tribune. Chapter X. The Speech For The Defense. An Argument That Cuts Both Ways All was hushed as the first words of the famous orator rang out. The eyes of the audience were fastened upon him. He began very simply and directly, with an air of conviction, but not the slightest trace of conceit. He made no attempt at eloquence, at pathos, or emotional phrases. He was like a man speaking in a circle of intimate and sympathetic friends. His voice was a fine one, sonorous and sympathetic, and there was something genuine and simple in the very sound of it. But every one realized at once that the speaker might suddenly rise to genuine pathos and "pierce the heart with untold power." His language was perhaps more irregular than Ippolit Kirillovitch's, but he spoke without long phrases, and indeed, with more precision. One thing did not please the ladies: he kept bending forward, especially at the beginning of his speech, not exactly bowing, but as though he were about to dart at his listeners, bending his long spine in half, as though there were a spring in the middle that enabled him to bend almost at right angles. At the beginning of his speech he spoke rather disconnectedly, without system, one may say, dealing with facts separately, though, at the end, these facts formed a whole. His speech might be divided into two parts, the first consisting of criticism in refutation of the charge, sometimes malicious and sarcastic. But in the second half he suddenly changed his tone, and even his manner, and at once rose to pathos. The audience seemed on the look-out for it, and quivered with enthusiasm. He went straight to the point, and began by saying that although he practiced in Petersburg, he had more than once visited provincial towns to defend prisoners, of whose innocence he had a conviction or at least a preconceived idea. "That is what has happened to me in the present case," he explained. "From the very first accounts in the newspapers I was struck by something which strongly prepossessed me in the prisoner's favor. What interested me most was a fact which often occurs in legal practice, but rarely, I think, in such an extreme and peculiar form as in the present case. I ought to formulate that peculiarity only at the end of my speech, but I will do so at the very beginning, for it is my weakness to go to work directly, not keeping my effects in reserve and economizing my material. That may be imprudent on my part, but at least it's sincere. What I have in my mind is this: there is an overwhelming chain of evidence against the prisoner, and at the same time not one fact that will stand criticism, if it is examined separately. As I followed the case more closely in the papers my idea was more and more confirmed, and I suddenly received from the prisoner's relatives a request to undertake his defense. I at once hurried here, and here I became completely convinced. It was to break down this terrible chain of facts, and to show that each piece of evidence taken separately was unproved and fantastic, that I undertook the case." So Fetyukovitch began. "Gentlemen of the jury," he suddenly protested, "I am new to this district. I have no preconceived ideas. The prisoner, a man of turbulent and unbridled temper, has not insulted me. But he has insulted perhaps hundreds of persons in this town, and so prejudiced many people against him beforehand. Of course I recognize that the moral sentiment of local society is justly excited against him. The prisoner is of turbulent and violent temper. Yet he was received in society here; he was even welcome in the family of my talented friend, the prosecutor." (N.B. At these words there were two or three laughs in the audience, quickly suppressed, but noticed by all. All of us knew that the prosecutor received Mitya against his will, solely because he had somehow interested his wife--a lady of the highest virtue and moral worth, but fanciful, capricious, and fond of opposing her husband, especially in trifles. Mitya's visits, however, had not been frequent.) "Nevertheless I venture to suggest," Fetyukovitch continued, "that in spite of his independent mind and just character, my opponent may have formed a mistaken prejudice against my unfortunate client. Oh, that is so natural; the unfortunate man has only too well deserved such prejudice. Outraged morality, and still more outraged taste, is often relentless. We have, in the talented prosecutor's speech, heard a stern analysis of the prisoner's character and conduct, and his severe critical attitude to the case was evident. And, what's more, he went into psychological subtleties into which he could not have entered, if he had the least conscious and malicious prejudice against the prisoner. But there are things which are even worse, even more fatal in such cases, than the most malicious and consciously unfair attitude. It is worse if we are carried away by the artistic instinct, by the desire to create, so to speak, a romance, especially if God has endowed us with psychological insight. Before I started on my way here, I was warned in Petersburg, and was myself aware, that I should find here a talented opponent whose psychological insight and subtlety had gained him peculiar renown in legal circles of recent years. But profound as psychology is, it's a knife that cuts both ways." (Laughter among the public.) "You will, of course, forgive me my comparison; I can't boast of eloquence. But I will take as an example any point in the prosecutor's speech. "The prisoner, running away in the garden in the dark, climbed over the fence, was seized by the servant, and knocked him down with a brass pestle. Then he jumped back into the garden and spent five minutes over the man, trying to discover whether he had killed him or not. And the prosecutor refuses to believe the prisoner's statement that he ran to old Grigory out of pity. 'No,' he says, 'such sensibility is impossible at such a moment, that's unnatural; he ran to find out whether the only witness of his crime was dead or alive, and so showed that he had committed the murder, since he would not have run back for any other reason.' "Here you have psychology; but let us take the same method and apply it to the case the other way round, and our result will be no less probable. The murderer, we are told, leapt down to find out, as a precaution, whether the witness was alive or not, yet he had left in his murdered father's study, as the prosecutor himself argues, an amazing piece of evidence in the shape of a torn envelope, with an inscription that there had been three thousand roubles in it. 'If he had carried that envelope away with him, no one in the world would have known of that envelope and of the notes in it, and that the money had been stolen by the prisoner.' Those are the prosecutor's own words. So on one side you see a complete absence of precaution, a man who has lost his head and run away in a fright, leaving that clew on the floor, and two minutes later, when he has killed another man, we are entitled to assume the most heartless and calculating foresight in him. But even admitting this was so, it is psychological subtlety, I suppose, that discerns that under certain circumstances I become as bloodthirsty and keen-sighted as a Caucasian eagle, while at the next I am as timid and blind as a mole. But if I am so bloodthirsty and cruelly calculating that when I kill a man I only run back to find out whether he is alive to witness against me, why should I spend five minutes looking after my victim at the risk of encountering other witnesses? Why soak my handkerchief, wiping the blood off his head so that it may be evidence against me later? If he were so cold-hearted and calculating, why not hit the servant on the head again and again with the same pestle so as to kill him outright and relieve himself of all anxiety about the witness? "Again, though he ran to see whether the witness was alive, he left another witness on the path, that brass pestle which he had taken from the two women, and which they could always recognize afterwards as theirs, and prove that he had taken it from them. And it is not as though he had forgotten it on the path, dropped it through carelessness or haste, no, he had flung away his weapon, for it was found fifteen paces from where Grigory lay. Why did he do so? Just because he was grieved at having killed a man, an old servant; and he flung away the pestle with a curse, as a murderous weapon. That's how it must have been, what other reason could he have had for throwing it so far? And if he was capable of feeling grief and pity at having killed a man, it shows that he was innocent of his father's murder. Had he murdered him, he would never have run to another victim out of pity; then he would have felt differently; his thoughts would have been centered on self-preservation. He would have had none to spare for pity, that is beyond doubt. On the contrary, he would have broken his skull instead of spending five minutes looking after him. There was room for pity and good-feeling just because his conscience had been clear till then. Here we have a different psychology. I have purposely resorted to this method, gentlemen of the jury, to show that you can prove anything by it. It all depends on who makes use of it. Psychology lures even most serious people into romancing, and quite unconsciously. I am speaking of the abuse of psychology, gentlemen." Sounds of approval and laughter, at the expense of the prosecutor, were again audible in the court. I will not repeat the speech in detail; I will only quote some passages from it, some leading points. Chapter XI. There Was No Money. There Was No Robbery There was one point that struck every one in Fetyukovitch's speech. He flatly denied the existence of the fatal three thousand roubles, and consequently, the possibility of their having been stolen. "Gentlemen of the jury," he began. "Every new and unprejudiced observer must be struck by a characteristic peculiarity in the present case, namely, the charge of robbery, and the complete impossibility of proving that there was anything to be stolen. We are told that money was stolen--three thousand roubles--but whether those roubles ever existed, nobody knows. Consider, how have we heard of that sum, and who has seen the notes? The only person who saw them, and stated that they had been put in the envelope, was the servant, Smerdyakov. He had spoken of it to the prisoner and his brother, Ivan Fyodorovitch, before the catastrophe. Madame Svyetlov, too, had been told of it. But not one of these three persons had actually seen the notes, no one but Smerdyakov had seen them. "Here the question arises, if it's true that they did exist, and that Smerdyakov had seen them, when did he see them for the last time? What if his master had taken the notes from under his bed and put them back in his cash-box without telling him? Note, that according to Smerdyakov's story the notes were kept under the mattress; the prisoner must have pulled them out, and yet the bed was absolutely unrumpled; that is carefully recorded in the protocol. How could the prisoner have found the notes without disturbing the bed? How could he have helped soiling with his blood- stained hands the fine and spotless linen with which the bed had been purposely made? "But I shall be asked: What about the envelope on the floor? Yes, it's worth saying a word or two about that envelope. I was somewhat surprised just now to hear the highly talented prosecutor declare of himself--of himself, observe--that but for that envelope, but for its being left on the floor, no one in the world would have known of the existence of that envelope and the notes in it, and therefore of the prisoner's having stolen it. And so that torn scrap of paper is, by the prosecutor's own admission, the sole proof on which the charge of robbery rests, 'otherwise no one would have known of the robbery, nor perhaps even of the money.' But is the mere fact that that scrap of paper was lying on the floor a proof that there was money in it, and that that money had been stolen? Yet, it will be objected, Smerdyakov had seen the money in the envelope. But when, when had he seen it for the last time, I ask you that? I talked to Smerdyakov, and he told me that he had seen the notes two days before the catastrophe. Then why not imagine that old Fyodor Pavlovitch, locked up alone in impatient and hysterical expectation of the object of his adoration, may have whiled away the time by breaking open the envelope and taking out the notes. 'What's the use of the envelope?' he may have asked himself. 'She won't believe the notes are there, but when I show her the thirty rainbow-colored notes in one roll, it will make more impression, you may be sure, it will make her mouth water.' And so he tears open the envelope, takes out the money, and flings the envelope on the floor, conscious of being the owner and untroubled by any fears of leaving evidence. "Listen, gentlemen, could anything be more likely than this theory and such an action? Why is it out of the question? But if anything of the sort could have taken place, the charge of robbery falls to the ground; if there was no money, there was no theft of it. If the envelope on the floor may be taken as evidence that there had been money in it, why may I not maintain the opposite, that the envelope was on the floor because the money had been taken from it by its owner? "But I shall be asked what became of the money if Fyodor Pavlovitch took it out of the envelope since it was not found when the police searched the house? In the first place, part of the money was found in the cash-box, and secondly, he might have taken it out that morning or the evening before to make some other use of it, to give or send it away; he may have changed his idea, his plan of action completely, without thinking it necessary to announce the fact to Smerdyakov beforehand. And if there is the barest possibility of such an explanation, how can the prisoner be so positively accused of having committed murder for the sake of robbery, and of having actually carried out that robbery? This is encroaching on the domain of romance. If it is maintained that something has been stolen, the thing must be produced, or at least its existence must be proved beyond doubt. Yet no one had ever seen these notes. "Not long ago in Petersburg a young man of eighteen, hardly more than a boy, who carried on a small business as a costermonger, went in broad daylight into a moneychanger's shop with an ax, and with extraordinary, typical audacity killed the master of the shop and carried off fifteen hundred roubles. Five hours later he was arrested, and, except fifteen roubles he had already managed to spend, the whole sum was found on him. Moreover, the shopman, on his return to the shop after the murder, informed the police not only of the exact sum stolen, but even of the notes and gold coins of which that sum was made up, and those very notes and coins were found on the criminal. This was followed by a full and genuine confession on the part of the murderer. That's what I call evidence, gentlemen of the jury! In that case I know, I see, I touch the money, and cannot deny its existence. Is it the same in the present case? And yet it is a question of life and death. "Yes, I shall be told, but he was carousing that night, squandering money; he was shown to have had fifteen hundred roubles--where did he get the money? But the very fact that only fifteen hundred could be found, and the other half of the sum could nowhere be discovered, shows that that money was not the same, and had never been in any envelope. By strict calculation of time it was proved at the preliminary inquiry that the prisoner ran straight from those women servants to Perhotin's without going home, and that he had been nowhere. So he had been all the time in company and therefore could not have divided the three thousand in half and hidden half in the town. It's just this consideration that has led the prosecutor to assume that the money is hidden in some crevice at Mokroe. Why not in the dungeons of the castle of Udolpho, gentlemen? Isn't this supposition really too fantastic and too romantic? And observe, if that supposition breaks down, the whole charge of robbery is scattered to the winds, for in that case what could have become of the other fifteen hundred roubles? By what miracle could they have disappeared, since it's proved the prisoner went nowhere else? And we are ready to ruin a man's life with such tales! "I shall be told that he could not explain where he got the fifteen hundred that he had, and every one knew that he was without money before that night. Who knew it, pray? The prisoner has made a clear and unflinching statement of the source of that money, and if you will have it so, gentlemen of the jury, nothing can be more probable than that statement, and more consistent with the temper and spirit of the prisoner. The prosecutor is charmed with his own romance. A man of weak will, who had brought himself to take the three thousand so insultingly offered by his betrothed, could not, we are told, have set aside half and sewn it up, but would, even if he had done so, have unpicked it every two days and taken out a hundred, and so would have spent it all in a month. All this, you will remember, was put forward in a tone that brooked no contradiction. But what if the thing happened quite differently? What if you've been weaving a romance, and about quite a different kind of man? That's just it, you have invented quite a different man! "I shall be told, perhaps, there are witnesses that he spent on one day all that three thousand given him by his betrothed a month before the catastrophe, so he could not have divided the sum in half. But who are these witnesses? The value of their evidence has been shown in court already. Besides, in another man's hand a crust always seems larger, and no one of these witnesses counted that money; they all judged simply at sight. And the witness Maximov has testified that the prisoner had twenty thousand in his hand. You see, gentlemen of the jury, psychology is a two- edged weapon. Let me turn the other edge now and see what comes of it. "A month before the catastrophe the prisoner was entrusted by Katerina Ivanovna with three thousand roubles to send off by post. But the question is: is it true that they were entrusted to him in such an insulting and degrading way as was proclaimed just now? The first statement made by the young lady on the subject was different, perfectly different. In the second statement we heard only cries of resentment and revenge, cries of long-concealed hatred. And the very fact that the witness gave her first evidence incorrectly, gives us a right to conclude that her second piece of evidence may have been incorrect also. The prosecutor will not, dare not (his own words) touch on that story. So be it. I will not touch on it either, but will only venture to observe that if a lofty and high- principled person, such as that highly respected young lady unquestionably is, if such a person, I say, allows herself suddenly in court to contradict her first statement, with the obvious motive of ruining the prisoner, it is clear that this evidence has been given not impartially, not coolly. Have not we the right to assume that a revengeful woman might have exaggerated much? Yes, she may well have exaggerated, in particular, the insult and humiliation of her offering him the money. No, it was offered in such a way that it was possible to take it, especially for a man so easy-going as the prisoner, above all, as he expected to receive shortly from his father the three thousand roubles that he reckoned was owing to him. It was unreflecting of him, but it was just his irresponsible want of reflection that made him so confident that his father would give him the money, that he would get it, and so could always dispatch the money entrusted to him and repay the debt. "But the prosecutor refuses to allow that he could the same day have set aside half the money and sewn it up in a little bag. That's not his character, he tells us, he couldn't have had such feelings. But yet he talked himself of the broad Karamazov nature; he cried out about the two extremes which a Karamazov can contemplate at once. Karamazov is just such a two-sided nature, fluctuating between two extremes, that even when moved by the most violent craving for riotous gayety, he can pull himself up, if something strikes him on the other side. And on the other side is love--that new love which had flamed up in his heart, and for that love he needed money; oh, far more than for carousing with his mistress. If she were to say to him, 'I am yours, I won't have Fyodor Pavlovitch,' then he must have money to take her away. That was more important than carousing. Could a Karamazov fail to understand it? That anxiety was just what he was suffering from--what is there improbable in his laying aside that money and concealing it in case of emergency? "But time passed, and Fyodor Pavlovitch did not give the prisoner the expected three thousand; on the contrary, the latter heard that he meant to use this sum to seduce the woman he, the prisoner, loved. 'If Fyodor Pavlovitch doesn't give the money,' he thought, 'I shall be put in the position of a thief before Katerina Ivanovna.' And then the idea presented itself to him that he would go to Katerina Ivanovna, lay before her the fifteen hundred roubles he still carried round his neck, and say, 'I am a scoundrel, but not a thief.' So here we have already a twofold reason why he should guard that sum of money as the apple of his eye, why he shouldn't unpick the little bag, and spend it a hundred at a time. Why should you deny the prisoner a sense of honor? Yes, he has a sense of honor, granted that it's misplaced, granted it's often mistaken, yet it exists and amounts to a passion, and he has proved that. "But now the affair becomes even more complex; his jealous torments reach a climax, and those same two questions torture his fevered brain more and more: 'If I repay Katerina Ivanovna, where can I find the means to go off with Grushenka?' If he behaved wildly, drank, and made disturbances in the taverns in the course of that month, it was perhaps because he was wretched and strained beyond his powers of endurance. These two questions became so acute that they drove him at last to despair. He sent his younger brother to beg for the last time for the three thousand roubles, but without waiting for a reply, burst in himself and ended by beating the old man in the presence of witnesses. After that he had no prospect of getting it from any one; his father would not give it him after that beating. "The same evening he struck himself on the breast, just on the upper part of the breast where the little bag was, and swore to his brother that he had the means of not being a scoundrel, but that still he would remain a scoundrel, for he foresaw that he would not use that means, that he wouldn't have the character, that he wouldn't have the will-power to do it. Why, why does the prosecutor refuse to believe the evidence of Alexey Karamazov, given so genuinely and sincerely, so spontaneously and convincingly? And why, on the contrary, does he force me to believe in money hidden in a crevice, in the dungeons of the castle of Udolpho? "The same evening, after his talk with his brother, the prisoner wrote that fatal letter, and that letter is the chief, the most stupendous proof of the prisoner having committed robbery! 'I shall beg from every one, and if I don't get it I shall murder my father and shall take the envelope with the pink ribbon on it from under his mattress as soon as Ivan has gone.' A full program of the murder, we are told, so it must have been he. 'It has all been done as he wrote,' cries the prosecutor. "But in the first place, it's the letter of a drunken man and written in great irritation; secondly, he writes of the envelope from what he has heard from Smerdyakov again, for he has not seen the envelope himself; and thirdly, he wrote it indeed, but how can you prove that he did it? Did the prisoner take the envelope from under the pillow, did he find the money, did that money exist indeed? And was it to get money that the prisoner ran off, if you remember? He ran off post-haste not to steal, but to find out where she was, the woman who had crushed him. He was not running to carry out a program, to carry out what he had written, that is, not for an act of premeditated robbery, but he ran suddenly, spontaneously, in a jealous fury. Yes! I shall be told, but when he got there and murdered him he seized the money, too. But did he murder him after all? The charge of robbery I repudiate with indignation. A man cannot be accused of robbery, if it's impossible to state accurately what he has stolen; that's an axiom. But did he murder him without robbery, did he murder him at all? Is that proved? Isn't that, too, a romance?" Chapter XII. And There Was No Murder Either "Allow me, gentlemen of the jury, to remind you that a man's life is at stake and that you must be careful. We have heard the prosecutor himself admit that until to-day he hesitated to accuse the prisoner of a full and conscious premeditation of the crime; he hesitated till he saw that fatal drunken letter which was produced in court to-day. 'All was done as written.' But, I repeat again, he was running to her, to seek her, solely to find out where she was. That's a fact that can't be disputed. Had she been at home, he would not have run away, but would have remained at her side, and so would not have done what he promised in the letter. He ran unexpectedly and accidentally, and by that time very likely he did not even remember his drunken letter. 'He snatched up the pestle,' they say, and you will remember how a whole edifice of psychology was built on that pestle--why he was bound to look at that pestle as a weapon, to snatch it up, and so on, and so on. A very commonplace idea occurs to me at this point: What if that pestle had not been in sight, had not been lying on the shelf from which it was snatched by the prisoner, but had been put away in a cupboard? It would not have caught the prisoner's eye, and he would have run away without a weapon, with empty hands, and then he would certainly not have killed any one. How then can I look upon the pestle as a proof of premeditation? "Yes, but he talked in the taverns of murdering his father, and two days before, on the evening when he wrote his drunken letter, he was quiet and only quarreled with a shopman in the tavern, because a Karamazov could not help quarreling, forsooth! But my answer to that is, that, if he was planning such a murder in accordance with his letter, he certainly would not have quarreled even with a shopman, and probably would not have gone into the tavern at all, because a person plotting such a crime seeks quiet and retirement, seeks to efface himself, to avoid being seen and heard, and that not from calculation, but from instinct. Gentlemen of the jury, the psychological method is a two-edged weapon, and we, too, can use it. As for all this shouting in taverns throughout the month, don't we often hear children, or drunkards coming out of taverns shout, 'I'll kill you'? but they don't murder any one. And that fatal letter--isn't that simply drunken irritability, too? Isn't that simply the shout of the brawler outside the tavern, 'I'll kill you! I'll kill the lot of you!' Why not, why could it not be that? What reason have we to call that letter 'fatal' rather than absurd? Because his father has been found murdered, because a witness saw the prisoner running out of the garden with a weapon in his hand, and was knocked down by him: therefore, we are told, everything was done as he had planned in writing, and the letter was not 'absurd,' but 'fatal.' "Now, thank God! we've come to the real point: 'since he was in the garden, he must have murdered him.' In those few words: 'since he _was_, then he _must_' lies the whole case for the prosecution. He was there, so he must have. And what if there is no _must_ about it, even if he was there? Oh, I admit that the chain of evidence--the coincidences--are really suggestive. But examine all these facts separately, regardless of their connection. Why, for instance, does the prosecution refuse to admit the truth of the prisoner's statement that he ran away from his father's window? Remember the sarcasms in which the prosecutor indulged at the expense of the respectful and 'pious' sentiments which suddenly came over the murderer. But what if there were something of the sort, a feeling of religious awe, if not of filial respect? 'My mother must have been praying for me at that moment,' were the prisoner's words at the preliminary inquiry, and so he ran away as soon as he convinced himself that Madame Svyetlov was not in his father's house. 'But he could not convince himself by looking through the window,' the prosecutor objects. But why couldn't he? Why? The window opened at the signals given by the prisoner. Some word might have been uttered by Fyodor Pavlovitch, some exclamation which showed the prisoner that she was not there. Why should we assume everything as we imagine it, as we make up our minds to imagine it? A thousand things may happen in reality which elude the subtlest imagination. " 'Yes, but Grigory saw the door open and so the prisoner certainly was in the house, therefore he killed him.' Now about that door, gentlemen of the jury.... Observe that we have only the statement of one witness as to that door, and he was at the time in such a condition, that-- But supposing the door was open; supposing the prisoner has lied in denying it, from an instinct of self-defense, natural in his position; supposing he did go into the house--well, what then? How does it follow that because he was there he committed the murder? He might have dashed in, run through the rooms; might have pushed his father away; might have struck him; but as soon as he had made sure Madame Svyetlov was not there, he may have run away rejoicing that she was not there and that he had not killed his father. And it was perhaps just because he had escaped from the temptation to kill his father, because he had a clear conscience and was rejoicing at not having killed him, that he was capable of a pure feeling, the feeling of pity and compassion, and leapt off the fence a minute later to the assistance of Grigory after he had, in his excitement, knocked him down. "With terrible eloquence the prosecutor has described to us the dreadful state of the prisoner's mind at Mokroe when love again lay before him calling him to new life, while love was impossible for him because he had his father's bloodstained corpse behind him and beyond that corpse--retribution. And yet the prosecutor allowed him love, which he explained, according to his method, talking about his drunken condition, about a criminal being taken to execution, about it being still far off, and so on and so on. But again I ask, Mr. Prosecutor, have you not invented a new personality? Is the prisoner so coarse and heartless as to be able to think at that moment of love and of dodges to escape punishment, if his hands were really stained with his father's blood? No, no, no! As soon as it was made plain to him that she loved him and called him to her side, promising him new happiness, oh! then, I protest he must have felt the impulse to suicide doubled, trebled, and must have killed himself, if he had his father's murder on his conscience. Oh, no! he would not have forgotten where his pistols lay! I know the prisoner: the savage, stony heartlessness ascribed to him by the prosecutor is inconsistent with his character. He would have killed himself, that's certain. He did not kill himself just because 'his mother's prayers had saved him,' and he was innocent of his father's blood. He was troubled, he was grieving that night at Mokroe only about old Grigory and praying to God that the old man would recover, that his blow had not been fatal, and that he would not have to suffer for it. Why not accept such an interpretation of the facts? What trustworthy proof have we that the prisoner is lying? "But we shall be told at once again, 'There is his father's corpse! If he ran away without murdering him, who did murder him?' Here, I repeat, you have the whole logic of the prosecution. Who murdered him, if not he? There's no one to put in his place. "Gentlemen of the jury, is that really so? Is it positively, actually true that there is no one else at all? We've heard the prosecutor count on his fingers all the persons who were in that house that night. They were five in number; three of them, I agree, could not have been responsible--the murdered man himself, old Grigory, and his wife. There are left then the prisoner and Smerdyakov, and the prosecutor dramatically exclaims that the prisoner pointed to Smerdyakov because he had no one else to fix on, that had there been a sixth person, even a phantom of a sixth person, he would have abandoned the charge against Smerdyakov at once in shame and have accused that other. But, gentlemen of the jury, why may I not draw the very opposite conclusion? There are two persons--the prisoner and Smerdyakov. Why can I not say that you accuse my client, simply because you have no one else to accuse? And you have no one else only because you have determined to exclude Smerdyakov from all suspicion. "It's true, indeed, Smerdyakov is accused only by the prisoner, his two brothers, and Madame Svyetlov. But there are others who accuse him: there are vague rumors of a question, of a suspicion, an obscure report, a feeling of expectation. Finally, we have the evidence of a combination of facts very suggestive, though, I admit, inconclusive. In the first place we have precisely on the day of the catastrophe that fit, for the genuineness of which the prosecutor, for some reason, has felt obliged to make a careful defense. Then Smerdyakov's sudden suicide on the eve of the trial. Then the equally startling evidence given in court to-day by the elder of the prisoner's brothers, who had believed in his guilt, but has to-day produced a bundle of notes and proclaimed Smerdyakov as the murderer. Oh, I fully share the court's and the prosecutor's conviction that Ivan Karamazov is suffering from brain fever, that his statement may really be a desperate effort, planned in delirium, to save his brother by throwing the guilt on the dead man. But again Smerdyakov's name is pronounced, again there is a suggestion of mystery. There is something unexplained, incomplete. And perhaps it may one day be explained. But we won't go into that now. Of that later. "The court has resolved to go on with the trial, but, meantime, I might make a few remarks about the character-sketch of Smerdyakov drawn with subtlety and talent by the prosecutor. But while I admire his talent I cannot agree with him. I have visited Smerdyakov, I have seen him and talked to him, and he made a very different impression on me. He was weak in health, it is true; but in character, in spirit, he was by no means the weak man the prosecutor has made him out to be. I found in him no trace of the timidity on which the prosecutor so insisted. There was no simplicity about him, either. I found in him, on the contrary, an extreme mistrustfulness concealed under a mask of _naivete_, and an intelligence of considerable range. The prosecutor was too simple in taking him for weak-minded. He made a very definite impression on me: I left him with the conviction that he was a distinctly spiteful creature, excessively ambitious, vindictive, and intensely envious. I made some inquiries: he resented his parentage, was ashamed of it, and would clench his teeth when he remembered that he was the son of 'stinking Lizaveta.' He was disrespectful to the servant Grigory and his wife, who had cared for him in his childhood. He cursed and jeered at Russia. He dreamed of going to France and becoming a Frenchman. He used often to say that he hadn't the means to do so. I fancy he loved no one but himself and had a strangely high opinion of himself. His conception of culture was limited to good clothes, clean shirt-fronts and polished boots. Believing himself to be the illegitimate son of Fyodor Pavlovitch (there is evidence of this), he might well have resented his position, compared with that of his master's legitimate sons. They had everything, he nothing. They had all the rights, they had the inheritance, while he was only the cook. He told me himself that he had helped Fyodor Pavlovitch to put the notes in the envelope. The destination of that sum--a sum which would have made his career--must have been hateful to him. Moreover, he saw three thousand roubles in new rainbow-colored notes. (I asked him about that on purpose.) Oh, beware of showing an ambitious and envious man a large sum of money at once! And it was the first time he had seen so much money in the hands of one man. The sight of the rainbow-colored notes may have made a morbid impression on his imagination, but with no immediate results. "The talented prosecutor, with extraordinary subtlety, sketched for us all the arguments for and against the hypothesis of Smerdyakov's guilt, and asked us in particular what motive he had in feigning a fit. But he may not have been feigning at all, the fit may have happened quite naturally, but it may have passed off quite naturally, and the sick man may have recovered, not completely perhaps, but still regaining consciousness, as happens with epileptics. "The prosecutor asks at what moment could Smerdyakov have committed the murder. But it is very easy to point out that moment. He might have waked up from deep sleep (for he was only asleep--an epileptic fit is always followed by a deep sleep) at that moment when the old Grigory shouted at the top of his voice 'Parricide!' That shout in the dark and stillness may have waked Smerdyakov whose sleep may have been less sound at the moment: he might naturally have waked up an hour before. "Getting out of bed, he goes almost unconsciously and with no definite motive towards the sound to see what's the matter. His head is still clouded with his attack, his faculties are half asleep; but, once in the garden, he walks to the lighted windows and he hears terrible news from his master, who would be, of course, glad to see him. His mind sets to work at once. He hears all the details from his frightened master, and gradually in his disordered brain there shapes itself an idea--terrible, but seductive and irresistibly logical. To kill the old man, take the three thousand, and throw all the blame on to his young master. A terrible lust of money, of booty, might seize upon him as he realized his security from detection. Oh! these sudden and irresistible impulses come so often when there is a favorable opportunity, and especially with murderers who have had no idea of committing a murder beforehand. And Smerdyakov may have gone in and carried out his plan. With what weapon? Why, with any stone picked up in the garden. But what for, with what object? Why, the three thousand which means a career for him. Oh, I am not contradicting myself--the money may have existed. And perhaps Smerdyakov alone knew where to find it, where his master kept it. And the covering of the money--the torn envelope on the floor? "Just now, when the prosecutor was explaining his subtle theory that only an inexperienced thief like Karamazov would have left the envelope on the floor, and not one like Smerdyakov, who would have avoided leaving a piece of evidence against himself, I thought as I listened that I was hearing something very familiar, and, would you believe it, I have heard that very argument, that very conjecture, of how Karamazov would have behaved, precisely two days before, from Smerdyakov himself. What's more, it struck me at the time. I fancied that there was an artificial simplicity about him; that he was in a hurry to suggest this idea to me that I might fancy it was my own. He insinuated it, as it were. Did he not insinuate the same idea at the inquiry and suggest it to the talented prosecutor? "I shall be asked, 'What about the old woman, Grigory's wife? She heard the sick man moaning close by, all night.' Yes, she heard it, but that evidence is extremely unreliable. I knew a lady who complained bitterly that she had been kept awake all night by a dog in the yard. Yet the poor beast, it appeared, had only yelped once or twice in the night. And that's natural. If any one is asleep and hears a groan he wakes up, annoyed at being waked, but instantly falls asleep again. Two hours later, again a groan, he wakes up and falls asleep again; and the same thing again two hours later--three times altogether in the night. Next morning the sleeper wakes up and complains that some one has been groaning all night and keeping him awake. And it is bound to seem so to him: the intervals of two hours of sleep he does not remember, he only remembers the moments of waking, so he feels he has been waked up all night. "But why, why, asks the prosecutor, did not Smerdyakov confess in his last letter? Why did his conscience prompt him to one step and not to both? But, excuse me, conscience implies penitence, and the suicide may not have felt penitence, but only despair. Despair and penitence are two very different things. Despair may be vindictive and irreconcilable, and the suicide, laying his hands on himself, may well have felt redoubled hatred for those whom he had envied all his life. "Gentlemen of the jury, beware of a miscarriage of justice! What is there unlikely in all I have put before you just now? Find the error in my reasoning; find the impossibility, the absurdity. And if there is but a shade of possibility, but a shade of probability in my propositions, do not condemn him. And is there only a shade? I swear by all that is sacred, I fully believe in the explanation of the murder I have just put forward. What troubles me and makes me indignant is that of all the mass of facts heaped up by the prosecution against the prisoner, there is not a single one certain and irrefutable. And yet the unhappy man is to be ruined by the accumulation of these facts. Yes, the accumulated effect is awful: the blood, the blood dripping from his fingers, the bloodstained shirt, the dark night resounding with the shout 'Parricide!' and the old man falling with a broken head. And then the mass of phrases, statements, gestures, shouts! Oh! this has so much influence, it can so bias the mind; but, gentlemen of the jury, can it bias your minds? Remember, you have been given absolute power to bind and to loose, but the greater the power, the more terrible its responsibility. "I do not draw back one iota from what I have said just now, but suppose for one moment I agreed with the prosecution that my luckless client had stained his hands with his father's blood. This is only hypothesis, I repeat; I never for one instant doubt of his innocence. But, so be it, I assume that my client is guilty of parricide. Even so, hear what I have to say. I have it in my heart to say something more to you, for I feel that there must be a great conflict in your hearts and minds.... Forgive my referring to your hearts and minds, gentlemen of the jury, but I want to be truthful and sincere to the end. Let us all be sincere!" At this point the speech was interrupted by rather loud applause. The last words, indeed, were pronounced with a note of such sincerity that every one felt that he really might have something to say, and that what he was about to say would be of the greatest consequence. But the President, hearing the applause, in a loud voice threatened to clear the court if such an incident were repeated. Every sound was hushed and Fetyukovitch began in a voice full of feeling quite unlike the tone he had used hitherto. Chapter XIII. A Corrupter Of Thought "It's not only the accumulation of facts that threatens my client with ruin, gentlemen of the jury," he began, "what is really damning for my client is one fact--the dead body of his father. Had it been an ordinary case of murder you would have rejected the charge in view of the triviality, the incompleteness, and the fantastic character of the evidence, if you examine each part of it separately; or, at least, you would have hesitated to ruin a man's life simply from the prejudice against him which he has, alas! only too well deserved. But it's not an ordinary case of murder, it's a case of parricide. That impresses men's minds, and to such a degree that the very triviality and incompleteness of the evidence becomes less trivial and less incomplete even to an unprejudiced mind. How can such a prisoner be acquitted? What if he committed the murder and gets off unpunished? That is what every one, almost involuntarily, instinctively, feels at heart. "Yes, it's a fearful thing to shed a father's blood--the father who has begotten me, loved me, not spared his life for me, grieved over my illnesses from childhood up, troubled all his life for my happiness, and has lived in my joys, in my successes. To murder such a father--that's inconceivable. Gentlemen of the jury, what is a father--a real father? What is the meaning of that great word? What is the great idea in that name? We have just indicated in part what a true father is and what he ought to be. In the case in which we are now so deeply occupied and over which our hearts are aching--in the present case, the father, Fyodor Pavlovitch Karamazov, did not correspond to that conception of a father to which we have just referred. That's the misfortune. And indeed some fathers are a misfortune. Let us examine this misfortune rather more closely: we must shrink from nothing, gentlemen of the jury, considering the importance of the decision you have to make. It's our particular duty not to shrink from any idea, like children or frightened women, as the talented prosecutor happily expresses it. "But in the course of his heated speech my esteemed opponent (and he was my opponent before I opened my lips) exclaimed several times, 'Oh, I will not yield the defense of the prisoner to the lawyer who has come down from Petersburg. I accuse, but I defend also!' He exclaimed that several times, but forgot to mention that if this terrible prisoner was for twenty-three years so grateful for a mere pound of nuts given him by the only man who had been kind to him, as a child in his father's house, might not such a man well have remembered for twenty-three years how he ran in his father's back-yard, 'without boots on his feet and with his little trousers hanging by one button'--to use the expression of the kind-hearted doctor, Herzenstube? "Oh, gentlemen of the jury, why need we look more closely at this misfortune, why repeat what we all know already? What did my client meet with when he arrived here, at his father's house, and why depict my client as a heartless egoist and monster? He is uncontrolled, he is wild and unruly--we are trying him now for that--but who is responsible for his life? Who is responsible for his having received such an unseemly bringing up, in spite of his excellent disposition and his grateful and sensitive heart? Did any one train him to be reasonable? Was he enlightened by study? Did any one love him ever so little in his childhood? My client was left to the care of Providence like a beast of the field. He thirsted perhaps to see his father after long years of separation. A thousand times perhaps he may, recalling his childhood, have driven away the loathsome phantoms that haunted his childish dreams and with all his heart he may have longed to embrace and to forgive his father! And what awaited him? He was met by cynical taunts, suspicions and wrangling about money. He heard nothing but revolting talk and vicious precepts uttered daily over the brandy, and at last he saw his father seducing his mistress from him with his own money. Oh, gentlemen of the jury, that was cruel and revolting! And that old man was always complaining of the disrespect and cruelty of his son. He slandered him in society, injured him, calumniated him, bought up his unpaid debts to get him thrown into prison. "Gentlemen of the jury, people like my client, who are fierce, unruly, and uncontrolled on the surface, are sometimes, most frequently indeed, exceedingly tender-hearted, only they don't express it. Don't laugh, don't laugh at my idea! The talented prosecutor laughed mercilessly just now at my client for loving Schiller--loving the sublime and beautiful! I should not have laughed at that in his place. Yes, such natures--oh, let me speak in defense of such natures, so often and so cruelly misunderstood--these natures often thirst for tenderness, goodness, and justice, as it were, in contrast to themselves, their unruliness, their ferocity--they thirst for it unconsciously. Passionate and fierce on the surface, they are painfully capable of loving woman, for instance, and with a spiritual and elevated love. Again do not laugh at me, this is very often the case in such natures. But they cannot hide their passions--sometimes very coarse--and that is conspicuous and is noticed, but the inner man is unseen. Their passions are quickly exhausted; but, by the side of a noble and lofty creature that seemingly coarse and rough man seeks a new life, seeks to correct himself, to be better, to become noble and honorable, 'sublime and beautiful,' however much the expression has been ridiculed. "I said just now that I would not venture to touch upon my client's engagement. But I may say half a word. What we heard just now was not evidence, but only the scream of a frenzied and revengeful woman, and it was not for her--oh, not for her!--to reproach him with treachery, for she has betrayed him! If she had had but a little time for reflection she would not have given such evidence. Oh, do not believe her! No, my client is not a monster, as she called him! "The Lover of Mankind on the eve of His Crucifixion said: 'I am the Good Shepherd. The good shepherd lays down his life for his sheep, so that not one of them might be lost.' Let not a man's soul be lost through us! "I asked just now what does 'father' mean, and exclaimed that it was a great word, a precious name. But one must use words honestly, gentlemen, and I venture to call things by their right names: such a father as old Karamazov cannot be called a father and does not deserve to be. Filial love for an unworthy father is an absurdity, an impossibility. Love cannot be created from nothing: only God can create something from nothing. " 'Fathers, provoke not your children to wrath,' the apostle writes, from a heart glowing with love. It's not for the sake of my client that I quote these sacred words, I mention them for all fathers. Who has authorized me to preach to fathers? No one. But as a man and a citizen I make my appeal--_vivos voco!_ We are not long on earth, we do many evil deeds and say many evil words. So let us all catch a favorable moment when we are all together to say a good word to each other. That's what I am doing: while I am in this place I take advantage of my opportunity. Not for nothing is this tribune given us by the highest authority--all Russia hears us! I am not speaking only for the fathers here present, I cry aloud to all fathers: 'Fathers, provoke not your children to wrath.' Yes, let us first fulfill Christ's injunction ourselves and only then venture to expect it of our children. Otherwise we are not fathers, but enemies of our children, and they are not our children, but our enemies, and we have made them our enemies ourselves. 'What measure ye mete it shall be measured unto you again'--it's not I who say that, it's the Gospel precept, measure to others according as they measure to you. How can we blame children if they measure us according to our measure? "Not long ago a servant girl in Finland was suspected of having secretly given birth to a child. She was watched, and a box of which no one knew anything was found in the corner of the loft, behind some bricks. It was opened and inside was found the body of a new-born child which she had killed. In the same box were found the skeletons of two other babies which, according to her own confession, she had killed at the moment of their birth. "Gentlemen of the jury, was she a mother to her children? She gave birth to them, indeed; but was she a mother to them? Would any one venture to give her the sacred name of mother? Let us be bold, gentlemen, let us be audacious even: it's our duty to be so at this moment and not to be afraid of certain words and ideas like the Moscow women in Ostrovsky's play, who are scared at the sound of certain words. No, let us prove that the progress of the last few years has touched even us, and let us say plainly, the father is not merely he who begets the child, but he who begets it and does his duty by it. "Oh, of course, there is the other meaning, there is the other interpretation of the word 'father,' which insists that any father, even though he be a monster, even though he be the enemy of his children, still remains my father simply because he begot me. But this is, so to say, the mystical meaning which I cannot comprehend with my intellect, but can only accept by faith, or, better to say, _on faith_, like many other things which I do not understand, but which religion bids me believe. But in that case let it be kept outside the sphere of actual life. In the sphere of actual life, which has, indeed, its own rights, but also lays upon us great duties and obligations, in that sphere, if we want to be humane--Christian, in fact--we must, or ought to, act only upon convictions justified by reason and experience, which have been passed through the crucible of analysis; in a word, we must act rationally, and not as though in dream and delirium, that we may not do harm, that we may not ill-treat and ruin a man. Then it will be real Christian work, not only mystic, but rational and philanthropic...." There was violent applause at this passage from many parts of the court, but Fetyukovitch waved his hands as though imploring them to let him finish without interruption. The court relapsed into silence at once. The orator went on. "Do you suppose, gentlemen, that our children as they grow up and begin to reason can avoid such questions? No, they cannot, and we will not impose on them an impossible restriction. The sight of an unworthy father involuntarily suggests tormenting questions to a young creature, especially when he compares him with the excellent fathers of his companions. The conventional answer to this question is: 'He begot you, and you are his flesh and blood, and therefore you are bound to love him.' The youth involuntarily reflects: 'But did he love me when he begot me?' he asks, wondering more and more. 'Was it for my sake he begot me? He did not know me, not even my sex, at that moment, at the moment of passion, perhaps, inflamed by wine, and he has only transmitted to me a propensity to drunkenness--that's all he's done for me.... Why am I bound to love him simply for begetting me when he has cared nothing for me all my life after?' "Oh, perhaps those questions strike you as coarse and cruel, but do not expect an impossible restraint from a young mind. 'Drive nature out of the door and it will fly in at the window,' and, above all, let us not be afraid of words, but decide the question according to the dictates of reason and humanity and not of mystic ideas. How shall it be decided? Why, like this. Let the son stand before his father and ask him, 'Father, tell me, why must I love you? Father, show me that I must love you,' and if that father is able to answer him and show him good reason, we have a real, normal, parental relation, not resting on mystical prejudice, but on a rational, responsible and strictly humanitarian basis. But if he does not, there's an end to the family tie. He is not a father to him, and the son has a right to look upon him as a stranger, and even an enemy. Our tribune, gentlemen of the jury, ought to be a school of true and sound ideas." (Here the orator was interrupted by irrepressible and almost frantic applause. Of course, it was not the whole audience, but a good half of it applauded. The fathers and mothers present applauded. Shrieks and exclamations were heard from the gallery, where the ladies were sitting. Handkerchiefs were waved. The President began ringing his bell with all his might. He was obviously irritated by the behavior of the audience, but did not venture to clear the court as he had threatened. Even persons of high position, old men with stars on their breasts, sitting on specially reserved seats behind the judges, applauded the orator and waved their handkerchiefs. So that when the noise died down, the President confined himself to repeating his stern threat to clear the court, and Fetyukovitch, excited and triumphant, continued his speech.) "Gentlemen of the jury, you remember that awful night of which so much has been said to-day, when the son got over the fence and stood face to face with the enemy and persecutor who had begotten him. I insist most emphatically it was not for money he ran to his father's house: the charge of robbery is an absurdity, as I proved before. And it was not to murder him he broke into the house, oh, no! If he had had that design he would, at least, have taken the precaution of arming himself beforehand. The brass pestle he caught up instinctively without knowing why he did it. Granted that he deceived his father by tapping at the window, granted that he made his way in--I've said already that I do not for a moment believe that legend, but let it be so, let us suppose it for a moment. Gentlemen, I swear to you by all that's holy, if it had not been his father, but an ordinary enemy, he would, after running through the rooms and satisfying himself that the woman was not there, have made off, post-haste, without doing any harm to his rival. He would have struck him, pushed him away perhaps, nothing more, for he had no thought and no time to spare for that. What he wanted to know was where she was. But his father, his father! The mere sight of the father who had hated him from his childhood, had been his enemy, his persecutor, and now his unnatural rival, was enough! A feeling of hatred came over him involuntarily, irresistibly, clouding his reason. It all surged up in one moment! It was an impulse of madness and insanity, but also an impulse of nature, irresistibly and unconsciously (like everything in nature) avenging the violation of its eternal laws. "But the prisoner even then did not murder him--I maintain that, I cry that aloud!--no, he only brandished the pestle in a burst of indignant disgust, not meaning to kill him, not knowing that he would kill him. Had he not had this fatal pestle in his hand, he would have only knocked his father down perhaps, but would not have killed him. As he ran away, he did not know whether he had killed the old man. Such a murder is not a murder. Such a murder is not a parricide. No, the murder of such a father cannot be called parricide. Such a murder can only be reckoned parricide by prejudice. "But I appeal to you again and again from the depths of my soul; did this murder actually take place? Gentlemen of the jury, if we convict and punish him, he will say to himself: 'These people have done nothing for my bringing up, for my education, nothing to improve my lot, nothing to make me better, nothing to make me a man. These people have not given me to eat and to drink, have not visited me in prison and nakedness, and here they have sent me to penal servitude. I am quits, I owe them nothing now, and owe no one anything for ever. They are wicked and I will be wicked. They are cruel and I will be cruel.' That is what he will say, gentlemen of the jury. And I swear, by finding him guilty you will only make it easier for him: you will ease his conscience, he will curse the blood he has shed and will not regret it. At the same time you will destroy in him the possibility of becoming a new man, for he will remain in his wickedness and blindness all his life. "But do you want to punish him fearfully, terribly, with the most awful punishment that could be imagined, and at the same time to save him and regenerate his soul? If so, overwhelm him with your mercy! You will see, you will hear how he will tremble and be horror-struck. 'How can I endure this mercy? How can I endure so much love? Am I worthy of it?' That's what he will exclaim. "Oh, I know, I know that heart, that wild but grateful heart, gentlemen of the jury! It will bow before your mercy; it thirsts for a great and loving action, it will melt and mount upwards. There are souls which, in their limitation, blame the whole world. But subdue such a soul with mercy, show it love, and it will curse its past, for there are many good impulses in it. Such a heart will expand and see that God is merciful and that men are good and just. He will be horror-stricken; he will be crushed by remorse and the vast obligation laid upon him henceforth. And he will not say then, 'I am quits,' but will say, 'I am guilty in the sight of all men and am more unworthy than all.' With tears of penitence and poignant, tender anguish, he will exclaim: 'Others are better than I, they wanted to save me, not to ruin me!' Oh, this act of mercy is so easy for you, for in the absence of anything like real evidence it will be too awful for you to pronounce: 'Yes, he is guilty.' "Better acquit ten guilty men than punish one innocent man! Do you hear, do you hear that majestic voice from the past century of our glorious history? It is not for an insignificant person like me to remind you that the Russian court does not exist for the punishment only, but also for the salvation of the criminal! Let other nations think of retribution and the letter of the law, we will cling to the spirit and the meaning--the salvation and the reformation of the lost. If this is true, if Russia and her justice are such, she may go forward with good cheer! Do not try to scare us with your frenzied troikas from which all the nations stand aside in disgust. Not a runaway troika, but the stately chariot of Russia will move calmly and majestically to its goal. In your hands is the fate of my client, in your hands is the fate of Russian justice. You will defend it, you will save it, you will prove that there are men to watch over it, that it is in good hands!" Chapter XIV. The Peasants Stand Firm This was how Fetyukovitch concluded his speech, and the enthusiasm of the audience burst like an irresistible storm. It was out of the question to stop it: the women wept, many of the men wept too, even two important personages shed tears. The President submitted, and even postponed ringing his bell. The suppression of such an enthusiasm would be the suppression of something sacred, as the ladies cried afterwards. The orator himself was genuinely touched. And it was at this moment that Ippolit Kirillovitch got up to make certain objections. People looked at him with hatred. "What? What's the meaning of it? He positively dares to make objections," the ladies babbled. But if the whole world of ladies, including his wife, had protested he could not have been stopped at that moment. He was pale, he was shaking with emotion, his first phrases were even unintelligible, he gasped for breath, could hardly speak clearly, lost the thread. But he soon recovered himself. Of this new speech of his I will quote only a few sentences. "... I am reproached with having woven a romance. But what is this defense if not one romance on the top of another? All that was lacking was poetry. Fyodor Pavlovitch, while waiting for his mistress, tears open the envelope and throws it on the floor. We are even told what he said while engaged in this strange act. Is not this a flight of fancy? And what proof have we that he had taken out the money? Who heard what he said? The weak-minded idiot, Smerdyakov, transformed into a Byronic hero, avenging society for his illegitimate birth--isn't this a romance in the Byronic style? And the son who breaks into his father's house and murders him without murdering him is not even a romance--this is a sphinx setting us a riddle which he cannot solve himself. If he murdered him, he murdered him, and what's the meaning of his murdering him without having murdered him--who can make head or tail of this? "Then we are admonished that our tribune is a tribune of true and sound ideas and from this tribune of 'sound ideas' is heard a solemn declaration that to call the murder of a father 'parricide' is nothing but a prejudice! But if parricide is a prejudice, and if every child is to ask his father why he is to love him, what will become of us? What will become of the foundations of society? What will become of the family? Parricide, it appears, is only a bogy of Moscow merchants' wives. The most precious, the most sacred guarantees for the destiny and future of Russian justice are presented to us in a perverted and frivolous form, simply to attain an object--to obtain the justification of something which cannot be justified. 'Oh, crush him by mercy,' cries the counsel for the defense; but that's all the criminal wants, and to-morrow it will be seen how much he is crushed. And is not the counsel for the defense too modest in asking only for the acquittal of the prisoner? Why not found a charity in the honor of the parricide to commemorate his exploit among future generations? Religion and the Gospel are corrected--that's all mysticism, we are told, and ours is the only true Christianity which has been subjected to the analysis of reason and common sense. And so they set up before us a false semblance of Christ! 'What measure ye mete so it shall be meted unto you again,' cried the counsel for the defense, and instantly deduces that Christ teaches us to measure as it is measured to us--and this from the tribune of truth and sound sense! We peep into the Gospel only on the eve of making speeches, in order to dazzle the audience by our acquaintance with what is, anyway, a rather original composition, which may be of use to produce a certain effect--all to serve the purpose! But what Christ commands us is something very different: He bids us beware of doing this, because the wicked world does this, but we ought to forgive and to turn the other cheek, and not to measure to our persecutors as they measure to us. This is what our God has taught us and not that to forbid children to murder their fathers is a prejudice. And we will not from the tribune of truth and good sense correct the Gospel of our Lord, Whom the counsel for the defense deigns to call only 'the crucified lover of humanity,' in opposition to all orthodox Russia, which calls to Him, 'For Thou art our God!' " At this the President intervened and checked the over-zealous speaker, begging him not to exaggerate, not to overstep the bounds, and so on, as presidents always do in such cases. The audience, too, was uneasy. The public was restless: there were even exclamations of indignation. Fetyukovitch did not so much as reply; he only mounted the tribune to lay his hand on his heart and, with an offended voice, utter a few words full of dignity. He only touched again, lightly and ironically, on "romancing" and "psychology," and in an appropriate place quoted, "Jupiter, you are angry, therefore you are wrong," which provoked a burst of approving laughter in the audience, for Ippolit Kirillovitch was by no means like Jupiter. Then, _a propos_ of the accusation that he was teaching the young generation to murder their fathers, Fetyukovitch observed, with great dignity, that he would not even answer. As for the prosecutor's charge of uttering unorthodox opinions, Fetyukovitch hinted that it was a personal insinuation and that he had expected in this court to be secure from accusations "damaging to my reputation as a citizen and a loyal subject." But at these words the President pulled him up, too, and Fetyukovitch concluded his speech with a bow, amid a hum of approbation in the court. And Ippolit Kirillovitch was, in the opinion of our ladies, "crushed for good." Then the prisoner was allowed to speak. Mitya stood up, but said very little. He was fearfully exhausted, physically and mentally. The look of strength and independence with which he had entered in the morning had almost disappeared. He seemed as though he had passed through an experience that day, which had taught him for the rest of his life something very important he had not understood till then. His voice was weak, he did not shout as before. In his words there was a new note of humility, defeat and submission. "What am I to say, gentlemen of the jury? The hour of judgment has come for me, I feel the hand of God upon me! The end has come to an erring man! But, before God, I repeat to you, I am innocent of my father's blood! For the last time I repeat, it wasn't I killed him! I was erring, but I loved what is good. Every instant I strove to reform, but I lived like a wild beast. I thank the prosecutor, he told me many things about myself that I did not know; but it's not true that I killed my father, the prosecutor is mistaken. I thank my counsel, too. I cried listening to him; but it's not true that I killed my father, and he needn't have supposed it. And don't believe the doctors. I am perfectly sane, only my heart is heavy. If you spare me, if you let me go, I will pray for you. I will be a better man. I give you my word before God I will! And if you will condemn me, I'll break my sword over my head myself and kiss the pieces. But spare me, do not rob me of my God! I know myself, I shall rebel! My heart is heavy, gentlemen ... spare me!" He almost fell back in his place: his voice broke: he could hardly articulate the last phrase. Then the judges proceeded to put the questions and began to ask both sides to formulate their conclusions. But I will not describe the details. At last the jury rose to retire for consultation. The President was very tired, and so his last charge to the jury was rather feeble. "Be impartial, don't be influenced by the eloquence of the defense, but yet weigh the arguments. Remember that there is a great responsibility laid upon you," and so on and so on. The jury withdrew and the court adjourned. People could get up, move about, exchange their accumulated impressions, refresh themselves at the buffet. It was very late, almost one o'clock in the night, but nobody went away: the strain was so great that no one could think of repose. All waited with sinking hearts; though that is, perhaps, too much to say, for the ladies were only in a state of hysterical impatience and their hearts were untroubled. An acquittal, they thought, was inevitable. They all prepared themselves for a dramatic moment of general enthusiasm. I must own there were many among the men, too, who were convinced that an acquittal was inevitable. Some were pleased, others frowned, while some were simply dejected, not wanting him to be acquitted. Fetyukovitch himself was confident of his success. He was surrounded by people congratulating him and fawning upon him. "There are," he said to one group, as I was told afterwards, "there are invisible threads binding the counsel for the defense with the jury. One feels during one's speech if they are being formed. I was aware of them. They exist. Our cause is won. Set your mind at rest." "What will our peasants say now?" said one stout, cross-looking, pock- marked gentleman, a landowner of the neighborhood, approaching a group of gentlemen engaged in conversation. "But they are not all peasants. There are four government clerks among them." "Yes, there are clerks," said a member of the district council, joining the group. "And do you know that Nazaryev, the merchant with the medal, a juryman?" "What of him?" "He is a man with brains." "But he never speaks." "He is no great talker, but so much the better. There's no need for the Petersburg man to teach him: he could teach all Petersburg himself. He's the father of twelve children. Think of that!" "Upon my word, you don't suppose they won't acquit him?" one of our young officials exclaimed in another group. "They'll acquit him for certain," said a resolute voice. "It would be shameful, disgraceful, not to acquit him!" cried the official. "Suppose he did murder him--there are fathers and fathers! And, besides, he was in such a frenzy.... He really may have done nothing but swing the pestle in the air, and so knocked the old man down. But it was a pity they dragged the valet in. That was simply an absurd theory! If I'd been in Fetyukovitch's place, I should simply have said straight out: 'He murdered him; but he is not guilty, hang it all!' " "That's what he did, only without saying, 'Hang it all!' " "No, Mihail Semyonovitch, he almost said that, too," put in a third voice. "Why, gentlemen, in Lent an actress was acquitted in our town who had cut the throat of her lover's lawful wife." "Oh, but she did not finish cutting it." "That makes no difference. She began cutting it." "What did you think of what he said about children? Splendid, wasn't it?" "Splendid!" "And about mysticism, too!" "Oh, drop mysticism, do!" cried some one else; "think of Ippolit and his fate from this day forth. His wife will scratch his eyes out to-morrow for Mitya's sake." "Is she here?" "What an idea! If she'd been here she'd have scratched them out in court. She is at home with toothache. He he he!" "He he he!" In a third group: "I dare say they will acquit Mitenka, after all." "I should not be surprised if he turns the 'Metropolis' upside down to- morrow. He will be drinking for ten days!" "Oh, the devil!" "The devil's bound to have a hand in it. Where should he be if not here?" "Well, gentlemen, I admit it was eloquent. But still it's not the thing to break your father's head with a pestle! Or what are we coming to?" "The chariot! Do you remember the chariot?" "Yes; he turned a cart into a chariot!" "And to-morrow he will turn a chariot into a cart, just to suit his purpose." "What cunning chaps there are nowadays! Is there any justice to be had in Russia?" But the bell rang. The jury deliberated for exactly an hour, neither more nor less. A profound silence reigned in the court as soon as the public had taken their seats. I remember how the jurymen walked into the court. At last! I won't repeat the questions in order, and, indeed, I have forgotten them. I remember only the answer to the President's first and chief question: "Did the prisoner commit the murder for the sake of robbery and with premeditation?" (I don't remember the exact words.) There was a complete hush. The foreman of the jury, the youngest of the clerks, pronounced, in a clear, loud voice, amidst the deathlike stillness of the court: "Yes, guilty!" And the same answer was repeated to every question: "Yes, guilty!" and without the slightest extenuating comment. This no one had expected; almost every one had reckoned upon a recommendation to mercy, at least. The deathlike silence in the court was not broken--all seemed petrified: those who desired his conviction as well as those who had been eager for his acquittal. But that was only for the first instant, and it was followed by a fearful hubbub. Many of the men in the audience were pleased. Some were rubbing their hands with no attempt to conceal their joy. Those who disagreed with the verdict seemed crushed, shrugged their shoulders, whispered, but still seemed unable to realize this. But how shall I describe the state the ladies were in? I thought they would create a riot. At first they could scarcely believe their ears. Then suddenly the whole court rang with exclamations: "What's the meaning of it? What next?" They leapt up from their places. They seemed to fancy that it might be at once reconsidered and reversed. At that instant Mitya suddenly stood up and cried in a heartrending voice, stretching his hands out before him: "I swear by God and the dreadful Day of Judgment I am not guilty of my father's blood! Katya, I forgive you! Brothers, friends, have pity on the other woman!" He could not go on, and broke into a terrible sobbing wail that was heard all over the court in a strange, unnatural voice unlike his own. From the farthest corner at the back of the gallery came a piercing shriek--it was Grushenka. She had succeeded in begging admittance to the court again before the beginning of the lawyers' speeches. Mitya was taken away. The passing of the sentence was deferred till next day. The whole court was in a hubbub but I did not wait to hear. I only remember a few exclamations I heard on the steps as I went out. "He'll have a twenty years' trip to the mines!" "Not less." "Well, our peasants have stood firm." "And have done for our Mitya."

Book 12

https://web.archive.org/web/20210422052201/https://www.gradesaver.com/the-brothers-karamazov/study-guide/summary-book-12

Dmitri's trial is a public spectacle. People have heard the news of the case, and the courtroom is crowded with spectators, mostly women, Interestingly, many of them are hoping for Dmitri's acquittal. Most of the men at the trial are not as sympathetic to this ladies' man, hoping for a conviction. Many people also have come to witness what they think will be a dramatic confrontation between Katerina and Grushenka. Rumors about both women are flying, and the public is hungry for a showdown. When the news is read that Smerdyakov will not appear as a witness because he has committed suicide, Dmitri exclaims, "A dog's death for a dog!" When asked how he will plead, Dmitri goes on a tirade about how he is guilty of many things. He says that he is guilty of "drunkenness and disorderly behavior ... laziness and debauchery." But he says he "had resolved to become a decent man" for the rest of his life when he was arrested for this crime, which he did not commit. He pleads "not guilty" to the charges against him, but everyone, including his supporters, know that the prosecution has quite a case against him. Dmitri's lawyer deftly discredits witnesses who testify against Dmitri, such as Captain Snegiryov, Rakitin, and Grigory, citing possible ulterior motives that each witness might have. His lawyer is very skilled, and he argues expertly for Dmitri. Alyosha is not discredited because he is known for his unquestionable honesty, and he makes a case for Dmitri's innocence. Alyosha cites a conversation he had with his brother proving that Dmitri indeed was in possession of a large sum of money before the murder took place. Alyosha contends that needing Fyodor's 3,000 rubles could not have been Dmitri's motive for the murder. This testimony proves that Dmitri has not stolen the money that the police found on his person; he had it before the murder. Katerina further strengthens Dmitri's case by recounting stories about Dmitri that show he is an honorable man at his core. She says that Dmitri did not blackmail or seduce her even though he had the chance. Katerina's testimony upsets Dmitri, for he believes this will besmirch her name, but she tells the story anyway to help the man she has sworn to support and cherish. Ivan suddenly appears in the courtroom, and when cross-examined, he proves to be of little help to anyone. He is clearly not well, and he does not make sense. He gives no evidence against Smerdyakov; he barely gives any evidence at all. But as he is leaving the courtroom, he shows the court the 3,000 rubles that Smerdyakov gave him. He asserts that Smerdyakov murdered and robbed Fyodor and that the 3,000 rubles are his blood money. He adds that he has been visited by a devil--and people begin to murmur. Because of his apparent insanity, his knowledge of Smerdyakov's confession is discredited, and he is removed from the courtroom. Katerina takes the stand again, inexplicably changing her position on Dmitri, showing the courtroom Dmitri's letter stating that he would kill Fyodor for money. The court asks her why she hid this evidence, and she answers that she had been trying to save her love at all costs, but his infidelity and lack of appreciation had finally gotten to her--she could take it no longer and felt she must tell the truth. Grushenka flies into a rage and insults Katerina for her duplicity, and the courtroom erupts into bedlam. The prosecutor closes. He earnestly believes that Dmitri is guilty and that the crime is despicable. He talks about the declining morals of the Russian people, among many of whom honor has been replaced with sordid intellectualization. He attacks Fyodor for his rampant sensualism and selfish greed. He says that the old man's actions must have made a son bitter and angry. Nevertheless, he says, this awfulness does not excuse the horrible murder that he believes Dmitri committed. The prosecutor analyzes each Karamazov brother, concluding with the accused. He says that Dmitri has been both passionate and desperate, which are two telltale qualities of a murderer. He adds that Smerdyakov had neither of these qualities, putting to rest the theory of his guilt. Also, he points out that Smerdyakov had a seizure the night of the murder. The most damning piece of evidence against Dmitri is the letter that Katerina showed the court. He asks the jury to convict Dmitri of parricide. Dmitri's lawyer is somewhat of a celebrity, and the courtroom is excited to hear his oration. He speaks precisely and warmly, charging the prosecution with "malice" and speaking with sensitive plaintiveness. He begins by setting out to prove why all the evidence against Dmitri is questionable. He makes subtle jibes at the prosecutor for his psychological inferences, pointing out how psychology is "a knife that cuts both ways." He explains how psychology could as easily prove that Dmitri is a sympathetic, impulsive man or a cold, calculating fiend. Hence, psychological evidence is questionable and undependable. Besides, he adds, other pieces of evidence do not make sense. For instance, there is no proof that Fyodor had 3,000 rubles for Dmitri to steal. Dmitri's explanation of where the money came from is as good as the theory that he obtained it by robbing Fyodor. The defense sees great leaps of imagination, as if the events that have taken place are part of a great "novel." The defense lawyer next explains how Fyodor was a horrible father, neglecting, abandoning, and generally abusing the boy. Dmitri was a misguided youth who essentially grew up without a father. In addition, Smerdyakov's guilt is called into question again. Finally, the lawyer argues that prisons are for reform, not punishment, but convicting Dmitri will actually ruin his chances for reform. When he finishes, the courtroom erupts into applause. After a brief respite, the jurors return and pronounce that Dmitri has been found guilty. Over the din of the courtroom, Dmitri yells that he is innocent, that he forgives Katerina, and that he wishes his family will take care of Grushenka. He is led out of the courtroom.

The final chapters of this novel take place in a courtroom, which is a fitting end to a novel centered around a murder. This is a novel about guilt, and though Dmitri is the one on trial, he is not the only one whose life is scrutinized during the legal proceedings. These final chapters are an allegory for the intense judgment every character faces, either internally or externally. Since religion is such a large part of the novel, this judgment calls to mind a spiritual reckoning. Whether it is with a court, with God, or with oneself, every character faces a trial. Father Zossima says that one's own conscience is the only meaningful means of punishment. Ivan's own struggle, for instance, is all in his own head . Smerdyakov has carried out his own sentence on himself. Though Dmitri's trial is public, suggesting that it is socially more important than the inner trials of the other characters, this is the least meaningful arena in which to assess moral guilt. In addition to the fact that public trial and punishment run counter to the ideas of Father Zossima , the reader knows from the beginning that Dmitri is innocent of the crime of which he is being accused. This trial is not about conscience, inner motives, or wickedness, which are all complicated and subject to interpretation. Despite the talk of psychology, this trial is about facts, and the state uses these facts to come to the false conclusion that Dmitri murdered his father. It is both sad and funny that the most explicit trial, with the most people analyzing it, is a failure of justice. This supports Father Zossima's posture that punishment by the state is a sham. One can only hope that self-analysis is more successful. The trial is also a public spectacle because people are interested in the scandal and intrigue. The lawyer for the defense is known for his brilliant orations and his entertaining pleas, not for his strict attention to detail. In this trial, emotion has a starring role, and truth has just a supporting role. The fact that Dmitri may be innocent or guilty takes a back seat to what he represents for each member of the crowd and jury. Some spectators are sympathetic to Dmitri's good heart. They hope to see such a forthright soul acquitted. Others have moral problems with his seduction of Katerina and subsequent abandonment, not to mention his unpaid debt. Indebtedness is an important concept in the novel. Partly because Russia has fallen under such difficult times, the presence or absence of money is tied into larger ideas of pride and honor. It is a very shameful thing not to pay one's debts, and characters such as Captain Snegiryov and Ivan go to great lengths to stay free from the burden of owing money. Their sense of integrity is based on their financial independence. It is a very disgraceful thing in the eyes of many townspeople that Dmitri has not paid back the generous loan from Katerina. The facts of the case aside, the trial is a public performance centered around a licentious family drama. It is a battleground of morality and intrigue based on the deeply held beliefs and feelings of those watching the trial, not on details. Dmitri has become a celebrity. Others define themselves by their stance about the trial. A townsperson can know what kind of person someone else is by his or her opinion about Dmitri Karamazov. In this way the trial is more about the people watching than about Dmitri. The myriad spectators are reflecting aspects of their own identities. The essence of each character becomes more clear as each one takes the stand. For instance, the testimonies of Grigory and Marfa are straightforward and condemning. These two are dedicated to their plain view of honesty, and if the truth puts a boy they helped to raise in prison, then so be it. This outcome is inevitable, for there is no other option for them. Alyosha is respectful, honest, warm, and insightful, and his testimony is not only beyond reproach but also, fortunately, helpful to Dmitri. Grushenka proves herself to be a good match for Dmitri, for her testimony is emotional and uncouth, but her devotion to Dmitri is clear. Katerina, for her part, shows herself to be very deceptive. She gives a personally embarrassing testimonial about Dmitri's character, again humbling herself to help the man she ostensibly loves, yet before the trial is through, she gives evidence that seals Dmitri's fate, saying she is fed up with his mockery of her. It is unclear why she does this, but it is certain that she has a personal agenda and that her actions are not coming from her heart but from some plan of hers. Perhaps she wants to become a martyr or to win some kind of salvation or vindication with a devotion she does not feel. In any case, she is shady; her calm and loving exterior is covering up something more calculating and shadowy. Ivan's "testimony" shows how deep his feelings of shame and guilt run. In this novel, as in Crime and Punishment, sickness has a direct correlation with conscience. The seriousness of Ivan's condition indicates his inner turmoil. Ivan, who seems so controlled and psychologically stable the rest of the time, has fallen apart. What at first seemed to be a cold and dispassionate manner is clearly a veneer. Under the light of a public inquisition, people like Ivan might reveal some hidden but true colors. Dmitri's conviction for his father's murder has ramifications that range beyond family to the political and religious. Why would Dostoevsky end his novel with the wrong character being convicted of a crime? The wrongful conviction points out the injustice of the world--unless it is the justice of conscience after all, succeeding even though the state has been incorrect in this particular determination of right and wrong. Does Dmitri need to suffer for his life? Does Dmitri deserve to go to jail, even if he did not kill anyone? Insofar as Zossima's idea of punishment involves one's own conscience, true justice is personal or spiritual, not political. Why, then, make a public trial so significant in the novel? Even though going to prison may not make a man change, it provides character-building hardships. As many characters in the novel explain, they long for suffering in order to purge their feelings of guilt and shame. Dmitri has been on the border between salvation and damnation the entire novel. This is Dmitri's chance to purge his guilt by enduring hardship, even if it is for the wrong crime. The conviction is thus a sort of blessing. Smerdyakov, who escapes conviction, has fared much worse than Dmitri, according to Zossima's sense of justice. The weight on Smerdyakov's conscience was apparently so great that he took his own life, alone and without the support of his society to help him. Ivan, who also feels guilt for the murder, is not put on trial either, but his feelings of guilt get the best of him, driving him insane. The trial does not show, at least not to us, that Dmitri is guilty of any crime beyond what he already has determined about himself. Likewise, the other characters, more or less, show that they have met a kind of justice that does not depend at all on the jury. Rather, the press of public attention does help people come clean. The trial is thus not really about the penal system and its imperfections. Instead, it is a platform giving Dmitri, and to some degree others, a chance for absolution in a social and political context, with personal and spiritual ramifications. The trial is a public platform that tests the true character of all those involved.

shmoop

all_chapterized_books/110-chapters/01.txt

finished_summaries/shmoop/Tess of the D'Urbervilles/section_0_part_0.txt

Tess of the D'Urbervilles.chapter 1

chapter 1

{"name": "Phase I: \"The Maiden,\" Chapter One", "url": "https://web.archive.org/web/20210424232301/http://www.shmoop.com/study-guides/literature/tess-of-the-durbervilles/summary/chapter-1", "summary": "The novel opens on the road: a \"middle-aged man\" is walking home from Shaston to Marlott . The time is evening in late May, and the year is sometime in the late nineteenth century. The man passes an elderly parson . The man says \"Goodnight t'ye\" politely, and the parson responds, \"Good night, Sir John.\" This puzzles the man--apparently the parson has passed him on the road twice in the last month, and has called him \"Sir John\" on both occasions. He asks the parson what he means by it, when he's not \"Sir John,\" but only \"plain Jack Durbeyfield, the haggler\" . The parson hesitates before explaining himself. He says that he is Parson Tringham, and that he is an antiquary , and that he had discovered recently that Durbeyfield was the \"direct lineal representative\" of the ancient, aristocratic family of the D'Urbervilles, and that his ancestor, Sir Pagan D'Urberville, came to England from Normandy with William the Conqueror . Let's break for a Historical Context Lesson: It's important for you to understand the history here, because Jack Durbeyfield so often gets it wrong: the current line of kings and queens in England descends directly from King William I, who is often referred to as William the Conqueror. He was a Duke in the northern region of France called Normandy and, for various reasons, felt that he had a claim to the throne of England. Never mind that England already had a king at that point . So William set off across the English Channel with a group of knights and their armies, and in the great Battle of Hastings in 1066, they conquered the Saxons in England, and Harold died in battle with an arrow in his eyeball . So the French Normans became the rulers of England from that time forward. For a long time, the ruling class in England spoke French, and the peasants and lower classes spoke old English--they had a hard time communicating with each other. After a while, the two languages kind of merged. But many of the Norman, or French-sounding names, lived on in the aristocratic families that descended from William the Conqueror's knights, and their names were recorded in a list called the \"Abbey Roll,\" which Parson Tringham refers to here. If you've read Jane Austen's Pride and Prejudice, for example, you'll remember that Darcy's snobby aunt's name is \"Lady Catherine De Bourg\"--a very French, and therefore very \"old-money,\" kind of aristocratic name. In the context of Tess of the D'Urbervilles, D'Urberville is most certainly a French-sounding name, while \"Durbeyfield\" sounds more English, and therefore more common and less aristocratic . Now, back to the story: Jack Durbeyfield has never heard any of this before, and he's very interested. Parson Tringham goes on to tell him the history of his family in brief--although his family is now debased, there have been \"generations of Sir Johns among you, and if knighthood were hereditary, like a baronetcy you would be Sir John now\" . Another quick historical side note, again: Jack Durbeyfield can't quite get his head around this. Knights, as you know, are called \"Sir whoever.\" So are baronets, who are below dukes and earls and such on the social ladder, and just above knights. But knights can't pass on their title to their sons--only baronets, dukes, earls, and other \"hereditary\" titles can do that. So, for example, Paul McCartney might be \"Sir Paul McCartney,\" thanks to the Queen's appreciation of the Beatles, but he can't pass the title on to his children. Jack Durbeyfield doesn't quite understand all this. He seems to think that because his ancestors were knights, he just needs to get his name to the right people to become recognized as \"Sir John\" himself. Back to our story: The parson explains that no one else knows anything about Jack Durbeyfield's connection to the noble family of D'Urberville, because the D'Urbervilles have all but died out--they no longer have a family estate anywhere in England. Jack reflects that he remembers hearing his father and grandfather say that their family had known better times, but he had assumed that that only meant that they used to keep two horses, instead of just one. They also have a \"graven seal\" and an old silver spoon in the family The parson concludes by informing Jack Durbeyfield that his ancestors are buried in a little place called \"Kingsbere-sub-Greenhill.\" Jack Durbeyfield is eager to know whether his family might ever rise to power again. The parson doesn't know, of course. Jack asks what he should do about it--the parson says he shouldn't do anything, and closes their conversation with the cliche about \"how the mighty have fallen.\" Jack offers the parson a quart of beer \"on the strength of it\" at the local pub . The parson declines and rides on, reflecting that he probably shouldn't have told Jack Durbeyfield about his aristocratic connections. Jack sits under a tree to daydream until a young man walks by. Jack calls to him, and the young man hurries over, rather displeased that Jack called him \"boy\" in such a patronizing way. Jack explains that he's just discovered that he's of noble blood, and that he is actually \"Sir John D'Urberville.\" He tells the young man, whose name is Fred, to take his basket and run into town to send a horse and carriage to carry him home, and then to run to his house to tell Mrs. Durbeyfield that he has something important to tell her. Fred seems hesitant, until Jack Durbeyfield gives him a shilling for his trouble. Just before Fred leaves \"Sir John\" on his errand, Jack hears some music over the hills, and asks what it is. Fred reminds him that it's the \"women's club-walking,\" and that Durbeyfield's own daughter is one of the members. Then Fred leaves, and Durbeyfield stays lying in the grass, listening to the music.", "analysis": ""}

On an evening in the latter part of May a middle-aged man was walking homeward from Shaston to the village of Marlott, in the adjoining Vale of Blakemore, or Blackmoor. The pair of legs that carried him were rickety, and there was a bias in his gait which inclined him somewhat to the left of a straight line. He occasionally gave a smart nod, as if in confirmation of some opinion, though he was not thinking of anything in particular. An empty egg-basket was slung upon his arm, the nap of his hat was ruffled, a patch being quite worn away at its brim where his thumb came in taking it off. Presently he was met by an elderly parson astride on a gray mare, who, as he rode, hummed a wandering tune. "Good night t'ee," said the man with the basket. "Good night, Sir John," said the parson. The pedestrian, after another pace or two, halted, and turned round. "Now, sir, begging your pardon; we met last market-day on this road about this time, and I said 'Good night,' and you made reply '_Good night, Sir John_,' as now." "I did," said the parson. "And once before that--near a month ago." "I may have." "Then what might your meaning be in calling me 'Sir John' these different times, when I be plain Jack Durbeyfield, the haggler?" The parson rode a step or two nearer. "It was only my whim," he said; and, after a moment's hesitation: "It was on account of a discovery I made some little time ago, whilst I was hunting up pedigrees for the new county history. I am Parson Tringham, the antiquary, of Stagfoot Lane. Don't you really know, Durbeyfield, that you are the lineal representative of the ancient and knightly family of the d'Urbervilles, who derive their descent from Sir Pagan d'Urberville, that renowned knight who came from Normandy with William the Conqueror, as appears by Battle Abbey Roll?" "Never heard it before, sir!" "Well it's true. Throw up your chin a moment, so that I may catch the profile of your face better. Yes, that's the d'Urberville nose and chin--a little debased. Your ancestor was one of the twelve knights who assisted the Lord of Estremavilla in Normandy in his conquest of Glamorganshire. Branches of your family held manors over all this part of England; their names appear in the Pipe Rolls in the time of King Stephen. In the reign of King John one of them was rich enough to give a manor to the Knights Hospitallers; and in Edward the Second's time your forefather Brian was summoned to Westminster to attend the great Council there. You declined a little in Oliver Cromwell's time, but to no serious extent, and in Charles the Second's reign you were made Knights of the Royal Oak for your loyalty. Aye, there have been generations of Sir Johns among you, and if knighthood were hereditary, like a baronetcy, as it practically was in old times, when men were knighted from father to son, you would be Sir John now." "Ye don't say so!" "In short," concluded the parson, decisively smacking his leg with his switch, "there's hardly such another family in England." "Daze my eyes, and isn't there?" said Durbeyfield. "And here have I been knocking about, year after year, from pillar to post, as if I was no more than the commonest feller in the parish... And how long hev this news about me been knowed, Pa'son Tringham?" The clergyman explained that, as far as he was aware, it had quite died out of knowledge, and could hardly be said to be known at all. His own investigations had begun on a day in the preceding spring when, having been engaged in tracing the vicissitudes of the d'Urberville family, he had observed Durbeyfield's name on his waggon, and had thereupon been led to make inquiries about his father and grandfather till he had no doubt on the subject. "At first I resolved not to disturb you with such a useless piece of information," said he. "However, our impulses are too strong for our judgement sometimes. I thought you might perhaps know something of it all the while." "Well, I have heard once or twice, 'tis true, that my family had seen better days afore they came to Blackmoor. But I took no notice o't, thinking it to mean that we had once kept two horses where we now keep only one. I've got a wold silver spoon, and a wold graven seal at home, too; but, Lord, what's a spoon and seal? ... And to think that I and these noble d'Urbervilles were one flesh all the time. 'Twas said that my gr't-granfer had secrets, and didn't care to talk of where he came from... And where do we raise our smoke, now, parson, if I may make so bold; I mean, where do we d'Urbervilles live?" "You don't live anywhere. You are extinct--as a county family." "That's bad." "Yes--what the mendacious family chronicles call extinct in the male line--that is, gone down--gone under." "Then where do we lie?" "At Kingsbere-sub-Greenhill: rows and rows of you in your vaults, with your effigies under Purbeck-marble canopies." "And where be our family mansions and estates?" "You haven't any." "Oh? No lands neither?" "None; though you once had 'em in abundance, as I said, for you family consisted of numerous branches. In this county there was a seat of yours at Kingsbere, and another at Sherton, and another in Millpond, and another at Lullstead, and another at Wellbridge." "And shall we ever come into our own again?" "Ah--that I can't tell!" "And what had I better do about it, sir?" asked Durbeyfield, after a pause. "Oh--nothing, nothing; except chasten yourself with the thought of 'how are the mighty fallen.' It is a fact of some interest to the local historian and genealogist, nothing more. There are several families among the cottagers of this county of almost equal lustre. Good night." "But you'll turn back and have a quart of beer wi' me on the strength o't, Pa'son Tringham? There's a very pretty brew in tap at The Pure Drop--though, to be sure, not so good as at Rolliver's." "No, thank you--not this evening, Durbeyfield. You've had enough already." Concluding thus, the parson rode on his way, with doubts as to his discretion in retailing this curious bit of lore. When he was gone, Durbeyfield walked a few steps in a profound reverie, and then sat down upon the grassy bank by the roadside, depositing his basket before him. In a few minutes a youth appeared in the distance, walking in the same direction as that which had been pursued by Durbeyfield. The latter, on seeing him, held up his hand, and the lad quickened his pace and came near. "Boy, take up that basket! I want 'ee to go on an errand for me." The lath-like stripling frowned. "Who be you, then, John Durbeyfield, to order me about and call me 'boy'? You know my name as well as I know yours!" "Do you, do you? That's the secret--that's the secret! Now obey my orders, and take the message I'm going to charge 'ee wi'... Well, Fred, I don't mind telling you that the secret is that I'm one of a noble race--it has been just found out by me this present afternoon, P.M." And as he made the announcement, Durbeyfield, declining from his sitting position, luxuriously stretched himself out upon the bank among the daisies. The lad stood before Durbeyfield, and contemplated his length from crown to toe. "Sir John d'Urberville--that's who I am," continued the prostrate man. "That is if knights were baronets--which they be. 'Tis recorded in history all about me. Dost know of such a place, lad, as Kingsbere-sub-Greenhill?" "Ees. I've been there to Greenhill Fair." "Well, under the church of that city there lie--" "'Tisn't a city, the place I mean; leastwise 'twaddn' when I was there--'twas a little one-eyed, blinking sort o' place." "Never you mind the place, boy, that's not the question before us. Under the church of that there parish lie my ancestors--hundreds of 'em--in coats of mail and jewels, in gr't lead coffins weighing tons and tons. There's not a man in the county o' South-Wessex that's got grander and nobler skillentons in his family than I." "Oh?" "Now take up that basket, and goo on to Marlott, and when you've come to The Pure Drop Inn, tell 'em to send a horse and carriage to me immed'ately, to carry me hwome. And in the bottom o' the carriage they be to put a noggin o' rum in a small bottle, and chalk it up to my account. And when you've done that goo on to my house with the basket, and tell my wife to put away that washing, because she needn't finish it, and wait till I come hwome, as I've news to tell her." As the lad stood in a dubious attitude, Durbeyfield put his hand in his pocket, and produced a shilling, one of the chronically few that he possessed. "Here's for your labour, lad." This made a difference in the young man's estimate of the position. "Yes, Sir John. Thank 'ee. Anything else I can do for 'ee, Sir John?" "Tell 'em at hwome that I should like for supper,--well, lamb's fry if they can get it; and if they can't, black-pot; and if they can't get that, well chitterlings will do." "Yes, Sir John." The boy took up the basket, and as he set out the notes of a brass band were heard from the direction of the village. "What's that?" said Durbeyfield. "Not on account o' I?" "'Tis the women's club-walking, Sir John. Why, your da'ter is one o' the members." "To be sure--I'd quite forgot it in my thoughts of greater things! Well, vamp on to Marlott, will ye, and order that carriage, and maybe I'll drive round and inspect the club." The lad departed, and Durbeyfield lay waiting on the grass and daisies in the evening sun. Not a soul passed that way for a long while, and the faint notes of the band were the only human sounds audible within the rim of blue hills.

Phase I: "The Maiden," Chapter One

https://web.archive.org/web/20210424232301/http://www.shmoop.com/study-guides/literature/tess-of-the-durbervilles/summary/chapter-1

The novel opens on the road: a "middle-aged man" is walking home from Shaston to Marlott . The time is evening in late May, and the year is sometime in the late nineteenth century. The man passes an elderly parson . The man says "Goodnight t'ye" politely, and the parson responds, "Good night, Sir John." This puzzles the man--apparently the parson has passed him on the road twice in the last month, and has called him "Sir John" on both occasions. He asks the parson what he means by it, when he's not "Sir John," but only "plain Jack Durbeyfield, the haggler" . The parson hesitates before explaining himself. He says that he is Parson Tringham, and that he is an antiquary , and that he had discovered recently that Durbeyfield was the "direct lineal representative" of the ancient, aristocratic family of the D'Urbervilles, and that his ancestor, Sir Pagan D'Urberville, came to England from Normandy with William the Conqueror . Let's break for a Historical Context Lesson: It's important for you to understand the history here, because Jack Durbeyfield so often gets it wrong: the current line of kings and queens in England descends directly from King William I, who is often referred to as William the Conqueror. He was a Duke in the northern region of France called Normandy and, for various reasons, felt that he had a claim to the throne of England. Never mind that England already had a king at that point . So William set off across the English Channel with a group of knights and their armies, and in the great Battle of Hastings in 1066, they conquered the Saxons in England, and Harold died in battle with an arrow in his eyeball . So the French Normans became the rulers of England from that time forward. For a long time, the ruling class in England spoke French, and the peasants and lower classes spoke old English--they had a hard time communicating with each other. After a while, the two languages kind of merged. But many of the Norman, or French-sounding names, lived on in the aristocratic families that descended from William the Conqueror's knights, and their names were recorded in a list called the "Abbey Roll," which Parson Tringham refers to here. If you've read Jane Austen's Pride and Prejudice, for example, you'll remember that Darcy's snobby aunt's name is "Lady Catherine De Bourg"--a very French, and therefore very "old-money," kind of aristocratic name. In the context of Tess of the D'Urbervilles, D'Urberville is most certainly a French-sounding name, while "Durbeyfield" sounds more English, and therefore more common and less aristocratic . Now, back to the story: Jack Durbeyfield has never heard any of this before, and he's very interested. Parson Tringham goes on to tell him the history of his family in brief--although his family is now debased, there have been "generations of Sir Johns among you, and if knighthood were hereditary, like a baronetcy you would be Sir John now" . Another quick historical side note, again: Jack Durbeyfield can't quite get his head around this. Knights, as you know, are called "Sir whoever." So are baronets, who are below dukes and earls and such on the social ladder, and just above knights. But knights can't pass on their title to their sons--only baronets, dukes, earls, and other "hereditary" titles can do that. So, for example, Paul McCartney might be "Sir Paul McCartney," thanks to the Queen's appreciation of the Beatles, but he can't pass the title on to his children. Jack Durbeyfield doesn't quite understand all this. He seems to think that because his ancestors were knights, he just needs to get his name to the right people to become recognized as "Sir John" himself. Back to our story: The parson explains that no one else knows anything about Jack Durbeyfield's connection to the noble family of D'Urberville, because the D'Urbervilles have all but died out--they no longer have a family estate anywhere in England. Jack reflects that he remembers hearing his father and grandfather say that their family had known better times, but he had assumed that that only meant that they used to keep two horses, instead of just one. They also have a "graven seal" and an old silver spoon in the family The parson concludes by informing Jack Durbeyfield that his ancestors are buried in a little place called "Kingsbere-sub-Greenhill." Jack Durbeyfield is eager to know whether his family might ever rise to power again. The parson doesn't know, of course. Jack asks what he should do about it--the parson says he shouldn't do anything, and closes their conversation with the cliche about "how the mighty have fallen." Jack offers the parson a quart of beer "on the strength of it" at the local pub . The parson declines and rides on, reflecting that he probably shouldn't have told Jack Durbeyfield about his aristocratic connections. Jack sits under a tree to daydream until a young man walks by. Jack calls to him, and the young man hurries over, rather displeased that Jack called him "boy" in such a patronizing way. Jack explains that he's just discovered that he's of noble blood, and that he is actually "Sir John D'Urberville." He tells the young man, whose name is Fred, to take his basket and run into town to send a horse and carriage to carry him home, and then to run to his house to tell Mrs. Durbeyfield that he has something important to tell her. Fred seems hesitant, until Jack Durbeyfield gives him a shilling for his trouble. Just before Fred leaves "Sir John" on his errand, Jack hears some music over the hills, and asks what it is. Fred reminds him that it's the "women's club-walking," and that Durbeyfield's own daughter is one of the members. Then Fred leaves, and Durbeyfield stays lying in the grass, listening to the music.

pinkmonkey

all_chapterized_books/110-chapters/45.txt

finished_summaries/pinkmonkey/Tess of the D'Urbervilles/section_16_part_3.txt

Tess of the D'Urbervilles.chapter 44

chapter 44

{"name": "CHAPTER 44", "url": "https://web.archive.org/web/20180820050202/http://www.pinkmonkey.com/booknotes/monkeynotes/pmTessD52.asp", "summary": "Since she has not heard from him, Tess begins to worry about Angel. She decides to visit his parents to see if they have heard any news from Brazil. Almost one year after her marriage, she travels to Emminster for the first time. While walking in the town, she overhears her brother-in-law and Mercy Chant talking ill of her and lamenting Angel's marriage. As a result, she decides she cannot face Angel's parents and departs for the farm. On the way, she hears a preacher delivering a sermon in a barn, when she looks inside she sees that the speaker is Alec D'Urberville.", "analysis": "Notes Tess feels positive about her decision to go and meet Angel's family and eagerly sets out on a Sunday morning one year after her marriage. When she arrives, the family is away at church, so Tess strolls in the village, where fate makes her overhear Angel's brother in conversation with Mercy Chant. Not knowing she is nearby, he laments Angel's marriage and sharply criticizes Tess. With her courage dashed, she departs for the farm, never meeting the Clares. On the return journey, fate again makes life miserable for Tess when she sees Alec preaching a sermon"}

By the disclosure in the barn her thoughts were led anew in the direction which they had taken more than once of late--to the distant Emminster Vicarage. It was through her husband's parents that she had been charged to send a letter to Clare if she desired; and to write to them direct if in difficulty. But that sense of her having morally no claim upon him had always led Tess to suspend her impulse to send these notes; and to the family at the Vicarage, therefore, as to her own parents since her marriage, she was virtually non-existent. This self-effacement in both directions had been quite in consonance with her independent character of desiring nothing by way of favour or pity to which she was not entitled on a fair consideration of her deserts. She had set herself to stand or fall by her qualities, and to waive such merely technical claims upon a strange family as had been established for her by the flimsy fact of a member of that family, in a season of impulse, writing his name in a church-book beside hers. But now that she was stung to a fever by Izz's tale, there was a limit to her powers of renunciation. Why had her husband not written to her? He had distinctly implied that he would at least let her know of the locality to which he had journeyed; but he had not sent a line to notify his address. Was he really indifferent? But was he ill? Was it for her to make some advance? Surely she might summon the courage of solicitude, call at the Vicarage for intelligence, and express her grief at his silence. If Angel's father were the good man she had heard him represented to be, he would be able to enter into her heart-starved situation. Her social hardships she could conceal. To leave the farm on a week-day was not in her power; Sunday was the only possible opportunity. Flintcomb-Ash being in the middle of the cretaceous tableland over which no railway had climbed as yet, it would be necessary to walk. And the distance being fifteen miles each way she would have to allow herself a long day for the undertaking by rising early. A fortnight later, when the snow had gone, and had been followed by a hard black frost, she took advantage of the state of the roads to try the experiment. At four o'clock that Sunday morning she came downstairs and stepped out into the starlight. The weather was still favourable, the ground ringing under her feet like an anvil. Marian and Izz were much interested in her excursion, knowing that the journey concerned her husband. Their lodgings were in a cottage a little further along the lane, but they came and assisted Tess in her departure, and argued that she should dress up in her very prettiest guise to captivate the hearts of her parents-in-law; though she, knowing of the austere and Calvinistic tenets of old Mr Clare, was indifferent, and even doubtful. A year had now elapsed since her sad marriage, but she had preserved sufficient draperies from the wreck of her then full wardrobe to clothe her very charmingly as a simple country girl with no pretensions to recent fashion; a soft gray woollen gown, with white crape quilling against the pink skin of her face and neck, and a black velvet jacket and hat. "'Tis a thousand pities your husband can't see 'ee now--you do look a real beauty!" said Izz Huett, regarding Tess as she stood on the threshold between the steely starlight without and the yellow candlelight within. Izz spoke with a magnanimous abandonment of herself to the situation; she could not be--no woman with a heart bigger than a hazel-nut could be--antagonistic to Tess in her presence, the influence which she exercised over those of her own sex being of a warmth and strength quite unusual, curiously overpowering the less worthy feminine feelings of spite and rivalry. With a final tug and touch here, and a slight brush there, they let her go; and she was absorbed into the pearly air of the fore-dawn. They heard her footsteps tap along the hard road as she stepped out to her full pace. Even Izz hoped she would win, and, though without any particular respect for her own virtue, felt glad that she had been prevented wronging her friend when momentarily tempted by Clare. It was a year ago, all but a day, that Clare had married Tess, and only a few days less than a year that he had been absent from her. Still, to start on a brisk walk, and on such an errand as hers, on a dry clear wintry morning, through the rarefied air of these chalky hogs'-backs, was not depressing; and there is no doubt that her dream at starting was to win the heart of her mother-in-law, tell her whole history to that lady, enlist her on her side, and so gain back the truant. In time she reached the edge of the vast escarpment below which stretched the loamy Vale of Blackmoor, now lying misty and still in the dawn. Instead of the colourless air of the uplands, the atmosphere down there was a deep blue. Instead of the great enclosures of a hundred acres in which she was now accustomed to toil, there were little fields below her of less than half-a-dozen acres, so numerous that they looked from this height like the meshes of a net. Here the landscape was whitey-brown; down there, as in Froom Valley, it was always green. Yet it was in that vale that her sorrow had taken shape, and she did not love it as formerly. Beauty to her, as to all who have felt, lay not in the thing, but in what the thing symbolized. Keeping the Vale on her right, she steered steadily westward; passing above the Hintocks, crossing at right-angles the high-road from Sherton-Abbas to Casterbridge, and skirting Dogbury Hill and High-Stoy, with the dell between them called "The Devil's Kitchen". Still following the elevated way she reached Cross-in-Hand, where the stone pillar stands desolate and silent, to mark the site of a miracle, or murder, or both. Three miles further she cut across the straight and deserted Roman road called Long-Ash Lane; leaving which as soon as she reached it she dipped down a hill by a transverse lane into the small town or village of Evershead, being now about halfway over the distance. She made a halt here, and breakfasted a second time, heartily enough--not at the Sow-and-Acorn, for she avoided inns, but at a cottage by the church. The second half of her journey was through a more gentle country, by way of Benvill Lane. But as the mileage lessened between her and the spot of her pilgrimage, so did Tess's confidence decrease, and her enterprise loom out more formidably. She saw her purpose in such staring lines, and the landscape so faintly, that she was sometimes in danger of losing her way. However, about noon she paused by a gate on the edge of the basin in which Emminster and its Vicarage lay. The square tower, beneath which she knew that at that moment the Vicar and his congregation were gathered, had a severe look in her eyes. She wished that she had somehow contrived to come on a week-day. Such a good man might be prejudiced against a woman who had chosen Sunday, never realizing the necessities of her case. But it was incumbent upon her to go on now. She took off the thick boots in which she had walked thus far, put on her pretty thin ones of patent leather, and, stuffing the former into the hedge by the gatepost where she might readily find them again, descended the hill; the freshness of colour she had derived from the keen air thinning away in spite of her as she drew near the parsonage. Tess hoped for some accident that might favour her, but nothing favoured her. The shrubs on the Vicarage lawn rustled uncomfortably in the frosty breeze; she could not feel by any stretch of imagination, dressed to her highest as she was, that the house was the residence of near relations; and yet nothing essential, in nature or emotion, divided her from them: in pains, pleasures, thoughts, birth, death, and after-death, they were the same. She nerved herself by an effort, entered the swing-gate, and rang the door-bell. The thing was done; there could be no retreat. No; the thing was not done. Nobody answered to her ringing. The effort had to be risen to and made again. She rang a second time, and the agitation of the act, coupled with her weariness after the fifteen miles' walk, led her to support herself while she waited by resting her hand on her hip and her elbow against the wall of the porch. The wind was so nipping that the ivy-leaves had become wizened and gray, each tapping incessantly upon its neighbour with a disquieting stir of her nerves. A piece of blood-stained paper, caught up from some meat-buyer's dust-heap, beat up and down the road without the gate; too flimsy to rest, too heavy to fly away; and a few straws kept it company. The second peal had been louder, and still nobody came. Then she walked out of the porch, opened the gate, and passed through. And though she looked dubiously at the house-front as if inclined to return, it was with a breath of relied that she closed the gate. A feeling haunted her that she might have been recognized (though how she could not tell), and orders been given not to admit her. Tess went as far as the corner. She had done all she could do; but determined not to escape present trepidation at the expense of future distress, she walked back again quite past the house, looking up at all the windows. Ah--the explanation was that they were all at church, every one. She remembered her husband saying that his father always insisted upon the household, servants included, going to morning-service, and, as a consequence, eating cold food when they came home. It was, therefore, only necessary to wait till the service was over. She would not make herself conspicuous by waiting on the spot, and she started to get past the church into the lane. But as she reached the churchyard-gate the people began pouring out, and Tess found herself in the midst of them. The Emminster congregation looked at her as only a congregation of small country-townsfolk walking home at its leisure can look at a woman out of the common whom it perceives to be a stranger. She quickened her pace, and ascended the road by which she had come, to find a retreat between its hedges till the Vicar's family should have lunched, and it might be convenient for them to receive her. She soon distanced the churchgoers, except two youngish men, who, linked arm-in-arm, were beating up behind her at a quick step. As they drew nearer she could hear their voices engaged in earnest discourse, and, with the natural quickness of a woman in her situation, did not fail to recognize in those noises the quality of her husband's tones. The pedestrians were his two brothers. Forgetting all her plans, Tess's one dread was lest they should overtake her now, in her disorganized condition, before she was prepared to confront them; for though she felt that they could not identify her, she instinctively dreaded their scrutiny. The more briskly they walked, the more briskly walked she. They were plainly bent upon taking a short quick stroll before going indoors to lunch or dinner, to restore warmth to limbs chilled with sitting through a long service. Only one person had preceded Tess up the hill--a ladylike young woman, somewhat interesting, though, perhaps, a trifle _guindee_ and prudish. Tess had nearly overtaken her when the speed of her brothers-in-law brought them so nearly behind her back that she could hear every word of their conversation. They said nothing, however, which particularly interested her till, observing the young lady still further in front, one of them remarked, "There is Mercy Chant. Let us overtake her." Tess knew the name. It was the woman who had been destined for Angel's life-companion by his and her parents, and whom he probably would have married but for her intrusive self. She would have known as much without previous information if she had waited a moment, for one of the brothers proceeded to say: "Ah! poor Angel, poor Angel! I never see that nice girl without more and more regretting his precipitancy in throwing himself away upon a dairymaid, or whatever she may be. It is a queer business, apparently. Whether she has joined him yet or not I don't know; but she had not done so some months ago when I heard from him." "I can't say. He never tells me anything nowadays. His ill-considered marriage seems to have completed that estrangement from me which was begun by his extraordinary opinions." Tess beat up the long hill still faster; but she could not outwalk them without exciting notice. At last they outsped her altogether, and passed her by. The young lady still further ahead heard their footsteps and turned. Then there was a greeting and a shaking of hands, and the three went on together. They soon reached the summit of the hill, and, evidently intending this point to be the limit of their promenade, slackened pace and turned all three aside to the gate whereat Tess had paused an hour before that time to reconnoitre the town before descending into it. During their discourse one of the clerical brothers probed the hedge carefully with his umbrella, and dragged something to light. "Here's a pair of old boots," he said. "Thrown away, I suppose, by some tramp or other." "Some imposter who wished to come into the town barefoot, perhaps, and so excite our sympathies," said Miss Chant. "Yes, it must have been, for they are excellent walking-boots--by no means worn out. What a wicked thing to do! I'll carry them home for some poor person." Cuthbert Clare, who had been the one to find them, picked them up for her with the crook of his stick; and Tess's boots were appropriated. She, who had heard this, walked past under the screen of her woollen veil till, presently looking back, she perceived that the church party had left the gate with her boots and retreated down the hill. Thereupon our heroine resumed her walk. Tears, blinding tears, were running down her face. She knew that it was all sentiment, all baseless impressibility, which had caused her to read the scene as her own condemnation; nevertheless she could not get over it; she could not contravene in her own defenceless person all those untoward omens. It was impossible to think of returning to the Vicarage. Angel's wife felt almost as if she had been hounded up that hill like a scorned thing by those--to her--superfine clerics. Innocently as the slight had been inflicted, it was somewhat unfortunate that she had encountered the sons and not the father, who, despite his narrowness, was far less starched and ironed than they, and had to the full the gift of charity. As she again thought of her dusty boots she almost pitied those habiliments for the quizzing to which they had been subjected, and felt how hopeless life was for their owner. "Ah!" she said, still sighing in pity of herself, "THEY didn't know that I wore those over the roughest part of the road to save these pretty ones HE bought for me--no--they did not know it! And they didn't think that HE chose the colour o' my pretty frock--no--how could they? If they had known perhaps they would not have cared, for they don't care much for him, poor thing!" Then she grieved for the beloved man whose conventional standard of judgement had caused her all these latter sorrows; and she went her way without knowing that the greatest misfortune of her life was this feminine loss of courage at the last and critical moment through her estimating her father-in-law by his sons. Her present condition was precisely one which would have enlisted the sympathies of old Mr and Mrs Clare. Their hearts went out of them at a bound towards extreme cases, when the subtle mental troubles of the less desperate among mankind failed to win their interest or regard. In jumping at Publicans and Sinners they would forget that a word might be said for the worries of Scribes and Pharisees; and this defect or limitation might have recommended their own daughter-in-law to them at this moment as a fairly choice sort of lost person for their love. Thereupon she began to plod back along the road by which she had come not altogether full of hope, but full of a conviction that a crisis in her life was approaching. No crisis, apparently, had supervened; and there was nothing left for her to do but to continue upon that starve-acre farm till she could again summon courage to face the Vicarage. She did, indeed, take sufficient interest in herself to throw up her veil on this return journey, as if to let the world see that she could at least exhibit a face such as Mercy Chant could not show. But it was done with a sorry shake of the head. "It is nothing--it is nothing!" she said. "Nobody loves it; nobody sees it. Who cares about the looks of a castaway like me!" Her journey back was rather a meander than a march. It had no sprightliness, no purpose; only a tendency. Along the tedious length of Benvill Lane she began to grow tired, and she leant upon gates and paused by milestones. She did not enter any house till, at the seventh or eighth mile, she descended the steep long hill below which lay the village or townlet of Evershead, where in the morning she had breakfasted with such contrasting expectations. The cottage by the church, in which she again sat down, was almost the first at that end of the village, and while the woman fetched her some milk from the pantry, Tess, looking down the street, perceived that the place seemed quite deserted. "The people are gone to afternoon service, I suppose?" she said. "No, my dear," said the old woman. "'Tis too soon for that; the bells hain't strook out yet. They be all gone to hear the preaching in yonder barn. A ranter preaches there between the services--an excellent, fiery, Christian man, they say. But, Lord, I don't go to hear'n! What comes in the regular way over the pulpit is hot enough for I." Tess soon went onward into the village, her footsteps echoing against the houses as though it were a place of the dead. Nearing the central part, her echoes were intruded on by other sounds; and seeing the barn not far off the road, she guessed these to be the utterances of the preacher. His voice became so distinct in the still clear air that she could soon catch his sentences, though she was on the closed side of the barn. The sermon, as might be expected, was of the extremest antinomian type; on justification by faith, as expounded in the theology of St Paul. This fixed idea of the rhapsodist was delivered with animated enthusiasm, in a manner entirely declamatory, for he had plainly no skill as a dialectician. Although Tess had not heard the beginning of the address, she learnt what the text had been from its constant iteration-- "O foolish galatians, who hath bewitched you, that ye should not obey the truth, before whose eyes Jesus Christ hath been evidently set forth, crucified among you?" Tess was all the more interested, as she stood listening behind, in finding that the preacher's doctrine was a vehement form of the view of Angel's father, and her interest intensified when the speaker began to detail his own spiritual experiences of how he had come by those views. He had, he said, been the greatest of sinners. He had scoffed; he had wantonly associated with the reckless and the lewd. But a day of awakening had come, and, in a human sense, it had been brought about mainly by the influence of a certain clergyman, whom he had at first grossly insulted; but whose parting words had sunk into his heart, and had remained there, till by the grace of Heaven they had worked this change in him, and made him what they saw him. But more startling to Tess than the doctrine had been the voice, which, impossible as it seemed, was precisely that of Alec d'Urberville. Her face fixed in painful suspense, she came round to the front of the barn, and passed before it. The low winter sun beamed directly upon the great double-doored entrance on this side; one of the doors being open, so that the rays stretched far in over the threshing-floor to the preacher and his audience, all snugly sheltered from the northern breeze. The listeners were entirely villagers, among them being the man whom she had seen carrying the red paint-pot on a former memorable occasion. But her attention was given to the central figure, who stood upon some sacks of corn, facing the people and the door. The three o'clock sun shone full upon him, and the strange enervating conviction that her seducer confronted her, which had been gaining ground in Tess ever since she had heard his words distinctly, was at last established as a fact indeed. END OF PHASE THE FIFTH Phase the Sixth: The Convert

CHAPTER 44

https://web.archive.org/web/20180820050202/http://www.pinkmonkey.com/booknotes/monkeynotes/pmTessD52.asp

Since she has not heard from him, Tess begins to worry about Angel. She decides to visit his parents to see if they have heard any news from Brazil. Almost one year after her marriage, she travels to Emminster for the first time. While walking in the town, she overhears her brother-in-law and Mercy Chant talking ill of her and lamenting Angel's marriage. As a result, she decides she cannot face Angel's parents and departs for the farm. On the way, she hears a preacher delivering a sermon in a barn, when she looks inside she sees that the speaker is Alec D'Urberville.

Notes Tess feels positive about her decision to go and meet Angel's family and eagerly sets out on a Sunday morning one year after her marriage. When she arrives, the family is away at church, so Tess strolls in the village, where fate makes her overhear Angel's brother in conversation with Mercy Chant. Not knowing she is nearby, he laments Angel's marriage and sharply criticizes Tess. With her courage dashed, she departs for the farm, never meeting the Clares. On the return journey, fate again makes life miserable for Tess when she sees Alec preaching a sermon

shmoop

all_chapterized_books/28054-chapters/17.txt

finished_summaries/shmoop/The Brothers Karamazov/section_16_part_0.txt

The Brothers Karamazov.book 3.chapter 4

book 3, chapter 4

{"name": "Book 3, Chapter 4", "url": "https://web.archive.org/web/20201023112808/https://www.shmoop.com/study-guides/literature/brothers-karamazov/summary/book-3-chapter-4", "summary": "Dmitri continues to spill the beans to Alyosha, confessing that he's been an unapologetic womanizer for quite a long time. Alyosha unexpectedly replies that he's just like Dmitri; it's just a matter of degree. Dmitri then tells Alyosha that he'd like to tell him about his tragedy, the details of which Ivan already knows. Back in his lieutenant days, Dmitri had some issues with his colonel. His colonel had had two wives, now deceased, and each wife had given him a daughter. The first daughter, Agafya, was already becoming a spinster at the ripe old age of 24. The second daughter, who happens to be the Katerina Ivanovna that so terrifies Alyosha, was bright and accomplished and quite the social star. While Agafya was on speaking terms with Dmitri, Katerina always treated him with cold contempt. Dmitri had just received a large sum of money from their father, Fyodor, when he learned that there were financial irregularities with the way the colonel was handling government money. Dmitri pulled Agafya aside and told her that if the family ever needed money, he would lend it to them, but only if Katerina came by herself to his rooms to ask for the money. Agafya was shocked and dismissed Dmitri's comment. As it turns out, the colonel had been loaning the government's money to a friend of his, who usually repaid the money with interest. This time around, though, his friend had not repaid the money. On top of that, a new major was in town, asking questions. The colonel was just about to shoot himself when Agafya, sensing something was amiss and thinking of Dmitri's words, charged in and intervened. Dmitri says that he was just about to go out that night when the door opened, and who should it be but Katerina Ivanovna. When she asked for the money, Dmitri suddenly balked at the thought and pretended he was taking back the request. But just as suddenly, filled with intense hatred, he changed his mind and wrote her a check for the sum. She bowed deeply, with her forehead to the ground, and left.", "analysis": ""}

Chapter IV. The Confession Of A Passionate Heart--In Anecdote "I was leading a wild life then. Father said just now that I spent several thousand roubles in seducing young girls. That's a swinish invention, and there was nothing of the sort. And if there was, I didn't need money simply for _that_. With me money is an accessory, the overflow of my heart, the framework. To-day she would be my lady, to-morrow a wench out of the streets in her place. I entertained them both. I threw away money by the handful on music, rioting, and gypsies. Sometimes I gave it to the ladies, too, for they'll take it greedily, that must be admitted, and be pleased and thankful for it. Ladies used to be fond of me: not all of them, but it happened, it happened. But I always liked side-paths, little dark back-alleys behind the main road--there one finds adventures and surprises, and precious metal in the dirt. I am speaking figuratively, brother. In the town I was in, there were no such back-alleys in the literal sense, but morally there were. If you were like me, you'd know what that means. I loved vice, I loved the ignominy of vice. I loved cruelty; am I not a bug, am I not a noxious insect? In fact a Karamazov! Once we went, a whole lot of us, for a picnic, in seven sledges. It was dark, it was winter, and I began squeezing a girl's hand, and forced her to kiss me. She was the daughter of an official, a sweet, gentle, submissive creature. She allowed me, she allowed me much in the dark. She thought, poor thing, that I should come next day to make her an offer (I was looked upon as a good match, too). But I didn't say a word to her for five months. I used to see her in a corner at dances (we were always having dances), her eyes watching me. I saw how they glowed with fire--a fire of gentle indignation. This game only tickled that insect lust I cherished in my soul. Five months later she married an official and left the town, still angry, and still, perhaps, in love with me. Now they live happily. Observe that I told no one. I didn't boast of it. Though I'm full of low desires, and love what's low, I'm not dishonorable. You're blushing; your eyes flashed. Enough of this filth with you. And all this was nothing much--wayside blossoms _a la_ Paul de Kock--though the cruel insect had already grown strong in my soul. I've a perfect album of reminiscences, brother. God bless them, the darlings. I tried to break it off without quarreling. And I never gave them away. I never bragged of one of them. But that's enough. You can't suppose I brought you here simply to talk of such nonsense. No, I'm going to tell you something more curious; and don't be surprised that I'm glad to tell you, instead of being ashamed." "You say that because I blushed," Alyosha said suddenly. "I wasn't blushing at what you were saying or at what you've done. I blushed because I am the same as you are." "You? Come, that's going a little too far!" "No, it's not too far," said Alyosha warmly (obviously the idea was not a new one). "The ladder's the same. I'm at the bottom step, and you're above, somewhere about the thirteenth. That's how I see it. But it's all the same. Absolutely the same in kind. Any one on the bottom step is bound to go up to the top one." "Then one ought not to step on at all." "Any one who can help it had better not." "But can you?" "I think not." "Hush, Alyosha, hush, darling! I could kiss your hand, you touch me so. That rogue Grushenka has an eye for men. She told me once that she'd devour you one day. There, there, I won't! From this field of corruption fouled by flies, let's pass to my tragedy, also befouled by flies, that is by every sort of vileness. Although the old man told lies about my seducing innocence, there really was something of the sort in my tragedy, though it was only once, and then it did not come off. The old man who has reproached me with what never happened does not even know of this fact; I never told any one about it. You're the first, except Ivan, of course--Ivan knows everything. He knew about it long before you. But Ivan's a tomb." "Ivan's a tomb?" "Yes." Alyosha listened with great attention. "I was lieutenant in a line regiment, but still I was under supervision, like a kind of convict. Yet I was awfully well received in the little town. I spent money right and left. I was thought to be rich; I thought so myself. But I must have pleased them in other ways as well. Although they shook their heads over me, they liked me. My colonel, who was an old man, took a sudden dislike to me. He was always down upon me, but I had powerful friends, and, moreover, all the town was on my side, so he couldn't do me much harm. I was in fault myself for refusing to treat him with proper respect. I was proud. This obstinate old fellow, who was really a very good sort, kind-hearted and hospitable, had had two wives, both dead. His first wife, who was of a humble family, left a daughter as unpretentious as herself. She was a young woman of four and twenty when I was there, and was living with her father and an aunt, her mother's sister. The aunt was simple and illiterate; the niece was simple but lively. I like to say nice things about people. I never knew a woman of more charming character than Agafya--fancy, her name was Agafya Ivanovna! And she wasn't bad-looking either, in the Russian style: tall, stout, with a full figure, and beautiful eyes, though a rather coarse face. She had not married, although she had had two suitors. She refused them, but was as cheerful as ever. I was intimate with her, not in 'that' way, it was pure friendship. I have often been friendly with women quite innocently. I used to talk to her with shocking frankness, and she only laughed. Many women like such freedom, and she was a girl too, which made it very amusing. Another thing, one could never think of her as a young lady. She and her aunt lived in her father's house with a sort of voluntary humility, not putting themselves on an equality with other people. She was a general favorite, and of use to every one, for she was a clever dressmaker. She had a talent for it. She gave her services freely without asking for payment, but if any one offered her payment, she didn't refuse. The colonel, of course, was a very different matter. He was one of the chief personages in the district. He kept open house, entertained the whole town, gave suppers and dances. At the time I arrived and joined the battalion, all the town was talking of the expected return of the colonel's second daughter, a great beauty, who had just left a fashionable school in the capital. This second daughter is Katerina Ivanovna, and she was the child of the second wife, who belonged to a distinguished general's family; although, as I learnt on good authority, she too brought the colonel no money. She had connections, and that was all. There may have been expectations, but they had come to nothing. "Yet, when the young lady came from boarding-school on a visit, the whole town revived. Our most distinguished ladies--two 'Excellencies' and a colonel's wife--and all the rest following their lead, at once took her up and gave entertainments in her honor. She was the belle of the balls and picnics, and they got up _tableaux vivants_ in aid of distressed governesses. I took no notice, I went on as wildly as before, and one of my exploits at the time set all the town talking. I saw her eyes taking my measure one evening at the battery commander's, but I didn't go up to her, as though I disdained her acquaintance. I did go up and speak to her at an evening party not long after. She scarcely looked at me, and compressed her lips scornfully. 'Wait a bit. I'll have my revenge,' thought I. I behaved like an awful fool on many occasions at that time, and I was conscious of it myself. What made it worse was that I felt that 'Katenka' was not an innocent boarding-school miss, but a person of character, proud and really high-principled; above all, she had education and intellect, and I had neither. You think I meant to make her an offer? No, I simply wanted to revenge myself, because I was such a hero and she didn't seem to feel it. "Meanwhile, I spent my time in drink and riot, till the lieutenant-colonel put me under arrest for three days. Just at that time father sent me six thousand roubles in return for my sending him a deed giving up all claims upon him--settling our accounts, so to speak, and saying that I wouldn't expect anything more. I didn't understand a word of it at the time. Until I came here, Alyosha, till the last few days, indeed, perhaps even now, I haven't been able to make head or tail of my money affairs with father. But never mind that, we'll talk of it later. "Just as I received the money, I got a letter from a friend telling me something that interested me immensely. The authorities, I learnt, were dissatisfied with our lieutenant-colonel. He was suspected of irregularities; in fact, his enemies were preparing a surprise for him. And then the commander of the division arrived, and kicked up the devil of a shindy. Shortly afterwards he was ordered to retire. I won't tell you how it all happened. He had enemies certainly. Suddenly there was a marked coolness in the town towards him and all his family. His friends all turned their backs on him. Then I took my first step. I met Agafya Ivanovna, with whom I'd always kept up a friendship, and said, 'Do you know there's a deficit of 4,500 roubles of government money in your father's accounts?' " 'What do you mean? What makes you say so? The general was here not long ago, and everything was all right.' " 'Then it was, but now it isn't.' "She was terribly scared. " 'Don't frighten me!' she said. 'Who told you so?' " 'Don't be uneasy,' I said, 'I won't tell any one. You know I'm as silent as the tomb. I only wanted, in view of "possibilities," to add, that when they demand that 4,500 roubles from your father, and he can't produce it, he'll be tried, and made to serve as a common soldier in his old age, unless you like to send me your young lady secretly. I've just had money paid me. I'll give her four thousand, if you like, and keep the secret religiously.' " 'Ah, you scoundrel!'--that's what she said. 'You wicked scoundrel! How dare you!' "She went away furiously indignant, while I shouted after her once more that the secret should be kept sacred. Those two simple creatures, Agafya and her aunt, I may as well say at once, behaved like perfect angels all through this business. They genuinely adored their 'Katya,' thought her far above them, and waited on her, hand and foot. But Agafya told her of our conversation. I found that out afterwards. She didn't keep it back, and of course that was all I wanted. "Suddenly the new major arrived to take command of the battalion. The old lieutenant-colonel was taken ill at once, couldn't leave his room for two days, and didn't hand over the government money. Dr. Kravchenko declared that he really was ill. But I knew for a fact, and had known for a long time, that for the last four years the money had never been in his hands except when the Commander made his visits of inspection. He used to lend it to a trustworthy person, a merchant of our town called Trifonov, an old widower, with a big beard and gold-rimmed spectacles. He used to go to the fair, do a profitable business with the money, and return the whole sum to the colonel, bringing with it a present from the fair, as well as interest on the loan. But this time (I heard all about it quite by chance from Trifonov's son and heir, a driveling youth and one of the most vicious in the world)--this time, I say, Trifonov brought nothing back from the fair. The lieutenant-colonel flew to him. 'I've never received any money from you, and couldn't possibly have received any.' That was all the answer he got. So now our lieutenant-colonel is confined to the house, with a towel round his head, while they're all three busy putting ice on it. All at once an orderly arrives on the scene with the book and the order to 'hand over the battalion money immediately, within two hours.' He signed the book (I saw the signature in the book afterwards), stood up, saying he would put on his uniform, ran to his bedroom, loaded his double-barreled gun with a service bullet, took the boot off his right foot, fixed the gun against his chest, and began feeling for the trigger with his foot. But Agafya, remembering what I had told her, had her suspicions. She stole up and peeped into the room just in time. She rushed in, flung herself upon him from behind, threw her arms round him, and the gun went off, hit the ceiling, but hurt no one. The others ran in, took away the gun, and held him by the arms. I heard all about this afterwards. I was at home, it was getting dusk, and I was just preparing to go out. I had dressed, brushed my hair, scented my handkerchief, and taken up my cap, when suddenly the door opened, and facing me in the room stood Katerina Ivanovna. "It's strange how things happen sometimes. No one had seen her in the street, so that no one knew of it in the town. I lodged with two decrepit old ladies, who looked after me. They were most obliging old things, ready to do anything for me, and at my request were as silent afterwards as two cast-iron posts. Of course I grasped the position at once. She walked in and looked straight at me, her dark eyes determined, even defiant, but on her lips and round her mouth I saw uncertainty. " 'My sister told me,' she began, 'that you would give me 4,500 roubles if I came to you for it--myself. I have come ... give me the money!' "She couldn't keep it up. She was breathless, frightened, her voice failed her, and the corners of her mouth and the lines round it quivered. Alyosha, are you listening, or are you asleep?" "Mitya, I know you will tell the whole truth," said Alyosha in agitation. "I am telling it. If I tell the whole truth just as it happened I shan't spare myself. My first idea was a--Karamazov one. Once I was bitten by a centipede, brother, and laid up a fortnight with fever from it. Well, I felt a centipede biting at my heart then--a noxious insect, you understand? I looked her up and down. You've seen her? She's a beauty. But she was beautiful in another way then. At that moment she was beautiful because she was noble, and I was a scoundrel; she in all the grandeur of her generosity and sacrifice for her father, and I--a bug! And, scoundrel as I was, she was altogether at my mercy, body and soul. She was hemmed in. I tell you frankly, that thought, that venomous thought, so possessed my heart that it almost swooned with suspense. It seemed as if there could be no resisting it; as though I should act like a bug, like a venomous spider, without a spark of pity. I could scarcely breathe. Understand, I should have gone next day to ask for her hand, so that it might end honorably, so to speak, and that nobody would or could know. For though I'm a man of base desires, I'm honest. And at that very second some voice seemed to whisper in my ear, 'But when you come to-morrow to make your proposal, that girl won't even see you; she'll order her coachman to kick you out of the yard. "Publish it through all the town," she would say, "I'm not afraid of you." ' I looked at the young lady, my voice had not deceived me. That is how it would be, not a doubt of it. I could see from her face now that I should be turned out of the house. My spite was roused. I longed to play her the nastiest swinish cad's trick: to look at her with a sneer, and on the spot where she stood before me to stun her with a tone of voice that only a shopman could use. " 'Four thousand! What do you mean? I was joking. You've been counting your chickens too easily, madam. Two hundred, if you like, with all my heart. But four thousand is not a sum to throw away on such frivolity. You've put yourself out to no purpose.' "I should have lost the game, of course. She'd have run away. But it would have been an infernal revenge. It would have been worth it all. I'd have howled with regret all the rest of my life, only to have played that trick. Would you believe it, it has never happened to me with any other woman, not one, to look at her at such a moment with hatred. But, on my oath, I looked at her for three seconds, or five perhaps, with fearful hatred--that hate which is only a hair's-breadth from love, from the maddest love! "I went to the window, put my forehead against the frozen pane, and I remember the ice burnt my forehead like fire. I did not keep her long, don't be afraid. I turned round, went up to the table, opened the drawer and took out a banknote for five thousand roubles (it was lying in a French dictionary). Then I showed it her in silence, folded it, handed it to her, opened the door into the passage, and, stepping back, made her a deep bow, a most respectful, a most impressive bow, believe me! She shuddered all over, gazed at me for a second, turned horribly pale--white as a sheet, in fact--and all at once, not impetuously but softly, gently, bowed down to my feet--not a boarding-school curtsey, but a Russian bow, with her forehead to the floor. She jumped up and ran away. I was wearing my sword. I drew it and nearly stabbed myself with it on the spot; why, I don't know. It would have been frightfully stupid, of course. I suppose it was from delight. Can you understand that one might kill oneself from delight? But I didn't stab myself. I only kissed my sword and put it back in the scabbard--which there was no need to have told you, by the way. And I fancy that in telling you about my inner conflict I have laid it on rather thick to glorify myself. But let it pass, and to hell with all who pry into the human heart! Well, so much for that 'adventure' with Katerina Ivanovna. So now Ivan knows of it, and you--no one else." Dmitri got up, took a step or two in his excitement, pulled out his handkerchief and mopped his forehead, then sat down again, not in the same place as before, but on the opposite side, so that Alyosha had to turn quite round to face him.

Book 3, Chapter 4

https://web.archive.org/web/20201023112808/https://www.shmoop.com/study-guides/literature/brothers-karamazov/summary/book-3-chapter-4

Dmitri continues to spill the beans to Alyosha, confessing that he's been an unapologetic womanizer for quite a long time. Alyosha unexpectedly replies that he's just like Dmitri; it's just a matter of degree. Dmitri then tells Alyosha that he'd like to tell him about his tragedy, the details of which Ivan already knows. Back in his lieutenant days, Dmitri had some issues with his colonel. His colonel had had two wives, now deceased, and each wife had given him a daughter. The first daughter, Agafya, was already becoming a spinster at the ripe old age of 24. The second daughter, who happens to be the Katerina Ivanovna that so terrifies Alyosha, was bright and accomplished and quite the social star. While Agafya was on speaking terms with Dmitri, Katerina always treated him with cold contempt. Dmitri had just received a large sum of money from their father, Fyodor, when he learned that there were financial irregularities with the way the colonel was handling government money. Dmitri pulled Agafya aside and told her that if the family ever needed money, he would lend it to them, but only if Katerina came by herself to his rooms to ask for the money. Agafya was shocked and dismissed Dmitri's comment. As it turns out, the colonel had been loaning the government's money to a friend of his, who usually repaid the money with interest. This time around, though, his friend had not repaid the money. On top of that, a new major was in town, asking questions. The colonel was just about to shoot himself when Agafya, sensing something was amiss and thinking of Dmitri's words, charged in and intervened. Dmitri says that he was just about to go out that night when the door opened, and who should it be but Katerina Ivanovna. When she asked for the money, Dmitri suddenly balked at the thought and pretended he was taking back the request. But just as suddenly, filled with intense hatred, he changed his mind and wrote her a check for the sum. She bowed deeply, with her forehead to the ground, and left.

gradesaver

all_chapterized_books/5658-chapters/chapters_11_to_13.txt

finished_summaries/gradesaver/Lord Jim/section_4_part_0.txt

Lord Jim.chapters 11-13

chapters 11-13

{"name": "Chapters 11-13", "url": "https://web.archive.org/web/20210422054542/https://www.gradesaver.com/lord-jim/study-guide/summary-chapters-11-13", "summary": "Jim thanks Marlow for listening to his story. He says it has done him good, and Marlow feels camaraderie with the young man. Jim insists that they are both \"gentlemen,\" reinforcing the sense of a common experience between them. But Marlow grows dark in the retelling, stating that Jim \"had robbed our common life of the last spark of its glamour\" . The men in the boat had conjured a story to tell the world. Jim asks Marlow, then, \"What do you believe?\" and Marlow experiences a \"profound and hopeless fatigue\" . The Avondale rescued the castaways, and they told their story. They related how they had freed the first lifeboat when the steamer had sunk like lead beneath them. Eventually, however, the irony of the incident is made clear to the reader, since the steamer never sank. Their imagination had been playing tricks on them. The light going out had only been the turning of the ship. A French gunboat discovered the steamer with its masses free of plague and with the fascinating corpse of a dead white man, George, on the bridge. Marlow had heard the real story from the lips of the very lieutenant who had stayed on the ship for thirty hours, signaling to the gunboat as it tugged the Patna to the nearest English port. His chance meeting with the lieutenant had happened in Sydney, and Marlow remembers that the man had been irritated by the recollection. Their conversation, speckled with French in parentheses, arrived at the lieutenant's simple assessment: \"And so that poor young man ran away along with the others\" . Marlow was struck by the simplicity and truth in the statement, and the exactitude of its tenor. The Frenchman, however, then announced bombastically that he had never known of such a loss of honor. Marlow almost left his seat, but he was appeased. Marlow's narrative than skips ahead to an episode when he saw Jim in Samarang, a port city in northern Java, working for De Jongh on Marlow's own recommendation, as a water-clerk--a dull occupation. Marlow begins to wonder then why he is so protective of Jim and why he has such an intense interest in Jim's fate. His memory flows into the past, past De Jongh's shop, to their conversations at the Malabar House. Jim had seemed a condemned man then, laden with guilt and touched by the inevitability of execution. As they had parted that evening, Marlow had been struck by Jim's refusal of help, despite being unsteady and unsure of himself, with so little faith. The parting was embarrassing, almost excruciating, and Jim was only twenty-four.", "analysis": "As the relationship between Marlow and Jim deepens, and Marlow becomes the \"helper\" or \"ally\" Jim needs, Marlow is struck by a feeling of disappointment. Jim becomes the quintessential figure of youth and possibility--or, as Marlow refers to him, of a \"beginning.\" There is wistfulness in his tone, not unlike the wistfulness those in their mature years feel in looking upon youth. Men all seek the life at sea for the same reason, perhaps; each may be driven by the same romantic dreams of adventure and honor and success. Most, however, eventually fall into a state of disenchantment, the natural state of maturity. For Marlow, the feeling of disappointment in Jim rises in such a way as to cause the comment that it had been as if Jim \"had robbed our common life of the last spark of its glamour\" . This comment serves to place Jim, then, in the position of needing to reclaim the \"glamour.\" Though Jim may have failed in the Patna incident, there is no indication that he is disenchanted by the possibilities of his romantic dreams; he is only disenchanted with himself. Thus, when Jim asks Marlow what he believes, the suggestion is that Jim is still driven by his belief in adventure and romance and the imaginative wellsprings that drive men to the sea. Marlow, on the other hand, has grown. He probably has not tasted the life of glamor, or he has come to conclude that such a life cannot really exist. His response is a general tiredness, suggesting that belief, generally, becomes tested and thus insecure. When the narrative illuminates how the steamship had not actually sunk, we become aware of the effects of illusion. The illusion of the light going out had been misread by the crew, and this illusion of the eye stands for a landscape of deeper human illusions. The realization of one's mistake or illusory misinterpretation of reality leads to disenchantment. As the friendship between Marlow and Jim begins to develop, the reader sees Marlow become increasingly concerned about Jim's fate. But the narrative cuts then to a view of the French lieutenant, a significant minor character, who presents a model of conduct. The novel continually cuts back and forth among Marlow's observations, the perspectives he gathers from other sources, and pure imaginative conjecture, as he builds the case for an inquiry into Jim's soul. The French lieutenant's conduct contrasts severely with the conduct of the crew of the Patna. Unlike them, he had ignored the dangers of the ship sinking and the possibility of pandemonium among the passengers; instead he remained with it for thirty hours as it was tugged to shore. Conrad's sensitive ear for foreign accents and dialect is also highlighted in his conversation, in that he speckles French throughout. The French lieutenant's statement that \"One does not die of it ... Of being afraid\" becomes key. It implies that fear is ultimately about self-preservation on a basic level, a point that was illustrated by the behavior of the crewmen of the Patna. The reverse of the statement would be that one lives well if one defeats fear and lives courageously without it--a paradox, since such a way of life confronts the possibility of death closely. This tension suggests the way that the novel unfolds and how Jim, having learned his lesson from the Patna, eventually learns to live in precisely this more noble manner. While living by reflex and instinct can lead to basic human survival, the ability to overcome these instincts is to live by something higher, an ideal of conduct and belief. In this way, a man becomes properly \"one of us,\" in the Biblical sense that the mere man becomes something more than an unaware Adam and more like God. When Marlow becomes defensive of Jim during his conversation with the French lieutenant, he asks himself why. This protective feeling is something of an enigma, even to Marlow, but it can be inferred that he again senses a commonality between them, and that the concern for Jim's fate relates directly to some important trait hidden inside Marlow."}

'He heard me out with his head on one side, and I had another glimpse through a rent in the mist in which he moved and had his being. The dim candle spluttered within the ball of glass, and that was all I had to see him by; at his back was the dark night with the clear stars, whose distant glitter disposed in retreating planes lured the eye into the depths of a greater darkness; and yet a mysterious light seemed to show me his boyish head, as if in that moment the youth within him had, for a moment, glowed and expired. "You are an awful good sort to listen like this," he said. "It does me good. You don't know what it is to me. You don't" . . . words seemed to fail him. It was a distinct glimpse. He was a youngster of the sort you like to see about you; of the sort you like to imagine yourself to have been; of the sort whose appearance claims the fellowship of these illusions you had thought gone out, extinct, cold, and which, as if rekindled at the approach of another flame, give a flutter deep, deep down somewhere, give a flutter of light . . . of heat! . . . Yes; I had a glimpse of him then . . . and it was not the last of that kind. . . . "You don't know what it is for a fellow in my position to be believed--make a clean breast of it to an elder man. It is so difficult--so awfully unfair--so hard to understand." 'The mists were closing again. I don't know how old I appeared to him--and how much wise. Not half as old as I felt just then; not half as uselessly wise as I knew myself to be. Surely in no other craft as in that of the sea do the hearts of those already launched to sink or swim go out so much to the youth on the brink, looking with shining eyes upon that glitter of the vast surface which is only a reflection of his own glances full of fire. There is such magnificent vagueness in the expectations that had driven each of us to sea, such a glorious indefiniteness, such a beautiful greed of adventures that are their own and only reward. What we get--well, we won't talk of that; but can one of us restrain a smile? In no other kind of life is the illusion more wide of reality--in no other is the beginning _all_ illusion--the disenchantment more swift--the subjugation more complete. Hadn't we all commenced with the same desire, ended with the same knowledge, carried the memory of the same cherished glamour through the sordid days of imprecation? What wonder that when some heavy prod gets home the bond is found to be close; that besides the fellowship of the craft there is felt the strength of a wider feeling--the feeling that binds a man to a child. He was there before me, believing that age and wisdom can find a remedy against the pain of truth, giving me a glimpse of himself as a young fellow in a scrape that is the very devil of a scrape, the sort of scrape greybeards wag at solemnly while they hide a smile. And he had been deliberating upon death--confound him! He had found that to meditate about because he thought he had saved his life, while all its glamour had gone with the ship in the night. What more natural! It was tragic enough and funny enough in all conscience to call aloud for compassion, and in what was I better than the rest of us to refuse him my pity? And even as I looked at him the mists rolled into the rent, and his voice spoke-- '"I was so lost, you know. It was the sort of thing one does not expect to happen to one. It was not like a fight, for instance." '"It was not," I admitted. He appeared changed, as if he had suddenly matured. '"One couldn't be sure," he muttered. '"Ah! You were not sure," I said, and was placated by the sound of a faint sigh that passed between us like the flight of a bird in the night. '"Well, I wasn't," he said courageously. "It was something like that wretched story they made up. It was not a lie--but it wasn't truth all the same. It was something. . . . One knows a downright lie. There was not the thickness of a sheet of paper between the right and the wrong of this affair." '"How much more did you want?" I asked; but I think I spoke so low that he did not catch what I said. He had advanced his argument as though life had been a network of paths separated by chasms. His voice sounded reasonable. '"Suppose I had not--I mean to say, suppose I had stuck to the ship? Well. How much longer? Say a minute--half a minute. Come. In thirty seconds, as it seemed certain then, I would have been overboard; and do you think I would not have laid hold of the first thing that came in my way--oar, life-buoy, grating--anything? Wouldn't you?" '"And be saved," I interjected. '"I would have meant to be," he retorted. "And that's more than I meant when I" . . . he shivered as if about to swallow some nauseous drug . . . "jumped," he pronounced with a convulsive effort, whose stress, as if propagated by the waves of the air, made my body stir a little in the chair. He fixed me with lowering eyes. "Don't you believe me?" he cried. "I swear! . . . Confound it! You got me here to talk, and . . . You must! . . . You said you would believe." "Of course I do," I protested, in a matter-of-fact tone which produced a calming effect. "Forgive me," he said. "Of course I wouldn't have talked to you about all this if you had not been a gentleman. I ought to have known . . . I am--I am--a gentleman too . . ." "Yes, yes," I said hastily. He was looking me squarely in the face, and withdrew his gaze slowly. "Now you understand why I didn't after all . . . didn't go out in that way. I wasn't going to be frightened at what I had done. And, anyhow, if I had stuck to the ship I would have done my best to be saved. Men have been known to float for hours--in the open sea--and be picked up not much the worse for it. I might have lasted it out better than many others. There's nothing the matter with my heart." He withdrew his right fist from his pocket, and the blow he struck on his chest resounded like a muffled detonation in the night. '"No," I said. He meditated, with his legs slightly apart and his chin sunk. "A hair's-breadth," he muttered. "Not the breadth of a hair between this and that. And at the time . . ." '"It is difficult to see a hair at midnight," I put in, a little viciously I fear. Don't you see what I mean by the solidarity of the craft? I was aggrieved against him, as though he had cheated me--me!--of a splendid opportunity to keep up the illusion of my beginnings, as though he had robbed our common life of the last spark of its glamour. "And so you cleared out--at once." '"Jumped," he corrected me incisively. "Jumped--mind!" he repeated, and I wondered at the evident but obscure intention. "Well, yes! Perhaps I could not see then. But I had plenty of time and any amount of light in that boat. And I could think, too. Nobody would know, of course, but this did not make it any easier for me. You've got to believe that, too. I did not want all this talk. . . . No . . . Yes . . . I won't lie . . . I wanted it: it is the very thing I wanted--there. Do you think you or anybody could have made me if I . . . I am--I am not afraid to tell. And I wasn't afraid to think either. I looked it in the face. I wasn't going to run away. At first--at night, if it hadn't been for those fellows I might have . . . No! by heavens! I was not going to give them that satisfaction. They had done enough. They made up a story, and believed it for all I know. But I knew the truth, and I would live it down--alone, with myself. I wasn't going to give in to such a beastly unfair thing. What did it prove after all? I was confoundedly cut up. Sick of life--to tell you the truth; but what would have been the good to shirk it--in--in--that way? That was not the way. I believe--I believe it would have--it would have ended--nothing." 'He had been walking up and down, but with the last word he turned short at me. '"What do _you_ believe?" he asked with violence. A pause ensued, and suddenly I felt myself overcome by a profound and hopeless fatigue, as though his voice had startled me out of a dream of wandering through empty spaces whose immensity had harassed my soul and exhausted my body. '". . . Would have ended nothing," he muttered over me obstinately, after a little while. "No! the proper thing was to face it out--alone for myself--wait for another chance--find out . . ."' 'All around everything was still as far as the ear could reach. The mist of his feelings shifted between us, as if disturbed by his struggles, and in the rifts of the immaterial veil he would appear to my staring eyes distinct of form and pregnant with vague appeal like a symbolic figure in a picture. The chill air of the night seemed to lie on my limbs as heavy as a slab of marble. '"I see," I murmured, more to prove to myself that I could break my state of numbness than for any other reason. '"The Avondale picked us up just before sunset," he remarked moodily. "Steamed right straight for us. We had only to sit and wait." 'After a long interval, he said, "They told their story." And again there was that oppressive silence. "Then only I knew what it was I had made up my mind to," he added. '"You said nothing," I whispered. '"What could I say?" he asked, in the same low tone. . . . "Shock slight. Stopped the ship. Ascertained the damage. Took measures to get the boats out without creating a panic. As the first boat was lowered ship went down in a squall. Sank like lead. . . . What could be more clear" . . . he hung his head . . . "and more awful?" His lips quivered while he looked straight into my eyes. "I had jumped--hadn't I?" he asked, dismayed. "That's what I had to live down. The story didn't matter." . . . He clasped his hands for an instant, glanced right and left into the gloom: "It was like cheating the dead," he stammered. '"And there were no dead," I said. 'He went away from me at this. That is the only way I can describe it. In a moment I saw his back close to the balustrade. He stood there for some time, as if admiring the purity and the peace of the night. Some flowering-shrub in the garden below spread its powerful scent through the damp air. He returned to me with hasty steps. '"And that did not matter," he said, as stubbornly as you please. '"Perhaps not," I admitted. I began to have a notion he was too much for me. After all, what did _I_ know? '"Dead or not dead, I could not get clear," he said. "I had to live; hadn't I?" '"Well, yes--if you take it in that way," I mumbled. '"I was glad, of course," he threw out carelessly, with his mind fixed on something else. "The exposure," he pronounced slowly, and lifted his head. "Do you know what was my first thought when I heard? I was relieved. I was relieved to learn that those shouts--did I tell you I had heard shouts? No? Well, I did. Shouts for help . . . blown along with the drizzle. Imagination, I suppose. And yet I can hardly . . . How stupid. . . . The others did not. I asked them afterwards. They all said No. No? And I was hearing them even then! I might have known--but I didn't think--I only listened. Very faint screams--day after day. Then that little half-caste chap here came up and spoke to me. 'The Patna . . . French gunboat . . . towed successfully to Aden . . . Investigation . . . Marine Office . . . Sailors' Home . . . arrangements made for your board and lodging!' I walked along with him, and I enjoyed the silence. So there had been no shouting. Imagination. I had to believe him. I could hear nothing any more. I wonder how long I could have stood it. It was getting worse, too . . . I mean--louder." 'He fell into thought. '"And I had heard nothing! Well--so be it. But the lights! The lights did go! We did not see them. They were not there. If they had been, I would have swam back--I would have gone back and shouted alongside--I would have begged them to take me on board. . . . I would have had my chance. . . . You doubt me? . . . How do you know how I felt? . . . What right have you to doubt? . . . I very nearly did it as it was--do you understand?" His voice fell. "There was not a glimmer--not a glimmer," he protested mournfully. "Don't you understand that if there had been, you would not have seen me here? You see me--and you doubt." 'I shook my head negatively. This question of the lights being lost sight of when the boat could not have been more than a quarter of a mile from the ship was a matter for much discussion. Jim stuck to it that there was nothing to be seen after the first shower had cleared away; and the others had affirmed the same thing to the officers of the Avondale. Of course people shook their heads and smiled. One old skipper who sat near me in court tickled my ear with his white beard to murmur, "Of course they would lie." As a matter of fact nobody lied; not even the chief engineer with his story of the mast-head light dropping like a match you throw down. Not consciously, at least. A man with his liver in such a state might very well have seen a floating spark in the corner of his eye when stealing a hurried glance over his shoulder. They had seen no light of any sort though they were well within range, and they could only explain this in one way: the ship had gone down. It was obvious and comforting. The foreseen fact coming so swiftly had justified their haste. No wonder they did not cast about for any other explanation. Yet the true one was very simple, and as soon as Brierly suggested it the court ceased to bother about the question. If you remember, the ship had been stopped, and was lying with her head on the course steered through the night, with her stern canted high and her bows brought low down in the water through the filling of the fore-compartment. Being thus out of trim, when the squall struck her a little on the quarter, she swung head to wind as sharply as though she had been at anchor. By this change in her position all her lights were in a very few moments shut off from the boat to leeward. It may very well be that, had they been seen, they would have had the effect of a mute appeal--that their glimmer lost in the darkness of the cloud would have had the mysterious power of the human glance that can awaken the feelings of remorse and pity. It would have said, "I am here--still here" . . . and what more can the eye of the most forsaken of human beings say? But she turned her back on them as if in disdain of their fate: she had swung round, burdened, to glare stubbornly at the new danger of the open sea which she so strangely survived to end her days in a breaking-up yard, as if it had been her recorded fate to die obscurely under the blows of many hammers. What were the various ends their destiny provided for the pilgrims I am unable to say; but the immediate future brought, at about nine o'clock next morning, a French gunboat homeward bound from Reunion. The report of her commander was public property. He had swept a little out of his course to ascertain what was the matter with that steamer floating dangerously by the head upon a still and hazy sea. There was an ensign, union down, flying at her main gaff (the serang had the sense to make a signal of distress at daylight); but the cooks were preparing the food in the cooking-boxes forward as usual. The decks were packed as close as a sheep-pen: there were people perched all along the rails, jammed on the bridge in a solid mass; hundreds of eyes stared, and not a sound was heard when the gunboat ranged abreast, as if all that multitude of lips had been sealed by a spell. 'The Frenchman hailed, could get no intelligible reply, and after ascertaining through his binoculars that the crowd on deck did not look plague-stricken, decided to send a boat. Two officers came on board, listened to the serang, tried to talk with the Arab, couldn't make head or tail of it: but of course the nature of the emergency was obvious enough. They were also very much struck by discovering a white man, dead and curled up peacefully on the bridge. "Fort intrigues par ce cadavre," as I was informed a long time after by an elderly French lieutenant whom I came across one afternoon in Sydney, by the merest chance, in a sort of cafe, and who remembered the affair perfectly. Indeed this affair, I may notice in passing, had an extraordinary power of defying the shortness of memories and the length of time: it seemed to live, with a sort of uncanny vitality, in the minds of men, on the tips of their tongues. I've had the questionable pleasure of meeting it often, years afterwards, thousands of miles away, emerging from the remotest possible talk, coming to the surface of the most distant allusions. Has it not turned up to-night between us? And I am the only seaman here. I am the only one to whom it is a memory. And yet it has made its way out! But if two men who, unknown to each other, knew of this affair met accidentally on any spot of this earth, the thing would pop up between them as sure as fate, before they parted. I had never seen that Frenchman before, and at the end of an hour we had done with each other for life: he did not seem particularly talkative either; he was a quiet, massive chap in a creased uniform, sitting drowsily over a tumbler half full of some dark liquid. His shoulder-straps were a bit tarnished, his clean-shaved cheeks were large and sallow; he looked like a man who would be given to taking snuff--don't you know? I won't say he did; but the habit would have fitted that kind of man. It all began by his handing me a number of Home News, which I didn't want, across the marble table. I said "Merci." We exchanged a few apparently innocent remarks, and suddenly, before I knew how it had come about, we were in the midst of it, and he was telling me how much they had been "intrigued by that corpse." It turned out he had been one of the boarding officers. 'In the establishment where we sat one could get a variety of foreign drinks which were kept for the visiting naval officers, and he took a sip of the dark medical-looking stuff, which probably was nothing more nasty than cassis a l'eau, and glancing with one eye into the tumbler, shook his head slightly. "Impossible de comprendre--vous concevez," he said, with a curious mixture of unconcern and thoughtfulness. I could very easily conceive how impossible it had been for them to understand. Nobody in the gunboat knew enough English to get hold of the story as told by the serang. There was a good deal of noise, too, round the two officers. "They crowded upon us. There was a circle round that dead man (autour de ce mort)," he described. "One had to attend to the most pressing. These people were beginning to agitate themselves--Parbleu! A mob like that--don't you see?" he interjected with philosophic indulgence. As to the bulkhead, he had advised his commander that the safest thing was to leave it alone, it was so villainous to look at. They got two hawsers on board promptly (en toute hale) and took the Patna in tow--stern foremost at that--which, under the circumstances, was not so foolish, since the rudder was too much out of the water to be of any great use for steering, and this manoeuvre eased the strain on the bulkhead, whose state, he expounded with stolid glibness, demanded the greatest care (exigeait les plus grands menagements). I could not help thinking that my new acquaintance must have had a voice in most of these arrangements: he looked a reliable officer, no longer very active, and he was seamanlike too, in a way, though as he sat there, with his thick fingers clasped lightly on his stomach, he reminded you of one of those snuffy, quiet village priests, into whose ears are poured the sins, the sufferings, the remorse of peasant generations, on whose faces the placid and simple expression is like a veil thrown over the mystery of pain and distress. He ought to have had a threadbare black soutane buttoned smoothly up to his ample chin, instead of a frock-coat with shoulder-straps and brass buttons. His broad bosom heaved regularly while he went on telling me that it had been the very devil of a job, as doubtless (sans doute) I could figure to myself in my quality of a seaman (en votre qualite de marin). At the end of the period he inclined his body slightly towards me, and, pursing his shaved lips, allowed the air to escape with a gentle hiss. "Luckily," he continued, "the sea was level like this table, and there was no more wind than there is here." . . . The place struck me as indeed intolerably stuffy, and very hot; my face burned as though I had been young enough to be embarrassed and blushing. They had directed their course, he pursued, to the nearest English port "naturellement," where their responsibility ceased, "Dieu merci." . . . He blew out his flat cheeks a little. . . . "Because, mind you (notez bien), all the time of towing we had two quartermasters stationed with axes by the hawsers, to cut us clear of our tow in case she . . ." He fluttered downwards his heavy eyelids, making his meaning as plain as possible. . . . "What would you! One does what one can (on fait ce qu'on peut)," and for a moment he managed to invest his ponderous immobility with an air of resignation. "Two quartermasters--thirty hours--always there. Two!" he repeated, lifting up his right hand a little, and exhibiting two fingers. This was absolutely the first gesture I saw him make. It gave me the opportunity to "note" a starred scar on the back of his hand--effect of a gunshot clearly; and, as if my sight had been made more acute by this discovery, I perceived also the seam of an old wound, beginning a little below the temple and going out of sight under the short grey hair at the side of his head--the graze of a spear or the cut of a sabre. He clasped his hands on his stomach again. "I remained on board that--that--my memory is going (s'en va). Ah! Patt-na. C'est bien ca. Patt-na. Merci. It is droll how one forgets. I stayed on that ship thirty hours. . . ." '"You did!" I exclaimed. Still gazing at his hands, he pursed his lips a little, but this time made no hissing sound. "It was judged proper," he said, lifting his eyebrows dispassionately, "that one of the officers should remain to keep an eye open (pour ouvrir l'oeil)" . . . he sighed idly . . . "and for communicating by signals with the towing ship--do you see?--and so on. For the rest, it was my opinion too. We made our boats ready to drop over--and I also on that ship took measures. . . . Enfin! One has done one's possible. It was a delicate position. Thirty hours! They prepared me some food. As for the wine--go and whistle for it--not a drop." In some extraordinary way, without any marked change in his inert attitude and in the placid expression of his face, he managed to convey the idea of profound disgust. "I--you know--when it comes to eating without my glass of wine--I am nowhere." 'I was afraid he would enlarge upon the grievance, for though he didn't stir a limb or twitch a feature, he made one aware how much he was irritated by the recollection. But he seemed to forget all about it. They delivered their charge to the "port authorities," as he expressed it. He was struck by the calmness with which it had been received. "One might have thought they had such a droll find (drole de trouvaille) brought them every day. You are extraordinary--you others," he commented, with his back propped against the wall, and looking himself as incapable of an emotional display as a sack of meal. There happened to be a man-of-war and an Indian Marine steamer in the harbour at the time, and he did not conceal his admiration of the efficient manner in which the boats of these two ships cleared the Patna of her passengers. Indeed his torpid demeanour concealed nothing: it had that mysterious, almost miraculous, power of producing striking effects by means impossible of detection which is the last word of the highest art. "Twenty-five minutes--watch in hand--twenty-five, no more." . . . He unclasped and clasped again his fingers without removing his hands from his stomach, and made it infinitely more effective than if he had thrown up his arms to heaven in amazement. . . . "All that lot (tout ce monde) on shore--with their little affairs--nobody left but a guard of seamen (marins de l'Etat) and that interesting corpse (cet interessant cadavre). Twenty-five minutes." . . . With downcast eyes and his head tilted slightly on one side he seemed to roll knowingly on his tongue the savour of a smart bit of work. He persuaded one without any further demonstration that his approval was eminently worth having, and resuming his hardly interrupted immobility, he went on to inform me that, being under orders to make the best of their way to Toulon, they left in two hours' time, "so that (de sorte que) there are many things in this incident of my life (dans cet episode de ma vie) which have remained obscure."''After these words, and without a change of attitude, he, so to speak, submitted himself passively to a state of silence. I kept him company; and suddenly, but not abruptly, as if the appointed time had arrived for his moderate and husky voice to come out of his immobility, he pronounced, "Mon Dieu! how the time passes!" Nothing could have been more commonplace than this remark; but its utterance coincided for me with a moment of vision. It's extraordinary how we go through life with eyes half shut, with dull ears, with dormant thoughts. Perhaps it's just as well; and it may be that it is this very dullness that makes life to the incalculable majority so supportable and so welcome. Nevertheless, there can be but few of us who had never known one of these rare moments of awakening when we see, hear, understand ever so much--everything--in a flash--before we fall back again into our agreeable somnolence. I raised my eyes when he spoke, and I saw him as though I had never seen him before. I saw his chin sunk on his breast, the clumsy folds of his coat, his clasped hands, his motionless pose, so curiously suggestive of his having been simply left there. Time had passed indeed: it had overtaken him and gone ahead. It had left him hopelessly behind with a few poor gifts: the iron-grey hair, the heavy fatigue of the tanned face, two scars, a pair of tarnished shoulder-straps; one of those steady, reliable men who are the raw material of great reputations, one of those uncounted lives that are buried without drums and trumpets under the foundations of monumental successes. "I am now third lieutenant of the Victorieuse" (she was the flagship of the French Pacific squadron at the time), he said, detaching his shoulders from the wall a couple of inches to introduce himself. I bowed slightly on my side of the table, and told him I commanded a merchant vessel at present anchored in Rushcutters' Bay. He had "remarked" her,--a pretty little craft. He was very civil about it in his impassive way. I even fancy he went the length of tilting his head in compliment as he repeated, breathing visibly the while, "Ah, yes. A little craft painted black--very pretty--very pretty (tres coquet)." After a time he twisted his body slowly to face the glass door on our right. "A dull town (triste ville)," he observed, staring into the street. It was a brilliant day; a southerly buster was raging, and we could see the passers-by, men and women, buffeted by the wind on the sidewalks, the sunlit fronts of the houses across the road blurred by the tall whirls of dust. "I descended on shore," he said, "to stretch my legs a little, but . . ." He didn't finish, and sank into the depths of his repose. "Pray--tell me," he began, coming up ponderously, "what was there at the bottom of this affair--precisely (au juste)? It is curious. That dead man, for instance--and so on." '"There were living men too," I said; "much more curious." '"No doubt, no doubt," he agreed half audibly, then, as if after mature consideration, murmured, "Evidently." I made no difficulty in communicating to him what had interested me most in this affair. It seemed as though he had a right to know: hadn't he spent thirty hours on board the Patna--had he not taken the succession, so to speak, had he not done "his possible"? He listened to me, looking more priest-like than ever, and with what--probably on account of his downcast eyes--had the appearance of devout concentration. Once or twice he elevated his eyebrows (but without raising his eyelids), as one would say "The devil!" Once he calmly exclaimed, "Ah, bah!" under his breath, and when I had finished he pursed his lips in a deliberate way and emitted a sort of sorrowful whistle. 'In any one else it might have been an evidence of boredom, a sign of indifference; but he, in his occult way, managed to make his immobility appear profoundly responsive, and as full of valuable thoughts as an egg is of meat. What he said at last was nothing more than a "Very interesting," pronounced politely, and not much above a whisper. Before I got over my disappointment he added, but as if speaking to himself, "That's it. That _is_ it." His chin seemed to sink lower on his breast, his body to weigh heavier on his seat. I was about to ask him what he meant, when a sort of preparatory tremor passed over his whole person, as a faint ripple may be seen upon stagnant water even before the wind is felt. "And so that poor young man ran away along with the others," he said, with grave tranquillity. 'I don't know what made me smile: it is the only genuine smile of mine I can remember in connection with Jim's affair. But somehow this simple statement of the matter sounded funny in French. . . . "S'est enfui avec les autres," had said the lieutenant. And suddenly I began to admire the discrimination of the man. He had made out the point at once: he did get hold of the only thing I cared about. I felt as though I were taking professional opinion on the case. His imperturbable and mature calmness was that of an expert in possession of the facts, and to whom one's perplexities are mere child's-play. "Ah! The young, the young," he said indulgently. "And after all, one does not die of it." "Die of what?" I asked swiftly. "Of being afraid." He elucidated his meaning and sipped his drink. 'I perceived that the three last fingers of his wounded hand were stiff and could not move independently of each other, so that he took up his tumbler with an ungainly clutch. "One is always afraid. One may talk, but . . ." He put down the glass awkwardly. . . . "The fear, the fear--look you--it is always there." . . . He touched his breast near a brass button, on the very spot where Jim had given a thump to his own when protesting that there was nothing the matter with his heart. I suppose I made some sign of dissent, because he insisted, "Yes! yes! One talks, one talks; this is all very fine; but at the end of the reckoning one is no cleverer than the next man--and no more brave. Brave! This is always to be seen. I have rolled my hump (roule ma bosse)," he said, using the slang expression with imperturbable seriousness, "in all parts of the world; I have known brave men--famous ones! Allez!" . . . He drank carelessly. . . . "Brave--you conceive--in the Service--one has got to be--the trade demands it (le metier veut ca). Is it not so?" he appealed to me reasonably. "Eh bien! Each of them--I say each of them, if he were an honest man--bien entendu--would confess that there is a point--there is a point--for the best of us--there is somewhere a point when you let go everything (vous lachez tout). And you have got to live with that truth--do you see? Given a certain combination of circumstances, fear is sure to come. Abominable funk (un trac epouvantable). And even for those who do not believe this truth there is fear all the same--the fear of themselves. Absolutely so. Trust me. Yes. Yes. . . . At my age one knows what one is talking about--que diable!" . . . He had delivered himself of all this as immovably as though he had been the mouthpiece of abstract wisdom, but at this point he heightened the effect of detachment by beginning to twirl his thumbs slowly. "It's evident--parbleu!" he continued; "for, make up your mind as much as you like, even a simple headache or a fit of indigestion (un derangement d'estomac) is enough to . . . Take me, for instance--I have made my proofs. Eh bien! I, who am speaking to you, once . . ." 'He drained his glass and returned to his twirling. "No, no; one does not die of it," he pronounced finally, and when I found he did not mean to proceed with the personal anecdote, I was extremely disappointed; the more so as it was not the sort of story, you know, one could very well press him for. I sat silent, and he too, as if nothing could please him better. Even his thumbs were still now. Suddenly his lips began to move. "That is so," he resumed placidly. "Man is born a coward (L'homme est ne poltron). It is a difficulty--parbleu! It would be too easy other vise. But habit--habit--necessity--do you see?--the eye of others--voila. One puts up with it. And then the example of others who are no better than yourself, and yet make good countenance. . . ." 'His voice ceased. '"That young man--you will observe--had none of these inducements--at least at the moment," I remarked. 'He raised his eyebrows forgivingly: "I don't say; I don't say. The young man in question might have had the best dispositions--the best dispositions," he repeated, wheezing a little. '"I am glad to see you taking a lenient view," I said. "His own feeling in the matter was--ah!--hopeful, and . . ." 'The shuffle of his feet under the table interrupted me. He drew up his heavy eyelids. Drew up, I say--no other expression can describe the steady deliberation of the act--and at last was disclosed completely to me. I was confronted by two narrow grey circlets, like two tiny steel rings around the profound blackness of the pupils. The sharp glance, coming from that massive body, gave a notion of extreme efficiency, like a razor-edge on a battle-axe. "Pardon," he said punctiliously. His right hand went up, and he swayed forward. "Allow me . . . I contended that one may get on knowing very well that one's courage does not come of itself (ne vient pas tout seul). There's nothing much in that to get upset about. One truth the more ought not to make life impossible. . . . But the honour--the honour, monsieur! . . . The honour . . . that is real--that is! And what life may be worth when" . . . he got on his feet with a ponderous impetuosity, as a startled ox might scramble up from the grass . . . "when the honour is gone--ah ca! par exemple--I can offer no opinion. I can offer no opinion--because--monsieur--I know nothing of it." 'I had risen too, and, trying to throw infinite politeness into our attitudes, we faced each other mutely, like two china dogs on a mantelpiece. Hang the fellow! he had pricked the bubble. The blight of futility that lies in wait for men's speeches had fallen upon our conversation, and made it a thing of empty sounds. "Very well," I said, with a disconcerted smile; "but couldn't it reduce itself to not being found out?" He made as if to retort readily, but when he spoke he had changed his mind. "This, monsieur, is too fine for me--much above me--I don't think about it." He bowed heavily over his cap, which he held before him by the peak, between the thumb and the forefinger of his wounded hand. I bowed too. We bowed together: we scraped our feet at each other with much ceremony, while a dirty specimen of a waiter looked on critically, as though he had paid for the performance. "Serviteur," said the Frenchman. Another scrape. "Monsieur" . . . "Monsieur." . . . The glass door swung behind his burly back. I saw the southerly buster get hold of him and drive him down wind with his hand to his head, his shoulders braced, and the tails of his coat blown hard against his legs. 'I sat down again alone and discouraged--discouraged about Jim's case. If you wonder that after more than three years it had preserved its actuality, you must know that I had seen him only very lately. I had come straight from Samarang, where I had loaded a cargo for Sydney: an utterly uninteresting bit of business,--what Charley here would call one of my rational transactions,--and in Samarang I had seen something of Jim. He was then working for De Jongh, on my recommendation. Water-clerk. "My representative afloat," as De Jongh called him. You can't imagine a mode of life more barren of consolation, less capable of being invested with a spark of glamour--unless it be the business of an insurance canvasser. Little Bob Stanton--Charley here knew him well--had gone through that experience. The same who got drowned afterwards trying to save a lady's-maid in the Sephora disaster. A case of collision on a hazy morning off the Spanish coast--you may remember. All the passengers had been packed tidily into the boats and shoved clear of the ship, when Bob sheered alongside again and scrambled back on deck to fetch that girl. How she had been left behind I can't make out; anyhow, she had gone completely crazy--wouldn't leave the ship--held to the rail like grim death. The wrestling-match could be seen plainly from the boats; but poor Bob was the shortest chief mate in the merchant service, and the woman stood five feet ten in her shoes and was as strong as a horse, I've been told. So it went on, pull devil, pull baker, the wretched girl screaming all the time, and Bob letting out a yell now and then to warn his boat to keep well clear of the ship. One of the hands told me, hiding a smile at the recollection, "It was for all the world, sir, like a naughty youngster fighting with his mother." The same old chap said that "At the last we could see that Mr. Stanton had given up hauling at the gal, and just stood by looking at her, watchful like. We thought afterwards he must've been reckoning that, maybe, the rush of water would tear her away from the rail by-and-by and give him a show to save her. We daren't come alongside for our life; and after a bit the old ship went down all on a sudden with a lurch to starboard--plop. The suck in was something awful. We never saw anything alive or dead come up." Poor Bob's spell of shore-life had been one of the complications of a love affair, I believe. He fondly hoped he had done with the sea for ever, and made sure he had got hold of all the bliss on earth, but it came to canvassing in the end. Some cousin of his in Liverpool put up to it. He used to tell us his experiences in that line. He made us laugh till we cried, and, not altogether displeased at the effect, undersized and bearded to the waist like a gnome, he would tiptoe amongst us and say, "It's all very well for you beggars to laugh, but my immortal soul was shrivelled down to the size of a parched pea after a week of that work." I don't know how Jim's soul accommodated itself to the new conditions of his life--I was kept too busy in getting him something to do that would keep body and soul together--but I am pretty certain his adventurous fancy was suffering all the pangs of starvation. It had certainly nothing to feed upon in this new calling. It was distressing to see him at it, though he tackled it with a stubborn serenity for which I must give him full credit. I kept my eye on his shabby plodding with a sort of notion that it was a punishment for the heroics of his fancy--an expiation for his craving after more glamour than he could carry. He had loved too well to imagine himself a glorious racehorse, and now he was condemned to toil without honour like a costermonger's donkey. He did it very well. He shut himself in, put his head down, said never a word. Very well; very well indeed--except for certain fantastic and violent outbreaks, on the deplorable occasions when the irrepressible Patna case cropped up. Unfortunately that scandal of the Eastern seas would not die out. And this is the reason why I could never feel I had done with Jim for good. 'I sat thinking of him after the French lieutenant had left, not, however, in connection with De Jongh's cool and gloomy backshop, where we had hurriedly shaken hands not very long ago, but as I had seen him years before in the last flickers of the candle, alone with me in the long gallery of the Malabar House, with the chill and the darkness of the night at his back. The respectable sword of his country's law was suspended over his head. To-morrow--or was it to-day? (midnight had slipped by long before we parted)--the marble-faced police magistrate, after distributing fines and terms of imprisonment in the assault-and-battery case, would take up the awful weapon and smite his bowed neck. Our communion in the night was uncommonly like a last vigil with a condemned man. He was guilty too. He was guilty--as I had told myself repeatedly, guilty and done for; nevertheless, I wished to spare him the mere detail of a formal execution. I don't pretend to explain the reasons of my desire--I don't think I could; but if you haven't got a sort of notion by this time, then I must have been very obscure in my narrative, or you too sleepy to seize upon the sense of my words. I don't defend my morality. There was no morality in the impulse which induced me to lay before him Brierly's plan of evasion--I may call it--in all its primitive simplicity. There were the rupees--absolutely ready in my pocket and very much at his service. Oh! a loan; a loan of course--and if an introduction to a man (in Rangoon) who could put some work in his way . . . Why! with the greatest pleasure. I had pen, ink, and paper in my room on the first floor And even while I was speaking I was impatient to begin the letter--day, month, year, 2.30 A.M. . . . for the sake of our old friendship I ask you to put some work in the way of Mr. James So-and-so, in whom, &c., &c. . . . I was even ready to write in that strain about him. If he had not enlisted my sympathies he had done better for himself--he had gone to the very fount and origin of that sentiment he had reached the secret sensibility of my egoism. I am concealing nothing from you, because were I to do so my action would appear more unintelligible than any man's action has the right to be, and--in the second place--to-morrow you will forget my sincerity along with the other lessons of the past. In this transaction, to speak grossly and precisely, I was the irreproachable man; but the subtle intentions of my immorality were defeated by the moral simplicity of the criminal. No doubt he was selfish too, but his selfishness had a higher origin, a more lofty aim. I discovered that, say what I would, he was eager to go through the ceremony of execution, and I didn't say much, for I felt that in argument his youth would tell against me heavily: he believed where I had already ceased to doubt. There was something fine in the wildness of his unexpressed, hardly formulated hope. "Clear out! Couldn't think of it," he said, with a shake of the head. "I make you an offer for which I neither demand nor expect any sort of gratitude," I said; "you shall repay the money when convenient, and . . ." "Awfully good of you," he muttered without looking up. I watched him narrowly: the future must have appeared horribly uncertain to him; but he did not falter, as though indeed there had been nothing wrong with his heart. I felt angry--not for the first time that night. "The whole wretched business," I said, "is bitter enough, I should think, for a man of your kind . . ." "It is, it is," he whispered twice, with his eyes fixed on the floor. It was heartrending. He towered above the light, and I could see the down on his cheek, the colour mantling warm under the smooth skin of his face. Believe me or not, I say it was outrageously heartrending. It provoked me to brutality. "Yes," I said; "and allow me to confess that I am totally unable to imagine what advantage you can expect from this licking of the dregs." "Advantage!" he murmured out of his stillness. "I am dashed if I do," I said, enraged. "I've been trying to tell you all there is in it," he went on slowly, as if meditating something unanswerable. "But after all, it is _my_ trouble." I opened my mouth to retort, and discovered suddenly that I'd lost all confidence in myself; and it was as if he too had given me up, for he mumbled like a man thinking half aloud. "Went away . . . went into hospitals. . . . Not one of them would face it. . . . They! . . ." He moved his hand slightly to imply disdain. "But I've got to get over this thing, and I mustn't shirk any of it or . . . I won't shirk any of it." He was silent. He gazed as though he had been haunted. His unconscious face reflected the passing expressions of scorn, of despair, of resolution--reflected them in turn, as a magic mirror would reflect the gliding passage of unearthly shapes. He lived surrounded by deceitful ghosts, by austere shades. "Oh! nonsense, my dear fellow," I began. He had a movement of impatience. "You don't seem to understand," he said incisively; then looking at me without a wink, "I may have jumped, but I don't run away." "I meant no offence," I said; and added stupidly, "Better men than you have found it expedient to run, at times." He coloured all over, while in my confusion I half-choked myself with my own tongue. "Perhaps so," he said at last, "I am not good enough; I can't afford it. I am bound to fight this thing down--I am fighting it now." I got out of my chair and felt stiff all over. The silence was embarrassing, and to put an end to it I imagined nothing better but to remark, "I had no idea it was so late," in an airy tone. . . . "I dare say you have had enough of this," he said brusquely: "and to tell you the truth"--he began to look round for his hat--"so have I." 'Well! he had refused this unique offer. He had struck aside my helping hand; he was ready to go now, and beyond the balustrade the night seemed to wait for him very still, as though he had been marked down for its prey. I heard his voice. "Ah! here it is." He had found his hat. For a few seconds we hung in the wind. "What will you do after--after . . ." I asked very low. "Go to the dogs as likely as not," he answered in a gruff mutter. I had recovered my wits in a measure, and judged best to take it lightly. "Pray remember," I said, "that I should like very much to see you again before you go." "I don't know what's to prevent you. The damned thing won't make me invisible," he said with intense bitterness,--"no such luck." And then at the moment of taking leave he treated me to a ghastly muddle of dubious stammers and movements, to an awful display of hesitations. God forgive him--me! He had taken it into his fanciful head that I was likely to make some difficulty as to shaking hands. It was too awful for words. I believe I shouted suddenly at him as you would bellow to a man you saw about to walk over a cliff; I remember our voices being raised, the appearance of a miserable grin on his face, a crushing clutch on my hand, a nervous laugh. The candle spluttered out, and the thing was over at last, with a groan that floated up to me in the dark. He got himself away somehow. The night swallowed his form. He was a horrible bungler. Horrible. I heard the quick crunch-crunch of the gravel under his boots. He was running. Absolutely running, with nowhere to go to. And he was not yet four-and-twenty.'

Chapters 11-13

https://web.archive.org/web/20210422054542/https://www.gradesaver.com/lord-jim/study-guide/summary-chapters-11-13

Jim thanks Marlow for listening to his story. He says it has done him good, and Marlow feels camaraderie with the young man. Jim insists that they are both "gentlemen," reinforcing the sense of a common experience between them. But Marlow grows dark in the retelling, stating that Jim "had robbed our common life of the last spark of its glamour" . The men in the boat had conjured a story to tell the world. Jim asks Marlow, then, "What do you believe?" and Marlow experiences a "profound and hopeless fatigue" . The Avondale rescued the castaways, and they told their story. They related how they had freed the first lifeboat when the steamer had sunk like lead beneath them. Eventually, however, the irony of the incident is made clear to the reader, since the steamer never sank. Their imagination had been playing tricks on them. The light going out had only been the turning of the ship. A French gunboat discovered the steamer with its masses free of plague and with the fascinating corpse of a dead white man, George, on the bridge. Marlow had heard the real story from the lips of the very lieutenant who had stayed on the ship for thirty hours, signaling to the gunboat as it tugged the Patna to the nearest English port. His chance meeting with the lieutenant had happened in Sydney, and Marlow remembers that the man had been irritated by the recollection. Their conversation, speckled with French in parentheses, arrived at the lieutenant's simple assessment: "And so that poor young man ran away along with the others" . Marlow was struck by the simplicity and truth in the statement, and the exactitude of its tenor. The Frenchman, however, then announced bombastically that he had never known of such a loss of honor. Marlow almost left his seat, but he was appeased. Marlow's narrative than skips ahead to an episode when he saw Jim in Samarang, a port city in northern Java, working for De Jongh on Marlow's own recommendation, as a water-clerk--a dull occupation. Marlow begins to wonder then why he is so protective of Jim and why he has such an intense interest in Jim's fate. His memory flows into the past, past De Jongh's shop, to their conversations at the Malabar House. Jim had seemed a condemned man then, laden with guilt and touched by the inevitability of execution. As they had parted that evening, Marlow had been struck by Jim's refusal of help, despite being unsteady and unsure of himself, with so little faith. The parting was embarrassing, almost excruciating, and Jim was only twenty-four.

As the relationship between Marlow and Jim deepens, and Marlow becomes the "helper" or "ally" Jim needs, Marlow is struck by a feeling of disappointment. Jim becomes the quintessential figure of youth and possibility--or, as Marlow refers to him, of a "beginning." There is wistfulness in his tone, not unlike the wistfulness those in their mature years feel in looking upon youth. Men all seek the life at sea for the same reason, perhaps; each may be driven by the same romantic dreams of adventure and honor and success. Most, however, eventually fall into a state of disenchantment, the natural state of maturity. For Marlow, the feeling of disappointment in Jim rises in such a way as to cause the comment that it had been as if Jim "had robbed our common life of the last spark of its glamour" . This comment serves to place Jim, then, in the position of needing to reclaim the "glamour." Though Jim may have failed in the Patna incident, there is no indication that he is disenchanted by the possibilities of his romantic dreams; he is only disenchanted with himself. Thus, when Jim asks Marlow what he believes, the suggestion is that Jim is still driven by his belief in adventure and romance and the imaginative wellsprings that drive men to the sea. Marlow, on the other hand, has grown. He probably has not tasted the life of glamor, or he has come to conclude that such a life cannot really exist. His response is a general tiredness, suggesting that belief, generally, becomes tested and thus insecure. When the narrative illuminates how the steamship had not actually sunk, we become aware of the effects of illusion. The illusion of the light going out had been misread by the crew, and this illusion of the eye stands for a landscape of deeper human illusions. The realization of one's mistake or illusory misinterpretation of reality leads to disenchantment. As the friendship between Marlow and Jim begins to develop, the reader sees Marlow become increasingly concerned about Jim's fate. But the narrative cuts then to a view of the French lieutenant, a significant minor character, who presents a model of conduct. The novel continually cuts back and forth among Marlow's observations, the perspectives he gathers from other sources, and pure imaginative conjecture, as he builds the case for an inquiry into Jim's soul. The French lieutenant's conduct contrasts severely with the conduct of the crew of the Patna. Unlike them, he had ignored the dangers of the ship sinking and the possibility of pandemonium among the passengers; instead he remained with it for thirty hours as it was tugged to shore. Conrad's sensitive ear for foreign accents and dialect is also highlighted in his conversation, in that he speckles French throughout. The French lieutenant's statement that "One does not die of it ... Of being afraid" becomes key. It implies that fear is ultimately about self-preservation on a basic level, a point that was illustrated by the behavior of the crewmen of the Patna. The reverse of the statement would be that one lives well if one defeats fear and lives courageously without it--a paradox, since such a way of life confronts the possibility of death closely. This tension suggests the way that the novel unfolds and how Jim, having learned his lesson from the Patna, eventually learns to live in precisely this more noble manner. While living by reflex and instinct can lead to basic human survival, the ability to overcome these instincts is to live by something higher, an ideal of conduct and belief. In this way, a man becomes properly "one of us," in the Biblical sense that the mere man becomes something more than an unaware Adam and more like God. When Marlow becomes defensive of Jim during his conversation with the French lieutenant, he asks himself why. This protective feeling is something of an enigma, even to Marlow, but it can be inferred that he again senses a commonality between them, and that the concern for Jim's fate relates directly to some important trait hidden inside Marlow.

sparknotes

all_chapterized_books/161-chapters/chapters_1_to_5.txt

finished_summaries/sparknotes/Sense and Sensibility/section_0_part_0.txt

Sense and Sensibility.chapters 1-5

chapters 1-5

{"name": "Chapters 1-5", "url": "https://web.archive.org/web/20210123003206/https://www.sparknotes.com/lit/sensibility/section1/", "summary": "Old Mr. Dashwood is the owner of a large estate in Sussex called Norland Park. Following the death of his sister, Mr. Dashwood invites his nephew Mr. Henry Dashwood to come live with him at Norland. The younger Mr. Dashwood brings John Dashwood, his son from a previous marriage, as well as the three daughters born to his present wife. John Dashwood is grown and married, and has a four-year-old son, Harry. When Old Mr. Dashwood dies, he leaves his estate to John and little Harry, who had much endeared himself to the old man. But now John's father, Henry Dashwood, is left with no way of supporting his wife and three daughters, and he too dies one year later, leaving only ten thousand pounds for his family. Just before his death, he makes his son John promise to care for his stepmother and three half-sisters. Mr. John Dashwood initially intends to keep his promise and treat his female relatives generously, but his wife Fanny, a narrow-minded and selfish woman, convinces him to leave them only five hundred pounds apiece. Fanny moves into Norland immediately following Mr. Henry Dashwood's death and becomes mistress of the estate, relegating John's stepmother Mrs. Dashwood and half-sisters Elinor, Marianne, and Margaret to the status of mere visitors. Fanny's brother, Edward Ferrars, visits Norland for several weeks and develops a strong attachment to Elinor Dashwood. Edward is the eldest son of a man who died very rich; now his entire fate depends upon his mother's will. Although he is shy and not particularly handsome, he has an open, affectionate heart. His mother and sister want him to distinguish himself and earn prestige, but Edward is a simple man, who longs only for domestic comfort. In her discussions with her mother and her older sister, Marianne Dashwood expresses her disappointment that Edward is not a more striking, artistic, poetic man. She can tell that Elinor has feelings for Edward but becomes frustrated when Elinor concedes only that she \"likes\" and \"esteems\" him; Marianne longs to hear her sister profess her passionate devotion. However, Elinor remains timid because she is still unsure that Edward reciprocates her affection; such things are not usually openly expressed until after the engagement. Six months after Fanny installs herself as mistress at Norland, Mrs. Dashwood receives a letter from her cousin Sir John Middleton, inviting her and her daughters to reside at Barton Cottage on his property in Devonshire. Eager to distance herself from Fanny's rudeness and insensitivity, Mrs. Dashwood immediately accepts the invitation and sends three servants ahead to Barton to prepare the house for their arrival. She informs John and Fanny of their imminent departure and encourages Edward Ferrars to come visit them at Barton. Following Marianne's tearful goodbye to their home at Norland, the family sets out for Barton Cottage.", "analysis": "Commentary The opening pages of Sense and Sensibility are concerned with the laws of inheritance and succession that govern the fate of the Dashwood family property. According to the laws of male primogeniture effective in the mid-nineteenth century, estates went to the closest male descendant of the original owner. Since Old Mr. Dashwood has no sons, his estate is bequeathed to his nephew, Henry Dashwood. Henry, in turn, leaves the estate to his eldest son, John. However, as Austen notes, Henry Dashwood's money was far more vital to his daughters than to his son, because John was already provided for both by his mother's fortune--which he inherited as eldest son--and by the money he received by marrying his own wife. In this case, the money that Mr. Henry Dashwood's late first wife brought to the marriage was settled on their son John, and therefore could not be used to help his second wife or his daughters by that second wife. Since Henry's second wife and their three daughters could not inherit any of the money from that first marriage, they are in much greater need of the money from Old Mr. Dashwood's estate. The opening discussion of money and marriage immediately establishes the important role that ordinary economic concerns will play in Austen's novel. Unlike the authors of Gothic and sentimental novels fashionable in her day, Austen refuses to romanticize; she recognizes that material realities constrain love and marriage. Nonetheless, she allows some of this sentimentality to seep into the novel, and the tension between reasonable economic concerns and overly romantic dreaming will constitute an important theme in the novel. Indeed, this tension is already apparent in the characters of Elinor and Marianne, between the older sister's \"sense\" and the younger sister's \"sensibility,\" the duality which the novel's title refers to. Elinor, age nineteen, is described as having a \"strength of understanding\" and \"coolness of judgment\", as well as the ability to govern and control her feelings. She modestly states that she \"greatly esteems\" Edward Ferrars, a remark typical of her rational, sensible attitude. In contrast, her younger sister Marianne, who more closely resembles their mother, is \"everything but prudent. \" She longs for a man with taste, grace, spirit, and fire in his eyes, and considers her sister cold-hearted in her calm and tempered regard for Edward Ferrars. Their younger sister Margaret, age thirteen, also shares Marianne's excessive romanticism. Elinor thus stands out in her family as the only sensible and rational woman. The sensibility of Marianne and Mrs. Dashwood manifests itself in their excessive mourning over the deaths of the two men, in contrast to Elinor's more silent grief. Not only are they overcome by sadness at the loss of first Old Mr. Dashwood and then Henry, but they then carry on dramatically about having to leave Norland and move to the smaller cottage. Before departing, Marianne wanders the grounds of Norland uttering a histrionic elegy: \"Dear, dear Norland... Oh! happy house... And you, ye well-known trees!\" Elinor, however, experiences a far more subdued depression--though she is leaving behind not just her home but also a man she has grown to deeply care for and admire. The early chapters also display the wry irony for which Austen is so famous as a novelist. She is unsparingly critical of the characters she dislikes, but conveys her criticism with a pointed subtlety, which makes it all the more forceful. For example, in the opening chapter, Austen sketches the character of John Dashwood in three masterful sentences, achieving a biting acerbity: the author begins elliptically with a double negative, only slyly to refute it: \"He was not an ill-disposed young man, unless to be rather cold-hearted and rather selfish is to be ill-disposed...\" She then ends the paragraph by explicitly skewering both John and his wife: \"Mrs. John Dashwood was a strong caricature of himself; more narrow-minded and selfish.\" Austen thus relies on understatement and irony to reveal her feelings towards her more disagreeable characters."}

The family of Dashwood had long been settled in Sussex. Their estate was large, and their residence was at Norland Park, in the centre of their property, where, for many generations, they had lived in so respectable a manner as to engage the general good opinion of their surrounding acquaintance. The late owner of this estate was a single man, who lived to a very advanced age, and who for many years of his life, had a constant companion and housekeeper in his sister. But her death, which happened ten years before his own, produced a great alteration in his home; for to supply her loss, he invited and received into his house the family of his nephew Mr. Henry Dashwood, the legal inheritor of the Norland estate, and the person to whom he intended to bequeath it. In the society of his nephew and niece, and their children, the old Gentleman's days were comfortably spent. His attachment to them all increased. The constant attention of Mr. and Mrs. Henry Dashwood to his wishes, which proceeded not merely from interest, but from goodness of heart, gave him every degree of solid comfort which his age could receive; and the cheerfulness of the children added a relish to his existence. By a former marriage, Mr. Henry Dashwood had one son: by his present lady, three daughters. The son, a steady respectable young man, was amply provided for by the fortune of his mother, which had been large, and half of which devolved on him on his coming of age. By his own marriage, likewise, which happened soon afterwards, he added to his wealth. To him therefore the succession to the Norland estate was not so really important as to his sisters; for their fortune, independent of what might arise to them from their father's inheriting that property, could be but small. Their mother had nothing, and their father only seven thousand pounds in his own disposal; for the remaining moiety of his first wife's fortune was also secured to her child, and he had only a life-interest in it. The old gentleman died: his will was read, and like almost every other will, gave as much disappointment as pleasure. He was neither so unjust, nor so ungrateful, as to leave his estate from his nephew;--but he left it to him on such terms as destroyed half the value of the bequest. Mr. Dashwood had wished for it more for the sake of his wife and daughters than for himself or his son;--but to his son, and his son's son, a child of four years old, it was secured, in such a way, as to leave to himself no power of providing for those who were most dear to him, and who most needed a provision by any charge on the estate, or by any sale of its valuable woods. The whole was tied up for the benefit of this child, who, in occasional visits with his father and mother at Norland, had so far gained on the affections of his uncle, by such attractions as are by no means unusual in children of two or three years old; an imperfect articulation, an earnest desire of having his own way, many cunning tricks, and a great deal of noise, as to outweigh all the value of all the attention which, for years, he had received from his niece and her daughters. He meant not to be unkind, however, and, as a mark of his affection for the three girls, he left them a thousand pounds a-piece. Mr. Dashwood's disappointment was, at first, severe; but his temper was cheerful and sanguine; and he might reasonably hope to live many years, and by living economically, lay by a considerable sum from the produce of an estate already large, and capable of almost immediate improvement. But the fortune, which had been so tardy in coming, was his only one twelvemonth. He survived his uncle no longer; and ten thousand pounds, including the late legacies, was all that remained for his widow and daughters. His son was sent for as soon as his danger was known, and to him Mr. Dashwood recommended, with all the strength and urgency which illness could command, the interest of his mother-in-law and sisters. Mr. John Dashwood had not the strong feelings of the rest of the family; but he was affected by a recommendation of such a nature at such a time, and he promised to do every thing in his power to make them comfortable. His father was rendered easy by such an assurance, and Mr. John Dashwood had then leisure to consider how much there might prudently be in his power to do for them. He was not an ill-disposed young man, unless to be rather cold hearted and rather selfish is to be ill-disposed: but he was, in general, well respected; for he conducted himself with propriety in the discharge of his ordinary duties. Had he married a more amiable woman, he might have been made still more respectable than he was:--he might even have been made amiable himself; for he was very young when he married, and very fond of his wife. But Mrs. John Dashwood was a strong caricature of himself;--more narrow-minded and selfish. When he gave his promise to his father, he meditated within himself to increase the fortunes of his sisters by the present of a thousand pounds a-piece. He then really thought himself equal to it. The prospect of four thousand a-year, in addition to his present income, besides the remaining half of his own mother's fortune, warmed his heart, and made him feel capable of generosity.-- "Yes, he would give them three thousand pounds: it would be liberal and handsome! It would be enough to make them completely easy. Three thousand pounds! he could spare so considerable a sum with little inconvenience."-- He thought of it all day long, and for many days successively, and he did not repent. No sooner was his father's funeral over, than Mrs. John Dashwood, without sending any notice of her intention to her mother-in-law, arrived with her child and their attendants. No one could dispute her right to come; the house was her husband's from the moment of his father's decease; but the indelicacy of her conduct was so much the greater, and to a woman in Mrs. Dashwood's situation, with only common feelings, must have been highly unpleasing;--but in HER mind there was a sense of honor so keen, a generosity so romantic, that any offence of the kind, by whomsoever given or received, was to her a source of immovable disgust. Mrs. John Dashwood had never been a favourite with any of her husband's family; but she had had no opportunity, till the present, of shewing them with how little attention to the comfort of other people she could act when occasion required it. So acutely did Mrs. Dashwood feel this ungracious behaviour, and so earnestly did she despise her daughter-in-law for it, that, on the arrival of the latter, she would have quitted the house for ever, had not the entreaty of her eldest girl induced her first to reflect on the propriety of going, and her own tender love for all her three children determined her afterwards to stay, and for their sakes avoid a breach with their brother. Elinor, this eldest daughter, whose advice was so effectual, possessed a strength of understanding, and coolness of judgment, which qualified her, though only nineteen, to be the counsellor of her mother, and enabled her frequently to counteract, to the advantage of them all, that eagerness of mind in Mrs. Dashwood which must generally have led to imprudence. She had an excellent heart;--her disposition was affectionate, and her feelings were strong; but she knew how to govern them: it was a knowledge which her mother had yet to learn; and which one of her sisters had resolved never to be taught. Marianne's abilities were, in many respects, quite equal to Elinor's. She was sensible and clever; but eager in everything: her sorrows, her joys, could have no moderation. She was generous, amiable, interesting: she was everything but prudent. The resemblance between her and her mother was strikingly great. Elinor saw, with concern, the excess of her sister's sensibility; but by Mrs. Dashwood it was valued and cherished. They encouraged each other now in the violence of their affliction. The agony of grief which overpowered them at first, was voluntarily renewed, was sought for, was created again and again. They gave themselves up wholly to their sorrow, seeking increase of wretchedness in every reflection that could afford it, and resolved against ever admitting consolation in future. Elinor, too, was deeply afflicted; but still she could struggle, she could exert herself. She could consult with her brother, could receive her sister-in-law on her arrival, and treat her with proper attention; and could strive to rouse her mother to similar exertion, and encourage her to similar forbearance. Margaret, the other sister, was a good-humored, well-disposed girl; but as she had already imbibed a good deal of Marianne's romance, without having much of her sense, she did not, at thirteen, bid fair to equal her sisters at a more advanced period of life. Mrs. John Dashwood now installed herself mistress of Norland; and her mother and sisters-in-law were degraded to the condition of visitors. As such, however, they were treated by her with quiet civility; and by her husband with as much kindness as he could feel towards anybody beyond himself, his wife, and their child. He really pressed them, with some earnestness, to consider Norland as their home; and, as no plan appeared so eligible to Mrs. Dashwood as remaining there till she could accommodate herself with a house in the neighbourhood, his invitation was accepted. A continuance in a place where everything reminded her of former delight, was exactly what suited her mind. In seasons of cheerfulness, no temper could be more cheerful than hers, or possess, in a greater degree, that sanguine expectation of happiness which is happiness itself. But in sorrow she must be equally carried away by her fancy, and as far beyond consolation as in pleasure she was beyond alloy. Mrs. John Dashwood did not at all approve of what her husband intended to do for his sisters. To take three thousand pounds from the fortune of their dear little boy would be impoverishing him to the most dreadful degree. She begged him to think again on the subject. How could he answer it to himself to rob his child, and his only child too, of so large a sum? And what possible claim could the Miss Dashwoods, who were related to him only by half blood, which she considered as no relationship at all, have on his generosity to so large an amount. It was very well known that no affection was ever supposed to exist between the children of any man by different marriages; and why was he to ruin himself, and their poor little Harry, by giving away all his money to his half sisters? "It was my father's last request to me," replied her husband, "that I should assist his widow and daughters." "He did not know what he was talking of, I dare say; ten to one but he was light-headed at the time. Had he been in his right senses, he could not have thought of such a thing as begging you to give away half your fortune from your own child." "He did not stipulate for any particular sum, my dear Fanny; he only requested me, in general terms, to assist them, and make their situation more comfortable than it was in his power to do. Perhaps it would have been as well if he had left it wholly to myself. He could hardly suppose I should neglect them. But as he required the promise, I could not do less than give it; at least I thought so at the time. The promise, therefore, was given, and must be performed. Something must be done for them whenever they leave Norland and settle in a new home." "Well, then, LET something be done for them; but THAT something need not be three thousand pounds. Consider," she added, "that when the money is once parted with, it never can return. Your sisters will marry, and it will be gone for ever. If, indeed, it could be restored to our poor little boy--" "Why, to be sure," said her husband, very gravely, "that would make great difference. The time may come when Harry will regret that so large a sum was parted with. If he should have a numerous family, for instance, it would be a very convenient addition." "To be sure it would." "Perhaps, then, it would be better for all parties, if the sum were diminished one half.--Five hundred pounds would be a prodigious increase to their fortunes!" "Oh! beyond anything great! What brother on earth would do half so much for his sisters, even if REALLY his sisters! And as it is--only half blood!--But you have such a generous spirit!" "I would not wish to do any thing mean," he replied. "One had rather, on such occasions, do too much than too little. No one, at least, can think I have not done enough for them: even themselves, they can hardly expect more." "There is no knowing what THEY may expect," said the lady, "but we are not to think of their expectations: the question is, what you can afford to do." "Certainly--and I think I may afford to give them five hundred pounds a-piece. As it is, without any addition of mine, they will each have about three thousand pounds on their mother's death--a very comfortable fortune for any young woman." "To be sure it is; and, indeed, it strikes me that they can want no addition at all. They will have ten thousand pounds divided amongst them. If they marry, they will be sure of doing well, and if they do not, they may all live very comfortably together on the interest of ten thousand pounds." "That is very true, and, therefore, I do not know whether, upon the whole, it would not be more advisable to do something for their mother while she lives, rather than for them--something of the annuity kind I mean.--My sisters would feel the good effects of it as well as herself. A hundred a year would make them all perfectly comfortable." His wife hesitated a little, however, in giving her consent to this plan. "To be sure," said she, "it is better than parting with fifteen hundred pounds at once. But, then, if Mrs. Dashwood should live fifteen years we shall be completely taken in." "Fifteen years! my dear Fanny; her life cannot be worth half that purchase." "Certainly not; but if you observe, people always live for ever when there is an annuity to be paid them; and she is very stout and healthy, and hardly forty. An annuity is a very serious business; it comes over and over every year, and there is no getting rid of it. You are not aware of what you are doing. I have known a great deal of the trouble of annuities; for my mother was clogged with the payment of three to old superannuated servants by my father's will, and it is amazing how disagreeable she found it. Twice every year these annuities were to be paid; and then there was the trouble of getting it to them; and then one of them was said to have died, and afterwards it turned out to be no such thing. My mother was quite sick of it. Her income was not her own, she said, with such perpetual claims on it; and it was the more unkind in my father, because, otherwise, the money would have been entirely at my mother's disposal, without any restriction whatever. It has given me such an abhorrence of annuities, that I am sure I would not pin myself down to the payment of one for all the world." "It is certainly an unpleasant thing," replied Mr. Dashwood, "to have those kind of yearly drains on one's income. One's fortune, as your mother justly says, is NOT one's own. To be tied down to the regular payment of such a sum, on every rent day, is by no means desirable: it takes away one's independence." "Undoubtedly; and after all you have no thanks for it. They think themselves secure, you do no more than what is expected, and it raises no gratitude at all. If I were you, whatever I did should be done at my own discretion entirely. I would not bind myself to allow them any thing yearly. It may be very inconvenient some years to spare a hundred, or even fifty pounds from our own expenses." "I believe you are right, my love; it will be better that there should be no annuity in the case; whatever I may give them occasionally will be of far greater assistance than a yearly allowance, because they would only enlarge their style of living if they felt sure of a larger income, and would not be sixpence the richer for it at the end of the year. It will certainly be much the best way. A present of fifty pounds, now and then, will prevent their ever being distressed for money, and will, I think, be amply discharging my promise to my father." "To be sure it will. Indeed, to say the truth, I am convinced within myself that your father had no idea of your giving them any money at all. The assistance he thought of, I dare say, was only such as might be reasonably expected of you; for instance, such as looking out for a comfortable small house for them, helping them to move their things, and sending them presents of fish and game, and so forth, whenever they are in season. I'll lay my life that he meant nothing farther; indeed, it would be very strange and unreasonable if he did. Do but consider, my dear Mr. Dashwood, how excessively comfortable your mother-in-law and her daughters may live on the interest of seven thousand pounds, besides the thousand pounds belonging to each of the girls, which brings them in fifty pounds a year a-piece, and, of course, they will pay their mother for their board out of it. Altogether, they will have five hundred a-year amongst them, and what on earth can four women want for more than that?--They will live so cheap! Their housekeeping will be nothing at all. They will have no carriage, no horses, and hardly any servants; they will keep no company, and can have no expenses of any kind! Only conceive how comfortable they will be! Five hundred a year! I am sure I cannot imagine how they will spend half of it; and as to your giving them more, it is quite absurd to think of it. They will be much more able to give YOU something." "Upon my word," said Mr. Dashwood, "I believe you are perfectly right. My father certainly could mean nothing more by his request to me than what you say. I clearly understand it now, and I will strictly fulfil my engagement by such acts of assistance and kindness to them as you have described. When my mother removes into another house my services shall be readily given to accommodate her as far as I can. Some little present of furniture too may be acceptable then." "Certainly," returned Mrs. John Dashwood. "But, however, ONE thing must be considered. When your father and mother moved to Norland, though the furniture of Stanhill was sold, all the china, plate, and linen was saved, and is now left to your mother. Her house will therefore be almost completely fitted up as soon as she takes it." "That is a material consideration undoubtedly. A valuable legacy indeed! And yet some of the plate would have been a very pleasant addition to our own stock here." "Yes; and the set of breakfast china is twice as handsome as what belongs to this house. A great deal too handsome, in my opinion, for any place THEY can ever afford to live in. But, however, so it is. Your father thought only of THEM. And I must say this: that you owe no particular gratitude to him, nor attention to his wishes; for we very well know that if he could, he would have left almost everything in the world to THEM." This argument was irresistible. It gave to his intentions whatever of decision was wanting before; and he finally resolved, that it would be absolutely unnecessary, if not highly indecorous, to do more for the widow and children of his father, than such kind of neighbourly acts as his own wife pointed out. Mrs. Dashwood remained at Norland several months; not from any disinclination to move when the sight of every well known spot ceased to raise the violent emotion which it produced for a while; for when her spirits began to revive, and her mind became capable of some other exertion than that of heightening its affliction by melancholy remembrances, she was impatient to be gone, and indefatigable in her inquiries for a suitable dwelling in the neighbourhood of Norland; for to remove far from that beloved spot was impossible. But she could hear of no situation that at once answered her notions of comfort and ease, and suited the prudence of her eldest daughter, whose steadier judgment rejected several houses as too large for their income, which her mother would have approved. Mrs. Dashwood had been informed by her husband of the solemn promise on the part of his son in their favour, which gave comfort to his last earthly reflections. She doubted the sincerity of this assurance no more than he had doubted it himself, and she thought of it for her daughters' sake with satisfaction, though as for herself she was persuaded that a much smaller provision than 7000L would support her in affluence. For their brother's sake, too, for the sake of his own heart, she rejoiced; and she reproached herself for being unjust to his merit before, in believing him incapable of generosity. His attentive behaviour to herself and his sisters convinced her that their welfare was dear to him, and, for a long time, she firmly relied on the liberality of his intentions. The contempt which she had, very early in their acquaintance, felt for her daughter-in-law, was very much increased by the farther knowledge of her character, which half a year's residence in her family afforded; and perhaps in spite of every consideration of politeness or maternal affection on the side of the former, the two ladies might have found it impossible to have lived together so long, had not a particular circumstance occurred to give still greater eligibility, according to the opinions of Mrs. Dashwood, to her daughters' continuance at Norland. This circumstance was a growing attachment between her eldest girl and the brother of Mrs. John Dashwood, a gentleman-like and pleasing young man, who was introduced to their acquaintance soon after his sister's establishment at Norland, and who had since spent the greatest part of his time there. Some mothers might have encouraged the intimacy from motives of interest, for Edward Ferrars was the eldest son of a man who had died very rich; and some might have repressed it from motives of prudence, for, except a trifling sum, the whole of his fortune depended on the will of his mother. But Mrs. Dashwood was alike uninfluenced by either consideration. It was enough for her that he appeared to be amiable, that he loved her daughter, and that Elinor returned the partiality. It was contrary to every doctrine of hers that difference of fortune should keep any couple asunder who were attracted by resemblance of disposition; and that Elinor's merit should not be acknowledged by every one who knew her, was to her comprehension impossible. Edward Ferrars was not recommended to their good opinion by any peculiar graces of person or address. He was not handsome, and his manners required intimacy to make them pleasing. He was too diffident to do justice to himself; but when his natural shyness was overcome, his behaviour gave every indication of an open, affectionate heart. His understanding was good, and his education had given it solid improvement. But he was neither fitted by abilities nor disposition to answer the wishes of his mother and sister, who longed to see him distinguished--as--they hardly knew what. They wanted him to make a fine figure in the world in some manner or other. His mother wished to interest him in political concerns, to get him into parliament, or to see him connected with some of the great men of the day. Mrs. John Dashwood wished it likewise; but in the mean while, till one of these superior blessings could be attained, it would have quieted her ambition to see him driving a barouche. But Edward had no turn for great men or barouches. All his wishes centered in domestic comfort and the quiet of private life. Fortunately he had a younger brother who was more promising. Edward had been staying several weeks in the house before he engaged much of Mrs. Dashwood's attention; for she was, at that time, in such affliction as rendered her careless of surrounding objects. She saw only that he was quiet and unobtrusive, and she liked him for it. He did not disturb the wretchedness of her mind by ill-timed conversation. She was first called to observe and approve him farther, by a reflection which Elinor chanced one day to make on the difference between him and his sister. It was a contrast which recommended him most forcibly to her mother. "It is enough," said she; "to say that he is unlike Fanny is enough. It implies everything amiable. I love him already." "I think you will like him," said Elinor, "when you know more of him." "Like him!" replied her mother with a smile. "I feel no sentiment of approbation inferior to love." "You may esteem him." "I have never yet known what it was to separate esteem and love." Mrs. Dashwood now took pains to get acquainted with him. Her manners were attaching, and soon banished his reserve. She speedily comprehended all his merits; the persuasion of his regard for Elinor perhaps assisted her penetration; but she really felt assured of his worth: and even that quietness of manner, which militated against all her established ideas of what a young man's address ought to be, was no longer uninteresting when she knew his heart to be warm and his temper affectionate. No sooner did she perceive any symptom of love in his behaviour to Elinor, than she considered their serious attachment as certain, and looked forward to their marriage as rapidly approaching. "In a few months, my dear Marianne." said she, "Elinor will, in all probability be settled for life. We shall miss her; but SHE will be happy." "Oh! Mama, how shall we do without her?" "My love, it will be scarcely a separation. We shall live within a few miles of each other, and shall meet every day of our lives. You will gain a brother, a real, affectionate brother. I have the highest opinion in the world of Edward's heart. But you look grave, Marianne; do you disapprove your sister's choice?" "Perhaps," said Marianne, "I may consider it with some surprise. Edward is very amiable, and I love him tenderly. But yet--he is not the kind of young man--there is something wanting--his figure is not striking; it has none of that grace which I should expect in the man who could seriously attach my sister. His eyes want all that spirit, that fire, which at once announce virtue and intelligence. And besides all this, I am afraid, Mama, he has no real taste. Music seems scarcely to attract him, and though he admires Elinor's drawings very much, it is not the admiration of a person who can understand their worth. It is evident, in spite of his frequent attention to her while she draws, that in fact he knows nothing of the matter. He admires as a lover, not as a connoisseur. To satisfy me, those characters must be united. I could not be happy with a man whose taste did not in every point coincide with my own. He must enter into all my feelings; the same books, the same music must charm us both. Oh! mama, how spiritless, how tame was Edward's manner in reading to us last night! I felt for my sister most severely. Yet she bore it with so much composure, she seemed scarcely to notice it. I could hardly keep my seat. To hear those beautiful lines which have frequently almost driven me wild, pronounced with such impenetrable calmness, such dreadful indifference!" "He would certainly have done more justice to simple and elegant prose. I thought so at the time; but you WOULD give him Cowper." "Nay, Mama, if he is not to be animated by Cowper!--but we must allow for difference of taste. Elinor has not my feelings, and therefore she may overlook it, and be happy with him. But it would have broke MY heart, had I loved him, to hear him read with so little sensibility. Mama, the more I know of the world, the more am I convinced that I shall never see a man whom I can really love. I require so much! He must have all Edward's virtues, and his person and manners must ornament his goodness with every possible charm." "Remember, my love, that you are not seventeen. It is yet too early in life to despair of such a happiness. Why should you be less fortunate than your mother? In one circumstance only, my Marianne, may your destiny be different from hers!" "What a pity it is, Elinor," said Marianne, "that Edward should have no taste for drawing." "No taste for drawing!" replied Elinor, "why should you think so? He does not draw himself, indeed, but he has great pleasure in seeing the performances of other people, and I assure you he is by no means deficient in natural taste, though he has not had opportunities of improving it. Had he ever been in the way of learning, I think he would have drawn very well. He distrusts his own judgment in such matters so much, that he is always unwilling to give his opinion on any picture; but he has an innate propriety and simplicity of taste, which in general direct him perfectly right." Marianne was afraid of offending, and said no more on the subject; but the kind of approbation which Elinor described as excited in him by the drawings of other people, was very far from that rapturous delight, which, in her opinion, could alone be called taste. Yet, though smiling within herself at the mistake, she honoured her sister for that blind partiality to Edward which produced it. "I hope, Marianne," continued Elinor, "you do not consider him as deficient in general taste. Indeed, I think I may say that you cannot, for your behaviour to him is perfectly cordial, and if THAT were your opinion, I am sure you could never be civil to him." Marianne hardly knew what to say. She would not wound the feelings of her sister on any account, and yet to say what she did not believe was impossible. At length she replied: "Do not be offended, Elinor, if my praise of him is not in every thing equal to your sense of his merits. I have not had so many opportunities of estimating the minuter propensities of his mind, his inclinations and tastes, as you have; but I have the highest opinion in the world of his goodness and sense. I think him every thing that is worthy and amiable." "I am sure," replied Elinor, with a smile, "that his dearest friends could not be dissatisfied with such commendation as that. I do not perceive how you could express yourself more warmly." Marianne was rejoiced to find her sister so easily pleased. "Of his sense and his goodness," continued Elinor, "no one can, I think, be in doubt, who has seen him often enough to engage him in unreserved conversation. The excellence of his understanding and his principles can be concealed only by that shyness which too often keeps him silent. You know enough of him to do justice to his solid worth. But of his minuter propensities, as you call them you have from peculiar circumstances been kept more ignorant than myself. He and I have been at times thrown a good deal together, while you have been wholly engrossed on the most affectionate principle by my mother. I have seen a great deal of him, have studied his sentiments and heard his opinion on subjects of literature and taste; and, upon the whole, I venture to pronounce that his mind is well-informed, enjoyment of books exceedingly great, his imagination lively, his observation just and correct, and his taste delicate and pure. His abilities in every respect improve as much upon acquaintance as his manners and person. At first sight, his address is certainly not striking; and his person can hardly be called handsome, till the expression of his eyes, which are uncommonly good, and the general sweetness of his countenance, is perceived. At present, I know him so well, that I think him really handsome; or at least, almost so. What say you, Marianne?" "I shall very soon think him handsome, Elinor, if I do not now. When you tell me to love him as a brother, I shall no more see imperfection in his face, than I now do in his heart." Elinor started at this declaration, and was sorry for the warmth she had been betrayed into, in speaking of him. She felt that Edward stood very high in her opinion. She believed the regard to be mutual; but she required greater certainty of it to make Marianne's conviction of their attachment agreeable to her. She knew that what Marianne and her mother conjectured one moment, they believed the next--that with them, to wish was to hope, and to hope was to expect. She tried to explain the real state of the case to her sister. "I do not attempt to deny," said she, "that I think very highly of him--that I greatly esteem, that I like him." Marianne here burst forth with indignation-- "Esteem him! Like him! Cold-hearted Elinor! Oh! worse than cold-hearted! Ashamed of being otherwise. Use those words again, and I will leave the room this moment." Elinor could not help laughing. "Excuse me," said she; "and be assured that I meant no offence to you, by speaking, in so quiet a way, of my own feelings. Believe them to be stronger than I have declared; believe them, in short, to be such as his merit, and the suspicion--the hope of his affection for me may warrant, without imprudence or folly. But farther than this you must not believe. I am by no means assured of his regard for me. There are moments when the extent of it seems doubtful; and till his sentiments are fully known, you cannot wonder at my wishing to avoid any encouragement of my own partiality, by believing or calling it more than it is. In my heart I feel little--scarcely any doubt of his preference. But there are other points to be considered besides his inclination. He is very far from being independent. What his mother really is we cannot know; but, from Fanny's occasional mention of her conduct and opinions, we have never been disposed to think her amiable; and I am very much mistaken if Edward is not himself aware that there would be many difficulties in his way, if he were to wish to marry a woman who had not either a great fortune or high rank." Marianne was astonished to find how much the imagination of her mother and herself had outstripped the truth. "And you really are not engaged to him!" said she. "Yet it certainly soon will happen. But two advantages will proceed from this delay. I shall not lose you so soon, and Edward will have greater opportunity of improving that natural taste for your favourite pursuit which must be so indispensably necessary to your future felicity. Oh! if he should be so far stimulated by your genius as to learn to draw himself, how delightful it would be!" Elinor had given her real opinion to her sister. She could not consider her partiality for Edward in so prosperous a state as Marianne had believed it. There was, at times, a want of spirits about him which, if it did not denote indifference, spoke of something almost as unpromising. A doubt of her regard, supposing him to feel it, need not give him more than inquietude. It would not be likely to produce that dejection of mind which frequently attended him. A more reasonable cause might be found in the dependent situation which forbade the indulgence of his affection. She knew that his mother neither behaved to him so as to make his home comfortable at present, nor to give him any assurance that he might form a home for himself, without strictly attending to her views for his aggrandizement. With such a knowledge as this, it was impossible for Elinor to feel easy on the subject. She was far from depending on that result of his preference of her, which her mother and sister still considered as certain. Nay, the longer they were together the more doubtful seemed the nature of his regard; and sometimes, for a few painful minutes, she believed it to be no more than friendship. But, whatever might really be its limits, it was enough, when perceived by his sister, to make her uneasy, and at the same time, (which was still more common,) to make her uncivil. She took the first opportunity of affronting her mother-in-law on the occasion, talking to her so expressively of her brother's great expectations, of Mrs. Ferrars's resolution that both her sons should marry well, and of the danger attending any young woman who attempted to DRAW HIM IN; that Mrs. Dashwood could neither pretend to be unconscious, nor endeavor to be calm. She gave her an answer which marked her contempt, and instantly left the room, resolving that, whatever might be the inconvenience or expense of so sudden a removal, her beloved Elinor should not be exposed another week to such insinuations. In this state of her spirits, a letter was delivered to her from the post, which contained a proposal particularly well timed. It was the offer of a small house, on very easy terms, belonging to a relation of her own, a gentleman of consequence and property in Devonshire. The letter was from this gentleman himself, and written in the true spirit of friendly accommodation. He understood that she was in need of a dwelling; and though the house he now offered her was merely a cottage, he assured her that everything should be done to it which she might think necessary, if the situation pleased her. He earnestly pressed her, after giving the particulars of the house and garden, to come with her daughters to Barton Park, the place of his own residence, from whence she might judge, herself, whether Barton Cottage, for the houses were in the same parish, could, by any alteration, be made comfortable to her. He seemed really anxious to accommodate them and the whole of his letter was written in so friendly a style as could not fail of giving pleasure to his cousin; more especially at a moment when she was suffering under the cold and unfeeling behaviour of her nearer connections. She needed no time for deliberation or inquiry. Her resolution was formed as she read. The situation of Barton, in a county so far distant from Sussex as Devonshire, which, but a few hours before, would have been a sufficient objection to outweigh every possible advantage belonging to the place, was now its first recommendation. To quit the neighbourhood of Norland was no longer an evil; it was an object of desire; it was a blessing, in comparison of the misery of continuing her daughter-in-law's guest; and to remove for ever from that beloved place would be less painful than to inhabit or visit it while such a woman was its mistress. She instantly wrote Sir John Middleton her acknowledgment of his kindness, and her acceptance of his proposal; and then hastened to shew both letters to her daughters, that she might be secure of their approbation before her answer were sent. Elinor had always thought it would be more prudent for them to settle at some distance from Norland, than immediately amongst their present acquaintance. On THAT head, therefore, it was not for her to oppose her mother's intention of removing into Devonshire. The house, too, as described by Sir John, was on so simple a scale, and the rent so uncommonly moderate, as to leave her no right of objection on either point; and, therefore, though it was not a plan which brought any charm to her fancy, though it was a removal from the vicinity of Norland beyond her wishes, she made no attempt to dissuade her mother from sending a letter of acquiescence. No sooner was her answer dispatched, than Mrs. Dashwood indulged herself in the pleasure of announcing to her son-in-law and his wife that she was provided with a house, and should incommode them no longer than till every thing were ready for her inhabiting it. They heard her with surprise. Mrs. John Dashwood said nothing; but her husband civilly hoped that she would not be settled far from Norland. She had great satisfaction in replying that she was going into Devonshire.--Edward turned hastily towards her, on hearing this, and, in a voice of surprise and concern, which required no explanation to her, repeated, "Devonshire! Are you, indeed, going there? So far from hence! And to what part of it?" She explained the situation. It was within four miles northward of Exeter. "It is but a cottage," she continued, "but I hope to see many of my friends in it. A room or two can easily be added; and if my friends find no difficulty in travelling so far to see me, I am sure I will find none in accommodating them." She concluded with a very kind invitation to Mr. and Mrs. John Dashwood to visit her at Barton; and to Edward she gave one with still greater affection. Though her late conversation with her daughter-in-law had made her resolve on remaining at Norland no longer than was unavoidable, it had not produced the smallest effect on her in that point to which it principally tended. To separate Edward and Elinor was as far from being her object as ever; and she wished to show Mrs. John Dashwood, by this pointed invitation to her brother, how totally she disregarded her disapprobation of the match. Mr. John Dashwood told his mother again and again how exceedingly sorry he was that she had taken a house at such a distance from Norland as to prevent his being of any service to her in removing her furniture. He really felt conscientiously vexed on the occasion; for the very exertion to which he had limited the performance of his promise to his father was by this arrangement rendered impracticable.-- The furniture was all sent around by water. It chiefly consisted of household linen, plate, china, and books, with a handsome pianoforte of Marianne's. Mrs. John Dashwood saw the packages depart with a sigh: she could not help feeling it hard that as Mrs. Dashwood's income would be so trifling in comparison with their own, she should have any handsome article of furniture. Mrs. Dashwood took the house for a twelvemonth; it was ready furnished, and she might have immediate possession. No difficulty arose on either side in the agreement; and she waited only for the disposal of her effects at Norland, and to determine her future household, before she set off for the west; and this, as she was exceedingly rapid in the performance of everything that interested her, was soon done.--The horses which were left her by her husband had been sold soon after his death, and an opportunity now offering of disposing of her carriage, she agreed to sell that likewise at the earnest advice of her eldest daughter. For the comfort of her children, had she consulted only her own wishes, she would have kept it; but the discretion of Elinor prevailed. HER wisdom too limited the number of their servants to three; two maids and a man, with whom they were speedily provided from amongst those who had formed their establishment at Norland. The man and one of the maids were sent off immediately into Devonshire, to prepare the house for their mistress's arrival; for as Lady Middleton was entirely unknown to Mrs. Dashwood, she preferred going directly to the cottage to being a visitor at Barton Park; and she relied so undoubtingly on Sir John's description of the house, as to feel no curiosity to examine it herself till she entered it as her own. Her eagerness to be gone from Norland was preserved from diminution by the evident satisfaction of her daughter-in-law in the prospect of her removal; a satisfaction which was but feebly attempted to be concealed under a cold invitation to her to defer her departure. Now was the time when her son-in-law's promise to his father might with particular propriety be fulfilled. Since he had neglected to do it on first coming to the estate, their quitting his house might be looked on as the most suitable period for its accomplishment. But Mrs. Dashwood began shortly to give over every hope of the kind, and to be convinced, from the general drift of his discourse, that his assistance extended no farther than their maintenance for six months at Norland. He so frequently talked of the increasing expenses of housekeeping, and of the perpetual demands upon his purse, which a man of any consequence in the world was beyond calculation exposed to, that he seemed rather to stand in need of more money himself than to have any design of giving money away. In a very few weeks from the day which brought Sir John Middleton's first letter to Norland, every thing was so far settled in their future abode as to enable Mrs. Dashwood and her daughters to begin their journey. Many were the tears shed by them in their last adieus to a place so much beloved. "Dear, dear Norland!" said Marianne, as she wandered alone before the house, on the last evening of their being there; "when shall I cease to regret you!--when learn to feel a home elsewhere!--Oh! happy house, could you know what I suffer in now viewing you from this spot, from whence perhaps I may view you no more!--And you, ye well-known trees!--but you will continue the same.--No leaf will decay because we are removed, nor any branch become motionless although we can observe you no longer!--No; you will continue the same; unconscious of the pleasure or the regret you occasion, and insensible of any change in those who walk under your shade!--But who will remain to enjoy you?"

Chapters 1-5

https://web.archive.org/web/20210123003206/https://www.sparknotes.com/lit/sensibility/section1/

Old Mr. Dashwood is the owner of a large estate in Sussex called Norland Park. Following the death of his sister, Mr. Dashwood invites his nephew Mr. Henry Dashwood to come live with him at Norland. The younger Mr. Dashwood brings John Dashwood, his son from a previous marriage, as well as the three daughters born to his present wife. John Dashwood is grown and married, and has a four-year-old son, Harry. When Old Mr. Dashwood dies, he leaves his estate to John and little Harry, who had much endeared himself to the old man. But now John's father, Henry Dashwood, is left with no way of supporting his wife and three daughters, and he too dies one year later, leaving only ten thousand pounds for his family. Just before his death, he makes his son John promise to care for his stepmother and three half-sisters. Mr. John Dashwood initially intends to keep his promise and treat his female relatives generously, but his wife Fanny, a narrow-minded and selfish woman, convinces him to leave them only five hundred pounds apiece. Fanny moves into Norland immediately following Mr. Henry Dashwood's death and becomes mistress of the estate, relegating John's stepmother Mrs. Dashwood and half-sisters Elinor, Marianne, and Margaret to the status of mere visitors. Fanny's brother, Edward Ferrars, visits Norland for several weeks and develops a strong attachment to Elinor Dashwood. Edward is the eldest son of a man who died very rich; now his entire fate depends upon his mother's will. Although he is shy and not particularly handsome, he has an open, affectionate heart. His mother and sister want him to distinguish himself and earn prestige, but Edward is a simple man, who longs only for domestic comfort. In her discussions with her mother and her older sister, Marianne Dashwood expresses her disappointment that Edward is not a more striking, artistic, poetic man. She can tell that Elinor has feelings for Edward but becomes frustrated when Elinor concedes only that she "likes" and "esteems" him; Marianne longs to hear her sister profess her passionate devotion. However, Elinor remains timid because she is still unsure that Edward reciprocates her affection; such things are not usually openly expressed until after the engagement. Six months after Fanny installs herself as mistress at Norland, Mrs. Dashwood receives a letter from her cousin Sir John Middleton, inviting her and her daughters to reside at Barton Cottage on his property in Devonshire. Eager to distance herself from Fanny's rudeness and insensitivity, Mrs. Dashwood immediately accepts the invitation and sends three servants ahead to Barton to prepare the house for their arrival. She informs John and Fanny of their imminent departure and encourages Edward Ferrars to come visit them at Barton. Following Marianne's tearful goodbye to their home at Norland, the family sets out for Barton Cottage.

Commentary The opening pages of Sense and Sensibility are concerned with the laws of inheritance and succession that govern the fate of the Dashwood family property. According to the laws of male primogeniture effective in the mid-nineteenth century, estates went to the closest male descendant of the original owner. Since Old Mr. Dashwood has no sons, his estate is bequeathed to his nephew, Henry Dashwood. Henry, in turn, leaves the estate to his eldest son, John. However, as Austen notes, Henry Dashwood's money was far more vital to his daughters than to his son, because John was already provided for both by his mother's fortune--which he inherited as eldest son--and by the money he received by marrying his own wife. In this case, the money that Mr. Henry Dashwood's late first wife brought to the marriage was settled on their son John, and therefore could not be used to help his second wife or his daughters by that second wife. Since Henry's second wife and their three daughters could not inherit any of the money from that first marriage, they are in much greater need of the money from Old Mr. Dashwood's estate. The opening discussion of money and marriage immediately establishes the important role that ordinary economic concerns will play in Austen's novel. Unlike the authors of Gothic and sentimental novels fashionable in her day, Austen refuses to romanticize; she recognizes that material realities constrain love and marriage. Nonetheless, she allows some of this sentimentality to seep into the novel, and the tension between reasonable economic concerns and overly romantic dreaming will constitute an important theme in the novel. Indeed, this tension is already apparent in the characters of Elinor and Marianne, between the older sister's "sense" and the younger sister's "sensibility," the duality which the novel's title refers to. Elinor, age nineteen, is described as having a "strength of understanding" and "coolness of judgment", as well as the ability to govern and control her feelings. She modestly states that she "greatly esteems" Edward Ferrars, a remark typical of her rational, sensible attitude. In contrast, her younger sister Marianne, who more closely resembles their mother, is "everything but prudent. " She longs for a man with taste, grace, spirit, and fire in his eyes, and considers her sister cold-hearted in her calm and tempered regard for Edward Ferrars. Their younger sister Margaret, age thirteen, also shares Marianne's excessive romanticism. Elinor thus stands out in her family as the only sensible and rational woman. The sensibility of Marianne and Mrs. Dashwood manifests itself in their excessive mourning over the deaths of the two men, in contrast to Elinor's more silent grief. Not only are they overcome by sadness at the loss of first Old Mr. Dashwood and then Henry, but they then carry on dramatically about having to leave Norland and move to the smaller cottage. Before departing, Marianne wanders the grounds of Norland uttering a histrionic elegy: "Dear, dear Norland... Oh! happy house... And you, ye well-known trees!" Elinor, however, experiences a far more subdued depression--though she is leaving behind not just her home but also a man she has grown to deeply care for and admire. The early chapters also display the wry irony for which Austen is so famous as a novelist. She is unsparingly critical of the characters she dislikes, but conveys her criticism with a pointed subtlety, which makes it all the more forceful. For example, in the opening chapter, Austen sketches the character of John Dashwood in three masterful sentences, achieving a biting acerbity: the author begins elliptically with a double negative, only slyly to refute it: "He was not an ill-disposed young man, unless to be rather cold-hearted and rather selfish is to be ill-disposed..." She then ends the paragraph by explicitly skewering both John and his wife: "Mrs. John Dashwood was a strong caricature of himself; more narrow-minded and selfish." Austen thus relies on understatement and irony to reveal her feelings towards her more disagreeable characters.

shmoop

all_chapterized_books/28054-chapters/59.txt

finished_summaries/shmoop/The Brothers Karamazov/section_58_part_0.txt

The Brothers Karamazov.book 9.chapter 6

book 9, chapter 6

{"name": "Book 9, Chapter 6", "url": "https://web.archive.org/web/20201023112808/https://www.shmoop.com/study-guides/literature/brothers-karamazov/summary/book-9-chapter-6", "summary": "The prosecutor and the deputy commissioner search Dmitri's clothes, thinking he might have sewn his money into them, but find nothing. They discover some blood on his right cuff and take all the clothes in as evidence. They find some clothes from Kalganov for Dmitri to borrow. The prosecutor informs Dmitri that Grigory's testimony conflicts with his story. Dmitri had said that the gate to the garden was closed, while Grigory insisted it was open. Puzzled, Dmitri is shown the envelope that had the money, and his exclamations only serve as further proof to his interrogators that he's guilty. Frustrated, and now convinced that it must have been Smerdyakov who killed his father, Dmitri decides to confess an awful secret.", "analysis": ""}

Chapter VI. The Prosecutor Catches Mitya Something utterly unexpected and amazing to Mitya followed. He could never, even a minute before, have conceived that any one could behave like that to him, Mitya Karamazov. What was worst of all, there was something humiliating in it, and on their side something "supercilious and scornful." It was nothing to take off his coat, but he was asked to undress further, or rather not asked but "commanded," he quite understood that. From pride and contempt he submitted without a word. Several peasants accompanied the lawyers and remained on the same side of the curtain. "To be ready if force is required," thought Mitya, "and perhaps for some other reason, too." "Well, must I take off my shirt, too?" he asked sharply, but Nikolay Parfenovitch did not answer. He was busily engaged with the prosecutor in examining the coat, the trousers, the waistcoat and the cap; and it was evident that they were both much interested in the scrutiny. "They make no bones about it," thought Mitya, "they don't keep up the most elementary politeness." "I ask you for the second time--need I take off my shirt or not?" he said, still more sharply and irritably. "Don't trouble yourself. We will tell you what to do," Nikolay Parfenovitch said, and his voice was positively peremptory, or so it seemed to Mitya. Meantime a consultation was going on in undertones between the lawyers. There turned out to be on the coat, especially on the left side at the back, a huge patch of blood, dry, and still stiff. There were bloodstains on the trousers, too. Nikolay Parfenovitch, moreover, in the presence of the peasant witnesses, passed his fingers along the collar, the cuffs, and all the seams of the coat and trousers, obviously looking for something--money, of course. He didn't even hide from Mitya his suspicion that he was capable of sewing money up in his clothes. "He treats me not as an officer but as a thief," Mitya muttered to himself. They communicated their ideas to one another with amazing frankness. The secretary, for instance, who was also behind the curtain, fussing about and listening, called Nikolay Parfenovitch's attention to the cap, which they were also fingering. "You remember Gridyenko, the copying-clerk," observed the secretary. "Last summer he received the wages of the whole office, and pretended to have lost the money when he was drunk. And where was it found? Why, in just such pipings in his cap. The hundred-rouble notes were screwed up in little rolls and sewed in the piping." Both the lawyers remembered Gridyenko's case perfectly, and so laid aside Mitya's cap, and decided that all his clothes must be more thoroughly examined later. "Excuse me," cried Nikolay Parfenovitch, suddenly, noticing that the right cuff of Mitya's shirt was turned in, and covered with blood, "excuse me, what's that, blood?" "Yes," Mitya jerked out. "That is, what blood? ... and why is the cuff turned in?" Mitya told him how he had got the sleeve stained with blood looking after Grigory, and had turned it inside when he was washing his hands at Perhotin's. "You must take off your shirt, too. That's very important as material evidence." Mitya flushed red and flew into a rage. "What, am I to stay naked?" he shouted. "Don't disturb yourself. We will arrange something. And meanwhile take off your socks." "You're not joking? Is that really necessary?" Mitya's eyes flashed. "We are in no mood for joking," answered Nikolay Parfenovitch sternly. "Well, if I must--" muttered Mitya, and sitting down on the bed, he took off his socks. He felt unbearably awkward. All were clothed, while he was naked, and strange to say, when he was undressed he felt somehow guilty in their presence, and was almost ready to believe himself that he was inferior to them, and that now they had a perfect right to despise him. "When all are undressed, one is somehow not ashamed, but when one's the only one undressed and everybody is looking, it's degrading," he kept repeating to himself, again and again. "It's like a dream, I've sometimes dreamed of being in such degrading positions." It was a misery to him to take off his socks. They were very dirty, and so were his underclothes, and now every one could see it. And what was worse, he disliked his feet. All his life he had thought both his big toes hideous. He particularly loathed the coarse, flat, crooked nail on the right one, and now they would all see it. Feeling intolerably ashamed made him, at once and intentionally, rougher. He pulled off his shirt, himself. "Would you like to look anywhere else if you're not ashamed to?" "No, there's no need to, at present." "Well, am I to stay naked like this?" he added savagely. "Yes, that can't be helped for the time.... Kindly sit down here for a while. You can wrap yourself in a quilt from the bed, and I ... I'll see to all this." All the things were shown to the witnesses. The report of the search was drawn up, and at last Nikolay Parfenovitch went out, and the clothes were carried out after him. Ippolit Kirillovitch went out, too. Mitya was left alone with the peasants, who stood in silence, never taking their eyes off him. Mitya wrapped himself up in the quilt. He felt cold. His bare feet stuck out, and he couldn't pull the quilt over so as to cover them. Nikolay Parfenovitch seemed to be gone a long time, "an insufferable time." "He thinks of me as a puppy," thought Mitya, gnashing his teeth. "That rotten prosecutor has gone, too, contemptuous no doubt, it disgusts him to see me naked!" Mitya imagined, however, that his clothes would be examined and returned to him. But what was his indignation when Nikolay Parfenovitch came back with quite different clothes, brought in behind him by a peasant. "Here are clothes for you," he observed airily, seeming well satisfied with the success of his mission. "Mr. Kalganov has kindly provided these for this unusual emergency, as well as a clean shirt. Luckily he had them all in his trunk. You can keep your own socks and underclothes." Mitya flew into a passion. "I won't have other people's clothes!" he shouted menacingly, "give me my own!" "It's impossible!" "Give me my own. Damn Kalganov and his clothes, too!" It was a long time before they could persuade him. But they succeeded somehow in quieting him down. They impressed upon him that his clothes, being stained with blood, must be "included with the other material evidence," and that they "had not even the right to let him have them now ... taking into consideration the possible outcome of the case." Mitya at last understood this. He subsided into gloomy silence and hurriedly dressed himself. He merely observed, as he put them on, that the clothes were much better than his old ones, and that he disliked "gaining by the change." The coat was, besides, "ridiculously tight. Am I to be dressed up like a fool ... for your amusement?" They urged upon him again that he was exaggerating, that Kalganov was only a little taller, so that only the trousers might be a little too long. But the coat turned out to be really tight in the shoulders. "Damn it all! I can hardly button it," Mitya grumbled. "Be so good as to tell Mr. Kalganov from me that I didn't ask for his clothes, and it's not my doing that they've dressed me up like a clown." "He understands that, and is sorry ... I mean, not sorry to lend you his clothes, but sorry about all this business," mumbled Nikolay Parfenovitch. "Confound his sorrow! Well, where now? Am I to go on sitting here?" He was asked to go back to the "other room." Mitya went in, scowling with anger, and trying to avoid looking at any one. Dressed in another man's clothes he felt himself disgraced, even in the eyes of the peasants, and of Trifon Borissovitch, whose face appeared, for some reason, in the doorway, and vanished immediately. "He's come to look at me dressed up," thought Mitya. He sat down on the same chair as before. He had an absurd nightmarish feeling, as though he were out of his mind. "Well, what now? Are you going to flog me? That's all that's left for you," he said, clenching his teeth and addressing the prosecutor. He would not turn to Nikolay Parfenovitch, as though he disdained to speak to him. "He looked too closely at my socks, and turned them inside out on purpose to show every one how dirty they were--the scoundrel!" "Well, now we must proceed to the examination of witnesses," observed Nikolay Parfenovitch, as though in reply to Mitya's question. "Yes," said the prosecutor thoughtfully, as though reflecting on something. "We've done what we could in your interest, Dmitri Fyodorovitch," Nikolay Parfenovitch went on, "but having received from you such an uncompromising refusal to explain to us the source from which you obtained the money found upon you, we are, at the present moment--" "What is the stone in your ring?" Mitya interrupted suddenly, as though awakening from a reverie. He pointed to one of the three large rings adorning Nikolay Parfenovitch's right hand. "Ring?" repeated Nikolay Parfenovitch with surprise. "Yes, that one ... on your middle finger, with the little veins in it, what stone is that?" Mitya persisted, like a peevish child. "That's a smoky topaz," said Nikolay Parfenovitch, smiling. "Would you like to look at it? I'll take it off ..." "No, don't take it off," cried Mitya furiously, suddenly waking up, and angry with himself. "Don't take it off ... there's no need.... Damn it!... Gentlemen, you've sullied my heart! Can you suppose that I would conceal it from you, if I had really killed my father, that I would shuffle, lie, and hide myself? No, that's not like Dmitri Karamazov, that he couldn't do, and if I were guilty, I swear I shouldn't have waited for your coming, or for the sunrise as I meant at first, but should have killed myself before this, without waiting for the dawn! I know that about myself now. I couldn't have learnt so much in twenty years as I've found out in this accursed night!... And should I have been like this on this night, and at this moment, sitting with you, could I have talked like this, could I have moved like this, could I have looked at you and at the world like this, if I had really been the murderer of my father, when the very thought of having accidentally killed Grigory gave me no peace all night--not from fear--oh, not simply from fear of your punishment! The disgrace of it! And you expect me to be open with such scoffers as you, who see nothing and believe in nothing, blind moles and scoffers, and to tell you another nasty thing I've done, another disgrace, even if that would save me from your accusation! No, better Siberia! The man who opened the door to my father and went in at that door, he killed him, he robbed him. Who was he? I'm racking my brains and can't think who. But I can tell you it was not Dmitri Karamazov, and that's all I can tell you, and that's enough, enough, leave me alone.... Exile me, punish me, but don't bother me any more. I'll say no more. Call your witnesses!" Mitya uttered his sudden monologue as though he were determined to be absolutely silent for the future. The prosecutor watched him the whole time and only when he had ceased speaking, observed, as though it were the most ordinary thing, with the most frigid and composed air: "Oh, about the open door of which you spoke just now, we may as well inform you, by the way, now, of a very interesting piece of evidence of the greatest importance both to you and to us, that has been given us by Grigory, the old man you wounded. On his recovery, he clearly and emphatically stated, in reply to our questions, that when, on coming out to the steps, and hearing a noise in the garden, he made up his mind to go into it through the little gate which stood open, before he noticed you running, as you have told us already, in the dark from the open window where you saw your father, he, Grigory, glanced to the left, and, while noticing the open window, observed at the same time, much nearer to him, the door, standing wide open--that door which you have stated to have been shut the whole time you were in the garden. I will not conceal from you that Grigory himself confidently affirms and bears witness that you must have run from that door, though, of course, he did not see you do so with his own eyes, since he only noticed you first some distance away in the garden, running towards the fence." Mitya had leapt up from his chair half-way through this speech. "Nonsense!" he yelled, in a sudden frenzy, "it's a barefaced lie. He couldn't have seen the door open because it was shut. He's lying!" "I consider it my duty to repeat that he is firm in his statement. He does not waver. He adheres to it. We've cross-examined him several times." "Precisely. I have cross-examined him several times," Nikolay Parfenovitch confirmed warmly. "It's false, false! It's either an attempt to slander me, or the hallucination of a madman," Mitya still shouted. "He's simply raving, from loss of blood, from the wound. He must have fancied it when he came to.... He's raving." "Yes, but he noticed the open door, not when he came to after his injuries, but before that, as soon as he went into the garden from the lodge." "But it's false, it's false! It can't be so! He's slandering me from spite.... He couldn't have seen it ... I didn't come from the door," gasped Mitya. The prosecutor turned to Nikolay Parfenovitch and said to him impressively: "Confront him with it." "Do you recognize this object?" Nikolay Parfenovitch laid upon the table a large and thick official envelope, on which three seals still remained intact. The envelope was empty, and slit open at one end. Mitya stared at it with open eyes. "It ... it must be that envelope of my father's, the envelope that contained the three thousand roubles ... and if there's inscribed on it, allow me, 'For my little chicken' ... yes--three thousand!" he shouted, "do you see, three thousand, do you see?" "Of course, we see. But we didn't find the money in it. It was empty, and lying on the floor by the bed, behind the screen." For some seconds Mitya stood as though thunderstruck. "Gentlemen, it's Smerdyakov!" he shouted suddenly, at the top of his voice. "It's he who's murdered him! He's robbed him! No one else knew where the old man hid the envelope. It's Smerdyakov, that's clear, now!" "But you, too, knew of the envelope and that it was under the pillow." "I never knew it. I've never seen it. This is the first time I've looked at it. I'd only heard of it from Smerdyakov.... He was the only one who knew where the old man kept it hidden, I didn't know ..." Mitya was completely breathless. "But you told us yourself that the envelope was under your deceased father's pillow. You especially stated that it was under the pillow, so you must have known it." "We've got it written down," confirmed Nikolay Parfenovitch. "Nonsense! It's absurd! I'd no idea it was under the pillow. And perhaps it wasn't under the pillow at all.... It was just a chance guess that it was under the pillow. What does Smerdyakov say? Have you asked him where it was? What does Smerdyakov say? that's the chief point.... And I went out of my way to tell lies against myself.... I told you without thinking that it was under the pillow, and now you-- Oh, you know how one says the wrong thing, without meaning it. No one knew but Smerdyakov, only Smerdyakov, and no one else.... He didn't even tell me where it was! But it's his doing, his doing; there's no doubt about it, he murdered him, that's as clear as daylight now," Mitya exclaimed more and more frantically, repeating himself incoherently, and growing more and more exasperated and excited. "You must understand that, and arrest him at once.... He must have killed him while I was running away and while Grigory was unconscious, that's clear now.... He gave the signal and father opened to him ... for no one but he knew the signal, and without the signal father would never have opened the door...." "But you're again forgetting the circumstance," the prosecutor observed, still speaking with the same restraint, though with a note of triumph, "that there was no need to give the signal if the door already stood open when you were there, while you were in the garden...." "The door, the door," muttered Mitya, and he stared speechless at the prosecutor. He sank back helpless in his chair. All were silent. "Yes, the door!... It's a nightmare! God is against me!" he exclaimed, staring before him in complete stupefaction. "Come, you see," the prosecutor went on with dignity, "and you can judge for yourself, Dmitri Fyodorovitch. On the one hand we have the evidence of the open door from which you ran out, a fact which overwhelms you and us. On the other side your incomprehensible, persistent, and, so to speak, obdurate silence with regard to the source from which you obtained the money which was so suddenly seen in your hands, when only three hours earlier, on your own showing, you pledged your pistols for the sake of ten roubles! In view of all these facts, judge for yourself. What are we to believe, and what can we depend upon? And don't accuse us of being 'frigid, cynical, scoffing people,' who are incapable of believing in the generous impulses of your heart.... Try to enter into our position ..." Mitya was indescribably agitated. He turned pale. "Very well!" he exclaimed suddenly. "I will tell you my secret. I'll tell you where I got the money!... I'll reveal my shame, that I may not have to blame myself or you hereafter." "And believe me, Dmitri Fyodorovitch," put in Nikolay Parfenovitch, in a voice of almost pathetic delight, "that every sincere and complete confession on your part at this moment may, later on, have an immense influence in your favor, and may, indeed, moreover--" But the prosecutor gave him a slight shove under the table, and he checked himself in time. Mitya, it is true, had not heard him.

Book 9, Chapter 6

https://web.archive.org/web/20201023112808/https://www.shmoop.com/study-guides/literature/brothers-karamazov/summary/book-9-chapter-6

The prosecutor and the deputy commissioner search Dmitri's clothes, thinking he might have sewn his money into them, but find nothing. They discover some blood on his right cuff and take all the clothes in as evidence. They find some clothes from Kalganov for Dmitri to borrow. The prosecutor informs Dmitri that Grigory's testimony conflicts with his story. Dmitri had said that the gate to the garden was closed, while Grigory insisted it was open. Puzzled, Dmitri is shown the envelope that had the money, and his exclamations only serve as further proof to his interrogators that he's guilty. Frustrated, and now convinced that it must have been Smerdyakov who killed his father, Dmitri decides to confess an awful secret.

novelguide

all_chapterized_books/161-chapters/17.txt

finished_summaries/novelguide/Sense and Sensibility/section_2_part_6.txt

Sense and Sensibility.chapter xvii

chapter xvii

{"name": "Chapter XVII", "url": "https://web.archive.org/web/20201020004256/https://www.novelguide.com/sense-and-sensibility/summaries/volume1-chapter12-22", "summary": "Edward's reserve breaks down under the warmth of Mrs. Dashwood's welcome, though his spirits seem low. She asks him about his mother's plans for him, and he says he hopes she has given up her ambition for him to become distinguished in public life. Elinor and Marianne discuss the relationship of wealth to happiness. Though Elinor believes that wealth \"has much to do with\" happiness, Marianne romantically dismisses the importance of money , it can afford no real satisfaction. However, it turns out that Marianne's idea of \"a competence\" exceeds Elinor's idea of wealth, so both sisters believe that money is vital to happiness. The sisters go on to discuss with Edward the difficulty of knowing a person. Elinor says her impressions of someone often prove wrong. Edward says that he himself often appears uncaring about others, when he is merely shy in company. He is shocked to hear that Marianne believes him to be reserved, and he lapses into pensive silence", "analysis": ""}

Mrs. Dashwood was surprised only for a moment at seeing him; for his coming to Barton was, in her opinion, of all things the most natural. Her joy and expression of regard long outlived her wonder. He received the kindest welcome from her; and shyness, coldness, reserve could not stand against such a reception. They had begun to fail him before he entered the house, and they were quite overcome by the captivating manners of Mrs. Dashwood. Indeed a man could not very well be in love with either of her daughters, without extending the passion to her; and Elinor had the satisfaction of seeing him soon become more like himself. His affections seemed to reanimate towards them all, and his interest in their welfare again became perceptible. He was not in spirits, however; he praised their house, admired its prospect, was attentive, and kind; but still he was not in spirits. The whole family perceived it, and Mrs. Dashwood, attributing it to some want of liberality in his mother, sat down to table indignant against all selfish parents. "What are Mrs. Ferrars's views for you at present, Edward?" said she, when dinner was over and they had drawn round the fire; "are you still to be a great orator in spite of yourself?" "No. I hope my mother is now convinced that I have no more talents than inclination for a public life!" "But how is your fame to be established? for famous you must be to satisfy all your family; and with no inclination for expense, no affection for strangers, no profession, and no assurance, you may find it a difficult matter." "I shall not attempt it. I have no wish to be distinguished; and have every reason to hope I never shall. Thank Heaven! I cannot be forced into genius and eloquence." "You have no ambition, I well know. Your wishes are all moderate." "As moderate as those of the rest of the world, I believe. I wish as well as every body else to be perfectly happy; but, like every body else it must be in my own way. Greatness will not make me so." "Strange that it would!" cried Marianne. "What have wealth or grandeur to do with happiness?" "Grandeur has but little," said Elinor, "but wealth has much to do with it." "Elinor, for shame!" said Marianne, "money can only give happiness where there is nothing else to give it. Beyond a competence, it can afford no real satisfaction, as far as mere self is concerned." "Perhaps," said Elinor, smiling, "we may come to the same point. YOUR competence and MY wealth are very much alike, I dare say; and without them, as the world goes now, we shall both agree that every kind of external comfort must be wanting. Your ideas are only more noble than mine. Come, what is your competence?" "About eighteen hundred or two thousand a year; not more than THAT." Elinor laughed. "TWO thousand a year! ONE is my wealth! I guessed how it would end." "And yet two thousand a-year is a very moderate income," said Marianne. "A family cannot well be maintained on a smaller. I am sure I am not extravagant in my demands. A proper establishment of servants, a carriage, perhaps two, and hunters, cannot be supported on less." Elinor smiled again, to hear her sister describing so accurately their future expenses at Combe Magna. "Hunters!" repeated Edward--"but why must you have hunters? Every body does not hunt." Marianne coloured as she replied, "But most people do." "I wish," said Margaret, striking out a novel thought, "that somebody would give us all a large fortune apiece!" "Oh that they would!" cried Marianne, her eyes sparkling with animation, and her cheeks glowing with the delight of such imaginary happiness. "We are all unanimous in that wish, I suppose," said Elinor, "in spite of the insufficiency of wealth." "Oh dear!" cried Margaret, "how happy I should be! I wonder what I should do with it!" Marianne looked as if she had no doubt on that point. "I should be puzzled to spend so large a fortune myself," said Mrs. Dashwood, "if my children were all to be rich without my help." "You must begin your improvements on this house," observed Elinor, "and your difficulties will soon vanish." "What magnificent orders would travel from this family to London," said Edward, "in such an event! What a happy day for booksellers, music-sellers, and print-shops! You, Miss Dashwood, would give a general commission for every new print of merit to be sent you--and as for Marianne, I know her greatness of soul, there would not be music enough in London to content her. And books!--Thomson, Cowper, Scott--she would buy them all over and over again: she would buy up every copy, I believe, to prevent their falling into unworthy hands; and she would have every book that tells her how to admire an old twisted tree. Should not you, Marianne? Forgive me, if I am very saucy. But I was willing to shew you that I had not forgot our old disputes." "I love to be reminded of the past, Edward--whether it be melancholy or gay, I love to recall it--and you will never offend me by talking of former times. You are very right in supposing how my money would be spent--some of it, at least--my loose cash would certainly be employed in improving my collection of music and books." "And the bulk of your fortune would be laid out in annuities on the authors or their heirs." "No, Edward, I should have something else to do with it." "Perhaps, then, you would bestow it as a reward on that person who wrote the ablest defence of your favourite maxim, that no one can ever be in love more than once in their life--your opinion on that point is unchanged, I presume?" "Undoubtedly. At my time of life opinions are tolerably fixed. It is not likely that I should now see or hear any thing to change them." "Marianne is as steadfast as ever, you see," said Elinor, "she is not at all altered." "She is only grown a little more grave than she was." "Nay, Edward," said Marianne, "you need not reproach me. You are not very gay yourself." "Why should you think so!" replied he, with a sigh. "But gaiety never was a part of MY character." "Nor do I think it a part of Marianne's," said Elinor; "I should hardly call her a lively girl--she is very earnest, very eager in all she does--sometimes talks a great deal and always with animation--but she is not often really merry." "I believe you are right," he replied, "and yet I have always set her down as a lively girl." "I have frequently detected myself in such kind of mistakes," said Elinor, "in a total misapprehension of character in some point or other: fancying people so much more gay or grave, or ingenious or stupid than they really are, and I can hardly tell why or in what the deception originated. Sometimes one is guided by what they say of themselves, and very frequently by what other people say of them, without giving oneself time to deliberate and judge." "But I thought it was right, Elinor," said Marianne, "to be guided wholly by the opinion of other people. I thought our judgments were given us merely to be subservient to those of neighbours. This has always been your doctrine, I am sure." "No, Marianne, never. My doctrine has never aimed at the subjection of the understanding. All I have ever attempted to influence has been the behaviour. You must not confound my meaning. I am guilty, I confess, of having often wished you to treat our acquaintance in general with greater attention; but when have I advised you to adopt their sentiments or to conform to their judgment in serious matters?" "You have not been able to bring your sister over to your plan of general civility," said Edward to Elinor. "Do you gain no ground?" "Quite the contrary," replied Elinor, looking expressively at Marianne. "My judgment," he returned, "is all on your side of the question; but I am afraid my practice is much more on your sister's. I never wish to offend, but I am so foolishly shy, that I often seem negligent, when I am only kept back by my natural awkwardness. I have frequently thought that I must have been intended by nature to be fond of low company, I am so little at my ease among strangers of gentility!" "Marianne has not shyness to excuse any inattention of hers," said Elinor. "She knows her own worth too well for false shame," replied Edward. "Shyness is only the effect of a sense of inferiority in some way or other. If I could persuade myself that my manners were perfectly easy and graceful, I should not be shy." "But you would still be reserved," said Marianne, "and that is worse." Edward started--"Reserved! Am I reserved, Marianne?" "Yes, very." "I do not understand you," replied he, colouring. "Reserved!--how, in what manner? What am I to tell you? What can you suppose?" Elinor looked surprised at his emotion; but trying to laugh off the subject, she said to him, "Do not you know my sister well enough to understand what she means? Do not you know she calls every one reserved who does not talk as fast, and admire what she admires as rapturously as herself?" Edward made no answer. His gravity and thoughtfulness returned on him in their fullest extent--and he sat for some time silent and dull.

Chapter XVII

https://web.archive.org/web/20201020004256/https://www.novelguide.com/sense-and-sensibility/summaries/volume1-chapter12-22

Edward's reserve breaks down under the warmth of Mrs. Dashwood's welcome, though his spirits seem low. She asks him about his mother's plans for him, and he says he hopes she has given up her ambition for him to become distinguished in public life. Elinor and Marianne discuss the relationship of wealth to happiness. Though Elinor believes that wealth "has much to do with" happiness, Marianne romantically dismisses the importance of money , it can afford no real satisfaction. However, it turns out that Marianne's idea of "a competence" exceeds Elinor's idea of wealth, so both sisters believe that money is vital to happiness. The sisters go on to discuss with Edward the difficulty of knowing a person. Elinor says her impressions of someone often prove wrong. Edward says that he himself often appears uncaring about others, when he is merely shy in company. He is shocked to hear that Marianne believes him to be reserved, and he lapses into pensive silence

shmoop

all_chapterized_books/161-chapters/11.txt

finished_summaries/shmoop/Sense and Sensibility/section_10_part_0.txt

Sense and Sensibility.chapter 11

chapter 11

{"name": "Chapter 11", "url": "https://web.archive.org/web/20210421140324/https://www.shmoop.com/study-guides/literature/sense-and-sensibility/summary/chapter-11", "summary": "Once Marianne is recovered from her injury, the Dashwoods are surprised by how full their social calendar is. Sir John keeps them busy with parties and balls, and, of course, Willoughby is always around to entertain Marianne. The two of them are obviously an item. Whenever Willoughby's around, Marianne doesn't pay attention to anyone else - she's wholly absorbed by him. Both Marianne and her mother are completely happy about their new life. Elinor, on the other hand, isn't so convinced. She doesn't have any real friends among their new acquaintances, and she's particularly unimpressed by the conversation provided by Mrs. Jennings and Lady Middleton. Only Colonel Brandon proves to be an interesting new friend for Elinor. Not only does she genuinely like him, she also feels bad for the fact that her sister totally ignores him. Colonel Brandon and Elinor discuss Marianne's prejudice against second marriages - they put it down to her youth and idealistic perspective. Colonel Brandon lets slip the fact that he previously knew a young lady that reminded him a lot of Marianne - a fact that Elinor tactfully keeps to herself. If Marianne knew about this former acquaintance, our narrator informs us, she would have blown it up into a dramatic, tragic love story.", "analysis": ""}

Little had Mrs. Dashwood or her daughters imagined when they first came into Devonshire, that so many engagements would arise to occupy their time as shortly presented themselves, or that they should have such frequent invitations and such constant visitors as to leave them little leisure for serious employment. Yet such was the case. When Marianne was recovered, the schemes of amusement at home and abroad, which Sir John had been previously forming, were put into execution. The private balls at the park then began; and parties on the water were made and accomplished as often as a showery October would allow. In every meeting of the kind Willoughby was included; and the ease and familiarity which naturally attended these parties were exactly calculated to give increasing intimacy to his acquaintance with the Dashwoods, to afford him opportunity of witnessing the excellencies of Marianne, of marking his animated admiration of her, and of receiving, in her behaviour to himself, the most pointed assurance of her affection. Elinor could not be surprised at their attachment. She only wished that it were less openly shewn; and once or twice did venture to suggest the propriety of some self-command to Marianne. But Marianne abhorred all concealment where no real disgrace could attend unreserve; and to aim at the restraint of sentiments which were not in themselves illaudable, appeared to her not merely an unnecessary effort, but a disgraceful subjection of reason to common-place and mistaken notions. Willoughby thought the same; and their behaviour at all times, was an illustration of their opinions. When he was present she had no eyes for any one else. Every thing he did, was right. Every thing he said, was clever. If their evenings at the park were concluded with cards, he cheated himself and all the rest of the party to get her a good hand. If dancing formed the amusement of the night, they were partners for half the time; and when obliged to separate for a couple of dances, were careful to stand together and scarcely spoke a word to any body else. Such conduct made them of course most exceedingly laughed at; but ridicule could not shame, and seemed hardly to provoke them. Mrs. Dashwood entered into all their feelings with a warmth which left her no inclination for checking this excessive display of them. To her it was but the natural consequence of a strong affection in a young and ardent mind. This was the season of happiness to Marianne. Her heart was devoted to Willoughby, and the fond attachment to Norland, which she brought with her from Sussex, was more likely to be softened than she had thought it possible before, by the charms which his society bestowed on her present home. Elinor's happiness was not so great. Her heart was not so much at ease, nor her satisfaction in their amusements so pure. They afforded her no companion that could make amends for what she had left behind, nor that could teach her to think of Norland with less regret than ever. Neither Lady Middleton nor Mrs. Jennings could supply to her the conversation she missed; although the latter was an everlasting talker, and from the first had regarded her with a kindness which ensured her a large share of her discourse. She had already repeated her own history to Elinor three or four times; and had Elinor's memory been equal to her means of improvement, she might have known very early in their acquaintance all the particulars of Mr. Jennings's last illness, and what he said to his wife a few minutes before he died. Lady Middleton was more agreeable than her mother only in being more silent. Elinor needed little observation to perceive that her reserve was a mere calmness of manner with which sense had nothing to do. Towards her husband and mother she was the same as to them; and intimacy was therefore neither to be looked for nor desired. She had nothing to say one day that she had not said the day before. Her insipidity was invariable, for even her spirits were always the same; and though she did not oppose the parties arranged by her husband, provided every thing were conducted in style and her two eldest children attended her, she never appeared to receive more enjoyment from them than she might have experienced in sitting at home;--and so little did her presence add to the pleasure of the others, by any share in their conversation, that they were sometimes only reminded of her being amongst them by her solicitude about her troublesome boys. In Colonel Brandon alone, of all her new acquaintance, did Elinor find a person who could in any degree claim the respect of abilities, excite the interest of friendship, or give pleasure as a companion. Willoughby was out of the question. Her admiration and regard, even her sisterly regard, was all his own; but he was a lover; his attentions were wholly Marianne's, and a far less agreeable man might have been more generally pleasing. Colonel Brandon, unfortunately for himself, had no such encouragement to think only of Marianne, and in conversing with Elinor he found the greatest consolation for the indifference of her sister. Elinor's compassion for him increased, as she had reason to suspect that the misery of disappointed love had already been known to him. This suspicion was given by some words which accidentally dropped from him one evening at the park, when they were sitting down together by mutual consent, while the others were dancing. His eyes were fixed on Marianne, and, after a silence of some minutes, he said, with a faint smile, "Your sister, I understand, does not approve of second attachments." "No," replied Elinor, "her opinions are all romantic." "Or rather, as I believe, she considers them impossible to exist." "I believe she does. But how she contrives it without reflecting on the character of her own father, who had himself two wives, I know not. A few years however will settle her opinions on the reasonable basis of common sense and observation; and then they may be more easy to define and to justify than they now are, by any body but herself." "This will probably be the case," he replied; "and yet there is something so amiable in the prejudices of a young mind, that one is sorry to see them give way to the reception of more general opinions." "I cannot agree with you there," said Elinor. "There are inconveniences attending such feelings as Marianne's, which all the charms of enthusiasm and ignorance of the world cannot atone for. Her systems have all the unfortunate tendency of setting propriety at nought; and a better acquaintance with the world is what I look forward to as her greatest possible advantage." After a short pause he resumed the conversation by saying,-- "Does your sister make no distinction in her objections against a second attachment? or is it equally criminal in every body? Are those who have been disappointed in their first choice, whether from the inconstancy of its object, or the perverseness of circumstances, to be equally indifferent during the rest of their lives?" "Upon my word, I am not acquainted with the minutiae of her principles. I only know that I never yet heard her admit any instance of a second attachment's being pardonable." "This," said he, "cannot hold; but a change, a total change of sentiments--No, no, do not desire it; for when the romantic refinements of a young mind are obliged to give way, how frequently are they succeeded by such opinions as are but too common, and too dangerous! I speak from experience. I once knew a lady who in temper and mind greatly resembled your sister, who thought and judged like her, but who from an inforced change--from a series of unfortunate circumstances"-- Here he stopt suddenly; appeared to think that he had said too much, and by his countenance gave rise to conjectures, which might not otherwise have entered Elinor's head. The lady would probably have passed without suspicion, had he not convinced Miss Dashwood that what concerned her ought not to escape his lips. As it was, it required but a slight effort of fancy to connect his emotion with the tender recollection of past regard. Elinor attempted no more. But Marianne, in her place, would not have done so little. The whole story would have been speedily formed under her active imagination; and every thing established in the most melancholy order of disastrous love.

Chapter 11

https://web.archive.org/web/20210421140324/https://www.shmoop.com/study-guides/literature/sense-and-sensibility/summary/chapter-11

Once Marianne is recovered from her injury, the Dashwoods are surprised by how full their social calendar is. Sir John keeps them busy with parties and balls, and, of course, Willoughby is always around to entertain Marianne. The two of them are obviously an item. Whenever Willoughby's around, Marianne doesn't pay attention to anyone else - she's wholly absorbed by him. Both Marianne and her mother are completely happy about their new life. Elinor, on the other hand, isn't so convinced. She doesn't have any real friends among their new acquaintances, and she's particularly unimpressed by the conversation provided by Mrs. Jennings and Lady Middleton. Only Colonel Brandon proves to be an interesting new friend for Elinor. Not only does she genuinely like him, she also feels bad for the fact that her sister totally ignores him. Colonel Brandon and Elinor discuss Marianne's prejudice against second marriages - they put it down to her youth and idealistic perspective. Colonel Brandon lets slip the fact that he previously knew a young lady that reminded him a lot of Marianne - a fact that Elinor tactfully keeps to herself. If Marianne knew about this former acquaintance, our narrator informs us, she would have blown it up into a dramatic, tragic love story.

gradesaver

all_chapterized_books/110-chapters/36.txt

finished_summaries/gradesaver/Tess of the D'Urbervilles/section_4_part_2.txt

Tess of the D'Urbervilles.chapter 36

chapter 36

{"name": "Chapter 36", "url": "https://web.archive.org/web/20210410060617/https://www.gradesaver.com/tess-of-the-durbervilles/study-guide/summary-phase-5-chapters-35-44", "summary": "Angel arises at dawn; the neighboring cottager's wife knocks on the door, but he sends her away because her presence is awkward. Angel prepares breakfast, and the two behave civilly to one another, although the pair are \"but ashes of their former fires. Angel asks again if it is true, and he asks if the man is still in England. Tess says that he can get rid of her by divorcing her; her confession has given him adequate grounds for that. She tells him that she thought of putting an end to herself under the mistletoe, but did not because she felt it would cause scandal. Tess continues to do chores around the house for Angel while he visits a local miller, but he scolds her for behaving as a servant and not a wife. Tess breaks into tears, claiming that she had told him that she was not respectable enough to marry him, but he urged her. Her tears would have broken any man but Angel Clare, whose affection masks a hard, logical deposit like a vein of metal that blocks his acceptance of Tess as it blocked his acceptance of the Church. He tells her that it is not a question of respectability, but one of principle. Angel tells Tess that it is imperative that they should stay together to avoid scandal, but it is only for the sake of form. Angel tells Tess that he cannot live with Tess without despising himself and despising her. He considers what their possible children may think. She considers arguing that in Texas or Australia, nobody will know about her misfortunes, but she accepts the momentary sentiment as inevitable. Angel's love is doubtless ethereal to a fault, imaginative to impracticability. He orders her to go away from him, and she says that she can go home. She claims that she has convinced him and that she thinks it best.", "analysis": "In this chapter, Hardy focuses on Angel's principles and the effects that they have on his marriage to Tess. As earlier established, it is the idealistic perception that he has of Tess that blocks his acceptance of her; he can envision her either as a wholehearted saint or sinner, without any room for more subtle shadings. His stern devotion to these principles cause a certain inconsistency of behavior. He values his idealized conception of Tess as well as values of courtesy and duty. Angel does not allow Tess to act as a servant because, in principle, she is his wife and should not behave as such; nevertheless, his principles prevent him from treating Tess fully as his wife and partner. Angel will behave well toward Tess only insofar as he wishes to prevent scandal and assuage his guilt. Tess thus finds herself bereft at the end of this chapter, recalling her earlier fate after leaving The Chase. However, in this situation her fate occurs because of opposite impulses from the rejecting suitor. While Alec behaves only according to his passions, Angel cannot operate on a level that is not intellectual. Hardy therefore constructs a situation in which Angel, if he were to behave more like Alec, his entirely unscrupulous polar opposite, he would act more honorably to Tess. Instead, by remaining tied to his principles of morality, Angel acts far less decently than he would if he were to be more subject to his passions"}

Clare arose in the light of a dawn that was ashy and furtive, as though associated with crime. The fireplace confronted him with its extinct embers; the spread supper-table, whereon stood the two full glasses of untasted wine, now flat and filmy; her vacated seat and his own; the other articles of furniture, with their eternal look of not being able to help it, their intolerable inquiry what was to be done? From above there was no sound; but in a few minutes there came a knock at the door. He remembered that it would be the neighbouring cottager's wife, who was to minister to their wants while they remained here. The presence of a third person in the house would be extremely awkward just now, and, being already dressed, he opened the window and informed her that they could manage to shift for themselves that morning. She had a milk-can in her hand, which he told her to leave at the door. When the dame had gone away he searched in the back quarters of the house for fuel, and speedily lit a fire. There was plenty of eggs, butter, bread, and so on in the larder, and Clare soon had breakfast laid, his experiences at the dairy having rendered him facile in domestic preparations. The smoke of the kindled wood rose from the chimney without like a lotus-headed column; local people who were passing by saw it, and thought of the newly-married couple, and envied their happiness. Angel cast a final glance round, and then going to the foot of the stairs, called in a conventional voice-- "Breakfast is ready!" He opened the front door, and took a few steps in the morning air. When, after a short space, he came back she was already in the sitting-room mechanically readjusting the breakfast things. As she was fully attired, and the interval since his calling her had been but two or three minutes, she must have been dressed or nearly so before he went to summon her. Her hair was twisted up in a large round mass at the back of her head, and she had put on one of the new frocks--a pale blue woollen garment with neck-frillings of white. Her hands and face appeared to be cold, and she had possibly been sitting dressed in the bedroom a long time without any fire. The marked civility of Clare's tone in calling her seemed to have inspired her, for the moment, with a new glimmer of hope. But it soon died when she looked at him. The pair were, in truth, but the ashes of their former fires. To the hot sorrow of the previous night had succeeded heaviness; it seemed as if nothing could kindle either of them to fervour of sensation any more. He spoke gently to her, and she replied with a like undemonstrativeness. At last she came up to him, looking in his sharply-defined face as one who had no consciousness that her own formed a visible object also. "Angel!" she said, and paused, touching him with her fingers lightly as a breeze, as though she could hardly believe to be there in the flesh the man who was once her lover. Her eyes were bright, her pale cheek still showed its wonted roundness, though half-dried tears had left glistening traces thereon; and the usually ripe red mouth was almost as pale as her cheek. Throbbingly alive as she was still, under the stress of her mental grief the life beat so brokenly that a little further pull upon it would cause real illness, dull her characteristic eyes, and make her mouth thin. She looked absolutely pure. Nature, in her fantastic trickery, had set such a seal of maidenhood upon Tess's countenance that he gazed at her with a stupefied air. "Tess! Say it is not true! No, it is not true!" "It is true." "Every word?" "Every word." He looked at her imploringly, as if he would willingly have taken a lie from her lips, knowing it to be one, and have made of it, by some sort of sophistry, a valid denial. However, she only repeated-- "It is true." "Is he living?" Angel then asked. "The baby died." "But the man?" "He is alive." A last despair passed over Clare's face. "Is he in England?" "Yes." He took a few vague steps. "My position--is this," he said abruptly. "I thought--any man would have thought--that by giving up all ambition to win a wife with social standing, with fortune, with knowledge of the world, I should secure rustic innocence as surely as I should secure pink cheeks; but--However, I am no man to reproach you, and I will not." Tess felt his position so entirely that the remainder had not been needed. Therein lay just the distress of it; she saw that he had lost all round. "Angel--I should not have let it go on to marriage with you if I had not known that, after all, there was a last way out of it for you; though I hoped you would never--" Her voice grew husky. "A last way?" "I mean, to get rid of me. You CAN get rid of me." "How?" "By divorcing me." "Good heavens--how can you be so simple! How can I divorce you?" "Can't you--now I have told you? I thought my confession would give you grounds for that." "O Tess--you are too, too--childish--unformed--crude, I suppose! I don't know what you are. You don't understand the law--you don't understand!" "What--you cannot?" "Indeed I cannot." A quick shame mixed with the misery upon his listener's face. "I thought--I thought," she whispered. "O, now I see how wicked I seem to you! Believe me--believe me, on my soul, I never thought but that you could! I hoped you would not; yet I believed, without a doubt, that you could cast me off if you were determined, and didn't love me at--at--all!" "You were mistaken," he said. "O, then I ought to have done it, to have done it last night! But I hadn't the courage. That's just like me!" "The courage to do what?" As she did not answer he took her by the hand. "What were you thinking of doing?" he inquired. "Of putting an end to myself." "When?" She writhed under this inquisitorial manner of his. "Last night," she answered. "Where?" "Under your mistletoe." "My good--! How?" he asked sternly. "I'll tell you, if you won't be angry with me!" she said, shrinking. "It was with the cord of my box. But I could not--do the last thing! I was afraid that it might cause a scandal to your name." The unexpected quality of this confession, wrung from her, and not volunteered, shook him perceptibly. But he still held her, and, letting his glance fall from her face downwards, he said, "Now, listen to this. You must not dare to think of such a horrible thing! How could you! You will promise me as your husband to attempt that no more." "I am ready to promise. I saw how wicked it was." "Wicked! The idea was unworthy of you beyond description." "But, Angel," she pleaded, enlarging her eyes in calm unconcern upon him, "it was thought of entirely on your account--to set you free without the scandal of the divorce that I thought you would have to get. I should never have dreamt of doing it on mine. However, to do it with my own hand is too good for me, after all. It is you, my ruined husband, who ought to strike the blow. I think I should love you more, if that were possible, if you could bring yourself to do it, since there's no other way of escape for 'ee. I feel I am so utterly worthless! So very greatly in the way!" "Ssh!" "Well, since you say no, I won't. I have no wish opposed to yours." He knew this to be true enough. Since the desperation of the night her activities had dropped to zero, and there was no further rashness to be feared. Tess tried to busy herself again over the breakfast-table with more or less success, and they sat down both on the same side, so that their glances did not meet. There was at first something awkward in hearing each other eat and drink, but this could not be escaped; moreover, the amount of eating done was small on both sides. Breakfast over, he rose, and telling her the hour at which he might be expected to dinner, went off to the miller's in a mechanical pursuance of the plan of studying that business, which had been his only practical reason for coming here. When he was gone Tess stood at the window, and presently saw his form crossing the great stone bridge which conducted to the mill premises. He sank behind it, crossed the railway beyond, and disappeared. Then, without a sigh, she turned her attention to the room, and began clearing the table and setting it in order. The charwoman soon came. Her presence was at first a strain upon Tess, but afterwards an alleviation. At half-past twelve she left her assistant alone in the kitchen, and, returning to the sitting-room, waited for the reappearance of Angel's form behind the bridge. About one he showed himself. Her face flushed, although he was a quarter of a mile off. She ran to the kitchen to get the dinner served by the time he should enter. He went first to the room where they had washed their hands together the day before, and as he entered the sitting-room the dish-covers rose from the dishes as if by his own motion. "How punctual!" he said. "Yes. I saw you coming over the bridge," said she. The meal was passed in commonplace talk of what he had been doing during the morning at the Abbey Mill, of the methods of bolting and the old-fashioned machinery, which he feared would not enlighten him greatly on modern improved methods, some of it seeming to have been in use ever since the days it ground for the monks in the adjoining conventual buildings--now a heap of ruins. He left the house again in the course of an hour, coming home at dusk, and occupying himself through the evening with his papers. She feared she was in the way and, when the old woman was gone, retired to the kitchen, where she made herself busy as well as she could for more than an hour. Clare's shape appeared at the door. "You must not work like this," he said. "You are not my servant; you are my wife." She raised her eyes, and brightened somewhat. "I may think myself that--indeed?" she murmured, in piteous raillery. "You mean in name! Well, I don't want to be anything more." "You MAY think so, Tess! You are. What do you mean?" "I don't know," she said hastily, with tears in her accents. "I thought I--because I am not respectable, I mean. I told you I thought I was not respectable enough long ago--and on that account I didn't want to marry you, only--only you urged me!" She broke into sobs, and turned her back to him. It would almost have won round any man but Angel Clare. Within the remote depths of his constitution, so gentle and affectionate as he was in general, there lay hidden a hard logical deposit, like a vein of metal in a soft loam, which turned the edge of everything that attempted to traverse it. It had blocked his acceptance of the Church; it blocked his acceptance of Tess. Moreover, his affection itself was less fire than radiance, and, with regard to the other sex, when he ceased to believe he ceased to follow: contrasting in this with many impressionable natures, who remain sensuously infatuated with what they intellectually despise. He waited till her sobbing ceased. "I wish half the women in England were as respectable as you," he said, in an ebullition of bitterness against womankind in general. "It isn't a question of respectability, but one of principle!" He spoke such things as these and more of a kindred sort to her, being still swayed by the antipathetic wave which warps direct souls with such persistence when once their vision finds itself mocked by appearances. There was, it is true, underneath, a back current of sympathy through which a woman of the world might have conquered him. But Tess did not think of this; she took everything as her deserts, and hardly opened her mouth. The firmness of her devotion to him was indeed almost pitiful; quick-tempered as she naturally was, nothing that he could say made her unseemly; she sought not her own; was not provoked; thought no evil of his treatment of her. She might just now have been Apostolic Charity herself returned to a self-seeking modern world. This evening, night, and morning were passed precisely as the preceding ones had been passed. On one, and only one, occasion did she--the formerly free and independent Tess--venture to make any advances. It was on the third occasion of his starting after a meal to go out to the flour-mill. As he was leaving the table he said "Goodbye," and she replied in the same words, at the same time inclining her mouth in the way of his. He did not avail himself of the invitation, saying, as he turned hastily aside-- "I shall be home punctually." Tess shrank into herself as if she had been struck. Often enough had he tried to reach those lips against her consent--often had he said gaily that her mouth and breath tasted of the butter and eggs and milk and honey on which she mainly lived, that he drew sustenance from them, and other follies of that sort. But he did not care for them now. He observed her sudden shrinking, and said gently-- "You know, I have to think of a course. It was imperative that we should stay together a little while, to avoid the scandal to you that would have resulted from our immediate parting. But you must see it is only for form's sake." "Yes," said Tess absently. He went out, and on his way to the mill stood still, and wished for a moment that he had responded yet more kindly, and kissed her once at least. Thus they lived through this despairing day or two; in the same house, truly; but more widely apart than before they were lovers. It was evident to her that he was, as he had said, living with paralyzed activities in his endeavour to think of a plan of procedure. She was awe-stricken to discover such determination under such apparent flexibility. His consistency was, indeed, too cruel. She no longer expected forgiveness now. More than once she thought of going away from him during his absence at the mill; but she feared that this, instead of benefiting him, might be the means of hampering and humiliating him yet more if it should become known. Meanwhile Clare was meditating, verily. His thought had been unsuspended; he was becoming ill with thinking; eaten out with thinking, withered by thinking; scourged out of all his former pulsating, flexuous domesticity. He walked about saying to himself, "What's to be done--what's to be done?" and by chance she overheard him. It caused her to break the reserve about their future which had hitherto prevailed. "I suppose--you are not going to live with me--long, are you, Angel?" she asked, the sunk corners of her mouth betraying how purely mechanical were the means by which she retained that expression of chastened calm upon her face. "I cannot" he said, "without despising myself, and what is worse, perhaps, despising you. I mean, of course, cannot live with you in the ordinary sense. At present, whatever I feel, I do not despise you. And, let me speak plainly, or you may not see all my difficulties. How can we live together while that man lives?--he being your husband in nature, and not I. If he were dead it might be different... Besides, that's not all the difficulty; it lies in another consideration--one bearing upon the future of other people than ourselves. Think of years to come, and children being born to us, and this past matter getting known--for it must get known. There is not an uttermost part of the earth but somebody comes from it or goes to it from elsewhere. Well, think of wretches of our flesh and blood growing up under a taunt which they will gradually get to feel the full force of with their expanding years. What an awakening for them! What a prospect! Can you honestly say 'Remain' after contemplating this contingency? Don't you think we had better endure the ills we have than fly to others?" Her eyelids, weighted with trouble, continued drooping as before. "I cannot say 'Remain,'" she answered, "I cannot; I had not thought so far." Tess's feminine hope--shall we confess it?--had been so obstinately recuperative as to revive in her surreptitious visions of a domiciliary intimacy continued long enough to break down his coldness even against his judgement. Though unsophisticated in the usual sense, she was not incomplete; and it would have denoted deficiency of womanhood if she had not instinctively known what an argument lies in propinquity. Nothing else would serve her, she knew, if this failed. It was wrong to hope in what was of the nature of strategy, she said to herself: yet that sort of hope she could not extinguish. His last representation had now been made, and it was, as she said, a new view. She had truly never thought so far as that, and his lucid picture of possible offspring who would scorn her was one that brought deadly convictions to an honest heart which was humanitarian to its centre. Sheer experience had already taught her that in some circumstances there was one thing better than to lead a good life, and that was to be saved from leading any life whatever. Like all who have been previsioned by suffering, she could, in the words of M. Sully-Prudhomme, hear a penal sentence in the fiat, "You shall be born," particularly if addressed to potential issue of hers. Yet such is the vulpine slyness of Dame Nature, that, till now, Tess had been hoodwinked by her love for Clare into forgetting it might result in vitalizations that would inflict upon others what she had bewailed as misfortune to herself. She therefore could not withstand his argument. But with the self-combating proclivity of the supersensitive, an answer thereto arose in Clare's own mind, and he almost feared it. It was based on her exceptional physical nature; and she might have used it promisingly. She might have added besides: "On an Australian upland or Texan plain, who is to know or care about my misfortunes, or to reproach me or you?" Yet, like the majority of women, she accepted the momentary presentment as if it were the inevitable. And she may have been right. The intuitive heart of woman knoweth not only its own bitterness, but its husband's, and even if these assumed reproaches were not likely to be addressed to him or to his by strangers, they might have reached his ears from his own fastidious brain. It was the third day of the estrangement. Some might risk the odd paradox that with more animalism he would have been the nobler man. We do not say it. Yet Clare's love was doubtless ethereal to a fault, imaginative to impracticability. With these natures, corporal presence is something less appealing than corporal absence; the latter creating an ideal presence that conveniently drops the defects of the real. She found that her personality did not plead her cause so forcibly as she had anticipated. The figurative phrase was true: she was another woman than the one who had excited his desire. "I have thought over what you say," she remarked to him, moving her forefinger over the tablecloth, her other hand, which bore the ring that mocked them both, supporting her forehead. "It is quite true, all of it; it must be. You must go away from me." "But what can you do?" "I can go home." Clare had not thought of that. "Are you sure?" he inquired. "Quite sure. We ought to part, and we may as well get it past and done. You once said that I was apt to win men against their better judgement; and if I am constantly before your eyes I may cause you to change your plans in opposition to your reason and wish; and afterwards your repentance and my sorrow will be terrible." "And you would like to go home?" he asked. "I want to leave you, and go home." "Then it shall be so." Though she did not look up at him, she started. There was a difference between the proposition and the covenant, which she had felt only too quickly. "I feared it would come to this," she murmured, her countenance meekly fixed. "I don't complain, Angel, I--I think it best. What you said has quite convinced me. Yes, though nobody else should reproach me if we should stay together, yet somewhen, years hence, you might get angry with me for any ordinary matter, and knowing what you do of my bygones, you yourself might be tempted to say words, and they might be overheard, perhaps by my own children. O, what only hurts me now would torture and kill me then! I will go--to-morrow." "And I shall not stay here. Though I didn't like to initiate it, I have seen that it was advisable we should part--at least for a while, till I can better see the shape that things have taken, and can write to you." Tess stole a glance at her husband. He was pale, even tremulous; but, as before, she was appalled by the determination revealed in the depths of this gentle being she had married--the will to subdue the grosser to the subtler emotion, the substance to the conception, the flesh to the spirit. Propensities, tendencies, habits, were as dead leaves upon the tyrannous wind of his imaginative ascendency. He may have observed her look, for he explained-- "I think of people more kindly when I am away from them"; adding cynically, "God knows; perhaps we will shake down together some day, for weariness; thousands have done it!" That day he began to pack up, and she went upstairs and began to pack also. Both knew that it was in their two minds that they might part the next morning for ever, despite the gloss of assuaging conjectures thrown over their proceeding because they were of the sort to whom any parting which has an air of finality is a torture. He knew, and she knew, that, though the fascination which each had exercised over the other--on her part independently of accomplishments--would probably in the first days of their separation be even more potent than ever, time must attenuate that effect; the practical arguments against accepting her as a housemate might pronounce themselves more strongly in the boreal light of a remoter view. Moreover, when two people are once parted--have abandoned a common domicile and a common environment--new growths insensibly bud upward to fill each vacated place; unforeseen accidents hinder intentions, and old plans are forgotten.

Chapter 36

https://web.archive.org/web/20210410060617/https://www.gradesaver.com/tess-of-the-durbervilles/study-guide/summary-phase-5-chapters-35-44

Angel arises at dawn; the neighboring cottager's wife knocks on the door, but he sends her away because her presence is awkward. Angel prepares breakfast, and the two behave civilly to one another, although the pair are "but ashes of their former fires. Angel asks again if it is true, and he asks if the man is still in England. Tess says that he can get rid of her by divorcing her; her confession has given him adequate grounds for that. She tells him that she thought of putting an end to herself under the mistletoe, but did not because she felt it would cause scandal. Tess continues to do chores around the house for Angel while he visits a local miller, but he scolds her for behaving as a servant and not a wife. Tess breaks into tears, claiming that she had told him that she was not respectable enough to marry him, but he urged her. Her tears would have broken any man but Angel Clare, whose affection masks a hard, logical deposit like a vein of metal that blocks his acceptance of Tess as it blocked his acceptance of the Church. He tells her that it is not a question of respectability, but one of principle. Angel tells Tess that it is imperative that they should stay together to avoid scandal, but it is only for the sake of form. Angel tells Tess that he cannot live with Tess without despising himself and despising her. He considers what their possible children may think. She considers arguing that in Texas or Australia, nobody will know about her misfortunes, but she accepts the momentary sentiment as inevitable. Angel's love is doubtless ethereal to a fault, imaginative to impracticability. He orders her to go away from him, and she says that she can go home. She claims that she has convinced him and that she thinks it best.

In this chapter, Hardy focuses on Angel's principles and the effects that they have on his marriage to Tess. As earlier established, it is the idealistic perception that he has of Tess that blocks his acceptance of her; he can envision her either as a wholehearted saint or sinner, without any room for more subtle shadings. His stern devotion to these principles cause a certain inconsistency of behavior. He values his idealized conception of Tess as well as values of courtesy and duty. Angel does not allow Tess to act as a servant because, in principle, she is his wife and should not behave as such; nevertheless, his principles prevent him from treating Tess fully as his wife and partner. Angel will behave well toward Tess only insofar as he wishes to prevent scandal and assuage his guilt. Tess thus finds herself bereft at the end of this chapter, recalling her earlier fate after leaving The Chase. However, in this situation her fate occurs because of opposite impulses from the rejecting suitor. While Alec behaves only according to his passions, Angel cannot operate on a level that is not intellectual. Hardy therefore constructs a situation in which Angel, if he were to behave more like Alec, his entirely unscrupulous polar opposite, he would act more honorably to Tess. Instead, by remaining tied to his principles of morality, Angel acts far less decently than he would if he were to be more subject to his passions

gradesaver

all_chapterized_books/161-chapters/05.txt

finished_summaries/gradesaver/Sense and Sensibility/section_0_part_5.txt

Sense and Sensibility.chapter 5

chapter 5

{"name": "Chapter 5", "url": "https://web.archive.org/web/20210419170735/https://www.gradesaver.com/sense-and-sensibility/study-guide/summary-chapters-1-10", "summary": "Mrs. Dashwood announces that they are to leave soon, and take the cottage in Devonshire; Fanny Dashwood is pleased of course, though Edward seems surprised that they are moving so far away. Mrs. Dashwood takes pleasure in the arrangements, and sends their furniture ahead to the house; she invites Edward warmly, hoping he will come to visit them there. Mrs. Dashwood's former hopes that John Dashwood might assist them in some way come to naught; indeed, he starts to comment on the expenses of his housekeeping, indicating that his generosity only extended to keeping them at Norland for those few months.", "analysis": "Although John Dashwood's wish to be of service to the Dashwood women is heartfelt at one point, unfortunately it does not last; he is proved unfailingly selfish, as he joins his wife in making frequent comments to hurry the Dashwood women's departure. Edward's reaction to the announcement of their departure seems to confirm his affections for Elinor, although her doubts about his love are certainly not settled on this occasion. Marianne's thoughts before leaving show her unfailingly romantic thoughts, through high-flown diction and a very emotional tone. She is a master of overstatement, as she states that she could never feel at home anywhere else; but likely she will feel at home in Barton Cottage, though it is not as grand as Norland. Although Elinor's suffering at leaving remains unaddressed, Marianne's tendency to feel too keenly, and to express this overabundance of feeling freely becomes clear"}

No sooner was her answer dispatched, than Mrs. Dashwood indulged herself in the pleasure of announcing to her son-in-law and his wife that she was provided with a house, and should incommode them no longer than till every thing were ready for her inhabiting it. They heard her with surprise. Mrs. John Dashwood said nothing; but her husband civilly hoped that she would not be settled far from Norland. She had great satisfaction in replying that she was going into Devonshire.--Edward turned hastily towards her, on hearing this, and, in a voice of surprise and concern, which required no explanation to her, repeated, "Devonshire! Are you, indeed, going there? So far from hence! And to what part of it?" She explained the situation. It was within four miles northward of Exeter. "It is but a cottage," she continued, "but I hope to see many of my friends in it. A room or two can easily be added; and if my friends find no difficulty in travelling so far to see me, I am sure I will find none in accommodating them." She concluded with a very kind invitation to Mr. and Mrs. John Dashwood to visit her at Barton; and to Edward she gave one with still greater affection. Though her late conversation with her daughter-in-law had made her resolve on remaining at Norland no longer than was unavoidable, it had not produced the smallest effect on her in that point to which it principally tended. To separate Edward and Elinor was as far from being her object as ever; and she wished to show Mrs. John Dashwood, by this pointed invitation to her brother, how totally she disregarded her disapprobation of the match. Mr. John Dashwood told his mother again and again how exceedingly sorry he was that she had taken a house at such a distance from Norland as to prevent his being of any service to her in removing her furniture. He really felt conscientiously vexed on the occasion; for the very exertion to which he had limited the performance of his promise to his father was by this arrangement rendered impracticable.-- The furniture was all sent around by water. It chiefly consisted of household linen, plate, china, and books, with a handsome pianoforte of Marianne's. Mrs. John Dashwood saw the packages depart with a sigh: she could not help feeling it hard that as Mrs. Dashwood's income would be so trifling in comparison with their own, she should have any handsome article of furniture. Mrs. Dashwood took the house for a twelvemonth; it was ready furnished, and she might have immediate possession. No difficulty arose on either side in the agreement; and she waited only for the disposal of her effects at Norland, and to determine her future household, before she set off for the west; and this, as she was exceedingly rapid in the performance of everything that interested her, was soon done.--The horses which were left her by her husband had been sold soon after his death, and an opportunity now offering of disposing of her carriage, she agreed to sell that likewise at the earnest advice of her eldest daughter. For the comfort of her children, had she consulted only her own wishes, she would have kept it; but the discretion of Elinor prevailed. HER wisdom too limited the number of their servants to three; two maids and a man, with whom they were speedily provided from amongst those who had formed their establishment at Norland. The man and one of the maids were sent off immediately into Devonshire, to prepare the house for their mistress's arrival; for as Lady Middleton was entirely unknown to Mrs. Dashwood, she preferred going directly to the cottage to being a visitor at Barton Park; and she relied so undoubtingly on Sir John's description of the house, as to feel no curiosity to examine it herself till she entered it as her own. Her eagerness to be gone from Norland was preserved from diminution by the evident satisfaction of her daughter-in-law in the prospect of her removal; a satisfaction which was but feebly attempted to be concealed under a cold invitation to her to defer her departure. Now was the time when her son-in-law's promise to his father might with particular propriety be fulfilled. Since he had neglected to do it on first coming to the estate, their quitting his house might be looked on as the most suitable period for its accomplishment. But Mrs. Dashwood began shortly to give over every hope of the kind, and to be convinced, from the general drift of his discourse, that his assistance extended no farther than their maintenance for six months at Norland. He so frequently talked of the increasing expenses of housekeeping, and of the perpetual demands upon his purse, which a man of any consequence in the world was beyond calculation exposed to, that he seemed rather to stand in need of more money himself than to have any design of giving money away. In a very few weeks from the day which brought Sir John Middleton's first letter to Norland, every thing was so far settled in their future abode as to enable Mrs. Dashwood and her daughters to begin their journey. Many were the tears shed by them in their last adieus to a place so much beloved. "Dear, dear Norland!" said Marianne, as she wandered alone before the house, on the last evening of their being there; "when shall I cease to regret you!--when learn to feel a home elsewhere!--Oh! happy house, could you know what I suffer in now viewing you from this spot, from whence perhaps I may view you no more!--And you, ye well-known trees!--but you will continue the same.--No leaf will decay because we are removed, nor any branch become motionless although we can observe you no longer!--No; you will continue the same; unconscious of the pleasure or the regret you occasion, and insensible of any change in those who walk under your shade!--But who will remain to enjoy you?"

Chapter 5

https://web.archive.org/web/20210419170735/https://www.gradesaver.com/sense-and-sensibility/study-guide/summary-chapters-1-10

Mrs. Dashwood announces that they are to leave soon, and take the cottage in Devonshire; Fanny Dashwood is pleased of course, though Edward seems surprised that they are moving so far away. Mrs. Dashwood takes pleasure in the arrangements, and sends their furniture ahead to the house; she invites Edward warmly, hoping he will come to visit them there. Mrs. Dashwood's former hopes that John Dashwood might assist them in some way come to naught; indeed, he starts to comment on the expenses of his housekeeping, indicating that his generosity only extended to keeping them at Norland for those few months.

Although John Dashwood's wish to be of service to the Dashwood women is heartfelt at one point, unfortunately it does not last; he is proved unfailingly selfish, as he joins his wife in making frequent comments to hurry the Dashwood women's departure. Edward's reaction to the announcement of their departure seems to confirm his affections for Elinor, although her doubts about his love are certainly not settled on this occasion. Marianne's thoughts before leaving show her unfailingly romantic thoughts, through high-flown diction and a very emotional tone. She is a master of overstatement, as she states that she could never feel at home anywhere else; but likely she will feel at home in Barton Cottage, though it is not as grand as Norland. Although Elinor's suffering at leaving remains unaddressed, Marianne's tendency to feel too keenly, and to express this overabundance of feeling freely becomes clear

sparknotes

all_chapterized_books/28054-chapters/60.txt

finished_summaries/sparknotes/The Brothers Karamazov/section_11_part_7.txt

The Brothers Karamazov.book 9.chapter 7

book 9, chapter 7

{"name": "book 9, Chapter 7", "url": "https://web.archive.org/web/20210305110438/https://www.sparknotes.com/lit/brothersk/section12/", "summary": "Mitya's Great Secret. Met with Hisses Dmitri finally reveals the source of the money. He says that when he borrowed the 3,000 rubles from Katerina, he only spent 1,500 rubles on Grushenka. He wore the other 1,500 in a locket around his neck. But once he decided to kill himself, he decided there was no reason to hold onto the 1,500 rubles, so he spent some of it on wine and food for his last meeting with Grushenka", "analysis": ""}

Chapter VII. Mitya's Great Secret. Received With Hisses "Gentlemen," he began, still in the same agitation, "I want to make a full confession: that money was _my own_." The lawyers' faces lengthened. That was not at all what they expected. "How do you mean?" faltered Nikolay Parfenovitch, "when at five o'clock on the same day, from your own confession--" "Damn five o'clock on the same day and my own confession! That's nothing to do with it now! That money was my own, my own, that is, stolen by me ... not mine, I mean, but stolen by me, and it was fifteen hundred roubles, and I had it on me all the time, all the time ..." "But where did you get it?" "I took it off my neck, gentlemen, off this very neck ... it was here, round my neck, sewn up in a rag, and I'd had it round my neck a long time, it's a month since I put it round my neck ... to my shame and disgrace!" "And from whom did you ... appropriate it?" "You mean, 'steal it'? Speak out plainly now. Yes, I consider that I practically stole it, but, if you prefer, I 'appropriated it.' I consider I stole it. And last night I stole it finally." "Last night? But you said that it's a month since you ... obtained it?..." "Yes. But not from my father. Not from my father, don't be uneasy. I didn't steal it from my father, but from her. Let me tell you without interrupting. It's hard to do, you know. You see, a month ago, I was sent for by Katerina Ivanovna, formerly my betrothed. Do you know her?" "Yes, of course." "I know you know her. She's a noble creature, noblest of the noble. But she has hated me ever so long, oh, ever so long ... and hated me with good reason, good reason!" "Katerina Ivanovna!" Nikolay Parfenovitch exclaimed with wonder. The prosecutor, too, stared. "Oh, don't take her name in vain! I'm a scoundrel to bring her into it. Yes, I've seen that she hated me ... a long while.... From the very first, even that evening at my lodging ... but enough, enough. You're unworthy even to know of that. No need of that at all.... I need only tell you that she sent for me a month ago, gave me three thousand roubles to send off to her sister and another relation in Moscow (as though she couldn't have sent it off herself!) and I ... it was just at that fatal moment in my life when I ... well, in fact, when I'd just come to love another, her, she's sitting down below now, Grushenka. I carried her off here to Mokroe then, and wasted here in two days half that damned three thousand, but the other half I kept on me. Well, I've kept that other half, that fifteen hundred, like a locket round my neck, but yesterday I undid it, and spent it. What's left of it, eight hundred roubles, is in your hands now, Nikolay Parfenovitch. That's the change out of the fifteen hundred I had yesterday." "Excuse me. How's that? Why, when you were here a month ago you spent three thousand, not fifteen hundred, everybody knows that." "Who knows it? Who counted the money? Did I let any one count it?" "Why, you told every one yourself that you'd spent exactly three thousand." "It's true, I did. I told the whole town so, and the whole town said so. And here, at Mokroe, too, every one reckoned it was three thousand. Yet I didn't spend three thousand, but fifteen hundred. And the other fifteen hundred I sewed into a little bag. That's how it was, gentlemen. That's where I got that money yesterday...." "This is almost miraculous," murmured Nikolay Parfenovitch. "Allow me to inquire," observed the prosecutor at last, "have you informed any one whatever of this circumstance before, I mean that you had fifteen hundred left about you a month ago?" "I told no one." "That's strange. Do you mean absolutely no one?" "Absolutely no one. No one and nobody." "What was your reason for this reticence? What was your motive for making such a secret of it? To be more precise: You have told us at last your secret, in your words, so 'disgraceful,' though in reality--that is, of course, comparatively speaking--this action, that is, the appropriation of three thousand roubles belonging to some one else, and, of course, only for a time is, in my view at least, only an act of the greatest recklessness and not so disgraceful, when one takes into consideration your character.... Even admitting that it was an action in the highest degree discreditable, still, discreditable is not 'disgraceful.'... Many people have already guessed, during this last month, about the three thousand of Katerina Ivanovna's, that you have spent, and I heard the legend myself, apart from your confession.... Mihail Makarovitch, for instance, had heard it, too, so that indeed, it was scarcely a legend, but the gossip of the whole town. There are indications, too, if I am not mistaken, that you confessed this yourself to some one, I mean that the money was Katerina Ivanovna's, and so, it's extremely surprising to me that hitherto, that is, up to the present moment, you have made such an extraordinary secret of the fifteen hundred you say you put by, apparently connecting a feeling of positive horror with that secret.... It's not easy to believe that it could cost you such distress to confess such a secret.... You cried out, just now, that Siberia would be better than confessing it ..." The prosecutor ceased speaking. He was provoked. He did not conceal his vexation, which was almost anger, and gave vent to all his accumulated spleen, disconnectedly and incoherently, without choosing words. "It's not the fifteen hundred that's the disgrace, but that I put it apart from the rest of the three thousand," said Mitya firmly. "Why?" smiled the prosecutor irritably. "What is there disgraceful, to your thinking, in your having set aside half of the three thousand you had discreditably, if you prefer, 'disgracefully,' appropriated? Your taking the three thousand is more important than what you did with it. And by the way, why did you do that--why did you set apart that half, for what purpose, for what object did you do it? Can you explain that to us?" "Oh, gentlemen, the purpose is the whole point!" cried Mitya. "I put it aside because I was vile, that is, because I was calculating, and to be calculating in such a case is vile ... and that vileness has been going on a whole month." "It's incomprehensible." "I wonder at you. But I'll make it clearer. Perhaps it really is incomprehensible. You see, attend to what I say. I appropriate three thousand entrusted to my honor, I spend it on a spree, say I spend it all, and next morning I go to her and say, 'Katya, I've done wrong, I've squandered your three thousand,' well, is that right? No, it's not right--it's dishonest and cowardly, I'm a beast, with no more self-control than a beast, that's so, isn't it? But still I'm not a thief? Not a downright thief, you'll admit! I squandered it, but I didn't steal it. Now a second, rather more favorable alternative: follow me carefully, or I may get confused again--my head's going round--and so, for the second alternative: I spend here only fifteen hundred out of the three thousand, that is, only half. Next day I go and take that half to her: 'Katya, take this fifteen hundred from me, I'm a low beast, and an untrustworthy scoundrel, for I've wasted half the money, and I shall waste this, too, so keep me from temptation!' Well, what of that alternative? I should be a beast and a scoundrel, and whatever you like; but not a thief, not altogether a thief, or I should not have brought back what was left, but have kept that, too. She would see at once that since I brought back half, I should pay back what I'd spent, that I should never give up trying to, that I should work to get it and pay it back. So in that case I should be a scoundrel, but not a thief, you may say what you like, not a thief!" "I admit that there is a certain distinction," said the prosecutor, with a cold smile. "But it's strange that you see such a vital difference." "Yes, I see a vital difference! Every man may be a scoundrel, and perhaps every man is a scoundrel, but not every one can be a thief, it takes an arch-scoundrel to be that. Oh, of course, I don't know how to make these fine distinctions ... but a thief is lower than a scoundrel, that's my conviction. Listen, I carry the money about me a whole month, I may make up my mind to give it back to-morrow, and I'm a scoundrel no longer, but I cannot make up my mind, you see, though I'm making up my mind every day, and every day spurring myself on to do it, and yet for a whole month I can't bring myself to it, you see. Is that right to your thinking, is that right?" "Certainly, that's not right, that I can quite understand, and that I don't dispute," answered the prosecutor with reserve. "And let us give up all discussion of these subtleties and distinctions, and, if you will be so kind, get back to the point. And the point is, that you have still not told us, altogether we've asked you, why, in the first place, you halved the money, squandering one half and hiding the other? For what purpose exactly did you hide it, what did you mean to do with that fifteen hundred? I insist upon that question, Dmitri Fyodorovitch." "Yes, of course!" cried Mitya, striking himself on the forehead; "forgive me, I'm worrying you, and am not explaining the chief point, or you'd understand in a minute, for it's just the motive of it that's the disgrace! You see, it was all to do with the old man, my dead father. He was always pestering Agrafena Alexandrovna, and I was jealous; I thought then that she was hesitating between me and him. So I kept thinking every day, suppose she were to make up her mind all of a sudden, suppose she were to leave off tormenting me, and were suddenly to say to me, 'I love you, not him; take me to the other end of the world.' And I'd only forty copecks; how could I take her away, what could I do? Why, I'd be lost. You see, I didn't know her then, I didn't understand her, I thought she wanted money, and that she wouldn't forgive my poverty. And so I fiendishly counted out the half of that three thousand, sewed it up, calculating on it, sewed it up before I was drunk, and after I had sewn it up, I went off to get drunk on the rest. Yes, that was base. Do you understand now?" Both the lawyers laughed aloud. "I should have called it sensible and moral on your part not to have squandered it all," chuckled Nikolay Parfenovitch, "for after all what does it amount to?" "Why, that I stole it, that's what it amounts to! Oh, God, you horrify me by not understanding! Every day that I had that fifteen hundred sewn up round my neck, every day and every hour I said to myself, 'You're a thief! you're a thief!' Yes, that's why I've been so savage all this month, that's why I fought in the tavern, that's why I attacked my father, it was because I felt I was a thief. I couldn't make up my mind, I didn't dare even to tell Alyosha, my brother, about that fifteen hundred: I felt I was such a scoundrel and such a pickpocket. But, do you know, while I carried it I said to myself at the same time every hour: 'No, Dmitri Fyodorovitch, you may yet not be a thief.' Why? Because I might go next day and pay back that fifteen hundred to Katya. And only yesterday I made up my mind to tear my amulet off my neck, on my way from Fenya's to Perhotin. I hadn't been able till that moment to bring myself to it. And it was only when I tore it off that I became a downright thief, a thief and a dishonest man for the rest of my life. Why? Because, with that I destroyed, too, my dream of going to Katya and saying, 'I'm a scoundrel, but not a thief!' Do you understand now? Do you understand?" "What was it made you decide to do it yesterday?" Nikolay Parfenovitch interrupted. "Why? It's absurd to ask. Because I had condemned myself to die at five o'clock this morning, here, at dawn. I thought it made no difference whether I died a thief or a man of honor. But I see it's not so, it turns out that it does make a difference. Believe me, gentlemen, what has tortured me most during this night has not been the thought that I'd killed the old servant, and that I was in danger of Siberia just when my love was being rewarded, and Heaven was open to me again. Oh, that did torture me, but not in the same way: not so much as the damned consciousness that I had torn that damned money off my breast at last and spent it, and had become a downright thief! Oh, gentlemen, I tell you again, with a bleeding heart, I have learnt a great deal this night. I have learnt that it's not only impossible to live a scoundrel, but impossible to die a scoundrel.... No, gentlemen, one must die honest...." Mitya was pale. His face had a haggard and exhausted look, in spite of his being intensely excited. "I am beginning to understand you, Dmitri Fyodorovitch," the prosecutor said slowly, in a soft and almost compassionate tone. "But all this, if you'll excuse my saying so, is a matter of nerves, in my opinion ... your overwrought nerves, that's what it is. And why, for instance, should you not have saved yourself such misery for almost a month, by going and returning that fifteen hundred to the lady who had entrusted it to you? And why could you not have explained things to her, and in view of your position, which you describe as being so awful, why could you not have had recourse to the plan which would so naturally have occurred to one's mind, that is, after honorably confessing your errors to her, why could you not have asked her to lend you the sum needed for your expenses, which, with her generous heart, she would certainly not have refused you in your distress, especially if it had been with some guarantee, or even on the security you offered to the merchant Samsonov, and to Madame Hohlakov? I suppose you still regard that security as of value?" Mitya suddenly crimsoned. "Surely you don't think me such an out and out scoundrel as that? You can't be speaking in earnest?" he said, with indignation, looking the prosecutor straight in the face, and seeming unable to believe his ears. "I assure you I'm in earnest.... Why do you imagine I'm not serious?" It was the prosecutor's turn to be surprised. "Oh, how base that would have been! Gentlemen, do you know, you are torturing me! Let me tell you everything, so be it. I'll confess all my infernal wickedness, but to put you to shame, and you'll be surprised yourselves at the depth of ignominy to which a medley of human passions can sink. You must know that I already had that plan myself, that plan you spoke of, just now, prosecutor! Yes, gentlemen, I, too, have had that thought in my mind all this current month, so that I was on the point of deciding to go to Katya--I was mean enough for that. But to go to her, to tell her of my treachery, and for that very treachery, to carry it out, for the expenses of that treachery, to beg for money from her, Katya (to beg, do you hear, to beg), and go straight from her to run away with the other, the rival, who hated and insulted her--to think of it! You must be mad, prosecutor!" "Mad I am not, but I did speak in haste, without thinking ... of that feminine jealousy ... if there could be jealousy in this case, as you assert ... yes, perhaps there is something of the kind," said the prosecutor, smiling. "But that would have been so infamous!" Mitya brought his fist down on the table fiercely. "That would have been filthy beyond everything! Yes, do you know that she might have given me that money, yes, and she would have given it, too; she'd have been certain to give it, to be revenged on me, she'd have given it to satisfy her vengeance, to show her contempt for me, for hers is an infernal nature, too, and she's a woman of great wrath. I'd have taken the money, too, oh, I should have taken it; I should have taken it, and then, for the rest of my life ... oh, God! Forgive me, gentlemen, I'm making such an outcry because I've had that thought in my mind so lately, only the day before yesterday, that night when I was having all that bother with Lyagavy, and afterwards yesterday, all day yesterday, I remember, till that happened ..." "Till what happened?" put in Nikolay Parfenovitch inquisitively, but Mitya did not hear it. "I have made you an awful confession," Mitya said gloomily in conclusion. "You must appreciate it, and what's more, you must respect it, for if not, if that leaves your souls untouched, then you've simply no respect for me, gentlemen, I tell you that, and I shall die of shame at having confessed it to men like you! Oh, I shall shoot myself! Yes, I see, I see already that you don't believe me. What, you want to write that down, too?" he cried in dismay. "Yes, what you said just now," said Nikolay Parfenovitch, looking at him in surprise, "that is, that up to the last hour you were still contemplating going to Katerina Ivanovna to beg that sum from her.... I assure you, that's a very important piece of evidence for us, Dmitri Fyodorovitch, I mean for the whole case ... and particularly for you, particularly important for you." "Have mercy, gentlemen!" Mitya flung up his hands. "Don't write that, anyway; have some shame. Here I've torn my heart asunder before you, and you seize the opportunity and are fingering the wounds in both halves.... Oh, my God!" In despair he hid his face in his hands. "Don't worry yourself so, Dmitri Fyodorovitch," observed the prosecutor, "everything that is written down will be read over to you afterwards, and what you don't agree to we'll alter as you like. But now I'll ask you one little question for the second time. Has no one, absolutely no one, heard from you of that money you sewed up? That, I must tell you, is almost impossible to believe." "No one, no one, I told you so before, or you've not understood anything! Let me alone!" "Very well, this matter is bound to be explained, and there's plenty of time for it, but meantime, consider; we have perhaps a dozen witnesses that you yourself spread it abroad, and even shouted almost everywhere about the three thousand you'd spent here; three thousand, not fifteen hundred. And now, too, when you got hold of the money you had yesterday, you gave many people to understand that you had brought three thousand with you." "You've got not dozens, but hundreds of witnesses, two hundred witnesses, two hundred have heard it, thousands have heard it!" cried Mitya. "Well, you see, all bear witness to it. And the word _all_ means something." "It means nothing. I talked rot, and every one began repeating it." "But what need had you to 'talk rot,' as you call it?" "The devil knows. From bravado perhaps ... at having wasted so much money.... To try and forget that money I had sewn up, perhaps ... yes, that was why ... damn it ... how often will you ask me that question? Well, I told a fib, and that was the end of it, once I'd said it, I didn't care to correct it. What does a man tell lies for sometimes?" "That's very difficult to decide, Dmitri Fyodorovitch, what makes a man tell lies," observed the prosecutor impressively. "Tell me, though, was that 'amulet,' as you call it, on your neck, a big thing?" "No, not big." "How big, for instance?" "If you fold a hundred-rouble note in half, that would be the size." "You'd better show us the remains of it. You must have them somewhere." "Damnation, what nonsense! I don't know where they are." "But excuse me: where and when did you take it off your neck? According to your own evidence you didn't go home." "When I was going from Fenya's to Perhotin's, on the way I tore it off my neck and took out the money." "In the dark?" "What should I want a light for? I did it with my fingers in one minute." "Without scissors, in the street?" "In the market-place I think it was. Why scissors? It was an old rag. It was torn in a minute." "Where did you put it afterwards?" "I dropped it there." "Where was it, exactly?" "In the market-place, in the market-place! The devil knows whereabouts. What do you want to know for?" "That's extremely important, Dmitri Fyodorovitch. It would be material evidence in your favor. How is it you don't understand that? Who helped you to sew it up a month ago?" "No one helped me. I did it myself." "Can you sew?" "A soldier has to know how to sew. No knowledge was needed to do that." "Where did you get the material, that is, the rag in which you sewed the money?" "Are you laughing at me?" "Not at all. And we are in no mood for laughing, Dmitri Fyodorovitch." "I don't know where I got the rag from--somewhere, I suppose." "I should have thought you couldn't have forgotten it?" "Upon my word, I don't remember. I might have torn a bit off my linen." "That's very interesting. We might find in your lodgings to-morrow the shirt or whatever it is from which you tore the rag. What sort of rag was it, cloth or linen?" "Goodness only knows what it was. Wait a bit.... I believe I didn't tear it off anything. It was a bit of calico.... I believe I sewed it up in a cap of my landlady's." "In your landlady's cap?" "Yes. I took it from her." "How did you get it?" "You see, I remember once taking a cap for a rag, perhaps to wipe my pen on. I took it without asking, because it was a worthless rag. I tore it up, and I took the notes and sewed them up in it. I believe it was in that very rag I sewed them. An old piece of calico, washed a thousand times." "And you remember that for certain now?" "I don't know whether for certain. I think it was in the cap. But, hang it, what does it matter?" "In that case your landlady will remember that the thing was lost?" "No, she won't, she didn't miss it. It was an old rag, I tell you, an old rag not worth a farthing." "And where did you get the needle and thread?" "I'll stop now. I won't say any more. Enough of it!" said Mitya, losing his temper at last. "It's strange that you should have so completely forgotten where you threw the pieces in the market-place." "Give orders for the market-place to be swept to-morrow, and perhaps you'll find it," said Mitya, sneering. "Enough, gentlemen, enough!" he decided, in an exhausted voice. "I see you don't believe me! Not for a moment! It's my fault, not yours. I ought not to have been so ready. Why, why did I degrade myself by confessing my secret to you? It's a joke to you. I see that from your eyes. You led me on to it, prosecutor? Sing a hymn of triumph if you can.... Damn you, you torturers!" He bent his head, and hid his face in his hands. The lawyers were silent. A minute later he raised his head and looked at them almost vacantly. His face now expressed complete, hopeless despair, and he sat mute and passive as though hardly conscious of what was happening. In the meantime they had to finish what they were about. They had immediately to begin examining the witnesses. It was by now eight o'clock in the morning. The lights had been extinguished long ago. Mihail Makarovitch and Kalganov, who had been continually in and out of the room all the while the interrogation had been going on, had now both gone out again. The lawyers, too, looked very tired. It was a wretched morning, the whole sky was overcast, and the rain streamed down in bucketfuls. Mitya gazed blankly out of the window. "May I look out of the window?" he asked Nikolay Parfenovitch, suddenly. "Oh, as much as you like," the latter replied. Mitya got up and went to the window.... The rain lashed against its little greenish panes. He could see the muddy road just below the house, and farther away, in the rain and mist, a row of poor, black, dismal huts, looking even blacker and poorer in the rain. Mitya thought of "Phoebus the golden-haired," and how he had meant to shoot himself at his first ray. "Perhaps it would be even better on a morning like this," he thought with a smile, and suddenly, flinging his hand downwards, he turned to his "torturers." "Gentlemen," he cried, "I see that I am lost! But she? Tell me about her, I beseech you. Surely she need not be ruined with me? She's innocent, you know, she was out of her mind when she cried last night 'It's all my fault!' She's done nothing, nothing! I've been grieving over her all night as I sat with you.... Can't you, won't you tell me what you are going to do with her now?" "You can set your mind quite at rest on that score, Dmitri Fyodorovitch," the prosecutor answered at once, with evident alacrity. "We have, so far, no grounds for interfering with the lady in whom you are so interested. I trust that it may be the same in the later development of the case.... On the contrary, we'll do everything that lies in our power in that matter. Set your mind completely at rest." "Gentlemen, I thank you. I knew that you were honest, straight-forward people in spite of everything. You've taken a load off my heart.... Well, what are we to do now? I'm ready." "Well, we ought to make haste. We must pass to examining the witnesses without delay. That must be done in your presence and therefore--" "Shouldn't we have some tea first?" interposed Nikolay Parfenovitch, "I think we've deserved it!" They decided that if tea were ready downstairs (Mihail Makarovitch had, no doubt, gone down to get some) they would have a glass and then "go on and on," putting off their proper breakfast until a more favorable opportunity. Tea really was ready below, and was soon brought up. Mitya at first refused the glass that Nikolay Parfenovitch politely offered him, but afterwards he asked for it himself and drank it greedily. He looked surprisingly exhausted. It might have been supposed from his Herculean strength that one night of carousing, even accompanied by the most violent emotions, could have had little effect on him. But he felt that he could hardly hold his head up, and from time to time all the objects about him seemed heaving and dancing before his eyes. "A little more and I shall begin raving," he said to himself.

book 9, Chapter 7

https://web.archive.org/web/20210305110438/https://www.sparknotes.com/lit/brothersk/section12/

Mitya's Great Secret. Met with Hisses Dmitri finally reveals the source of the money. He says that when he borrowed the 3,000 rubles from Katerina, he only spent 1,500 rubles on Grushenka. He wore the other 1,500 in a locket around his neck. But once he decided to kill himself, he decided there was no reason to hold onto the 1,500 rubles, so he spent some of it on wine and food for his last meeting with Grushenka

shmoop

all_chapterized_books/44747-chapters/9.txt

finished_summaries/shmoop/The Red and the Black/section_8_part_0.txt

The Red and the Black.part 1.chapter 9

part 1, chapter 9

{"name": "Part 1, Chapter 9", "url": "https://web.archive.org/web/20200920104425/https://www.shmoop.com/study-guides/literature/red-and-the-black/summary/part-1-chapter-9", "summary": "Julien sits down with Madame de Renal and her friend Madame Derville one evening. When he's sure that Derville can't see, he reaches out and holds Madame de Renal's hand. She pulls away, but he grabs it again. When Madame Derville asks to head back inside the house, Madame de Renal says she'd like to stay out . Julien hardly sleeps that night and sleeps in until noon the next day. When he comes downstairs, he gets chewed out by a newly returned Monsieur de Renal. The boss isn't happy that Julien has wasted the entire morning with teaching anything to the de Renal children. While walking with Madame de Renal, Julie learns the Monsieur de Renal is going to have all the mattresses in the house re-stuffed. He is secretly hiding a picture under his mattress and he's worried that it'll be found. At this point, we don't know who's in the picture. He takes Madame de Renal aside and asks her to help him get his picture back. Madame is crushed because she assumes it's a picture of his sweetheart. Nonetheless, she goes up to his room for him and gets the box that the picture is in. She has also promised Julien not to look at the picture. We only find out afterward that it's a portrait of Napoleon Bonaparte that Julien is hiding. The rich folks of France all despise Napoleon, and Julien might get run out of town if people found out that he worshipped the man like a hero. Julien burns the box and everything in it. Afterward, he tries to kiss Madame's hand. But she pushes him away and he storms off, angry with hurt pride.", "analysis": ""}

CHAPTER IX AN EVENING IN THE COUNTRY M. Guerin's Dido, a charming sketch!--_Strombeck_. His expression was singular when he saw Madame de Renal the next day; he watched her like an enemy with whom he would have to fight a duel. These looks, which were so different from those of the previous evening, made Madame de Renal lose her head; she had been kind to him and he appeared angry. She could not take her eyes off his. Madame Derville's presence allowed Julien to devote less time to conversation, and more time to thinking about what he had in his mind. His one object all this day was to fortify himself by reading the inspired book that gave strength to his soul. He considerably curtailed the children's lessons, and when Madame de Renal's presence had effectually brought him back to the pursuit of his ambition, he decided that she absolutely must allow her hand to rest in his that evening. The setting of the sun which brought the crucial moment nearer and nearer made Julien's heart beat in a strange way. Night came. He noticed with a joy, which took an immense weight off his heart, that it was going to be very dark. The sky, which was laden with big clouds that had been brought along by a sultry wind, seemed to herald a storm. The two friends went for their walk very late. All they did that night struck Julien as strange. They were enjoying that hour which seems to give certain refined souls an increased pleasure in loving. At last they sat down, Madame de Renal beside Julien, and Madame Derville near her friend. Engrossed as he was by the attempt which he was going to make, Julien could think of nothing to say. The conversation languished. "Shall I be as nervous and miserable over my first duel?" said Julien to himself; for he was too suspicious both of himself and of others, not to realise his own mental state. In his mortal anguish, he would have preferred any danger whatsoever. How many times did he not wish some matter to crop up which would necessitate Madame de Renal going into the house and leaving the garden! The violent strain on Julien's nerves was too great for his voice not to be considerably changed; soon Madame de Renal's voice became nervous as well, but Julien did not notice it. The awful battle raging between duty and timidity was too painful, for him to be in a position to observe anything outside himself. A quarter to ten had just struck on the chateau clock without his having ventured anything. Julien was indignant at his own cowardice, and said to himself, "at the exact moment when ten o'clock strikes, I will perform what I have resolved to do all through the day, or I will go up to my room and blow out my brains." After a final moment of expectation and anxiety, during which Julien was rendered almost beside himself by his excessive emotion, ten o'clock struck from the clock over his head. Each stroke of the fatal clock reverberated in his bosom, and caused an almost physical pang. Finally, when the last stroke of ten was still reverberating, he stretched out his hand and took Madame de Renal's, who immediately withdrew it. Julien, scarcely knowing what he was doing, seized it again. In spite of his own excitement, he could not help being struck by the icy coldness of the hand which he was taking; he pressed it convulsively; a last effort was made to take it away, but in the end the hand remained in his. His soul was inundated with happiness, not that he loved Madame de Renal, but an awful torture had just ended. He thought it necessary to say something, to avoid Madame Derville noticing anything. His voice was now strong and ringing. Madame de Renal's, on the contrary, betrayed so much emotion that her friend thought she was ill, and suggested her going in. Julien scented danger, "if Madame de Renal goes back to the salon, I shall relapse into the awful state in which I have been all day. I have held the hand far too short a time for it really to count as the scoring of an actual advantage." At the moment when Madame Derville was repeating her suggestion to go back to the salon, Julien squeezed vigorously the hand that was abandoned to him. Madame de Renal, who had started to get up, sat down again and said in a faint voice, "I feel a little ill, as a matter of fact, but the open air is doing me good." These words confirmed Julien's happiness, which at the present moment was extreme; he spoke, he forgot to pose, and appeared the most charming man in the world to the two friends who were listening to him. Nevertheless, there was a slight lack of courage in all this eloquence which had suddenly come upon him. He was mortally afraid that Madame Derville would get tired of the wind before the storm, which was beginning to rise, and want to go back alone into the salon. He would then have remained _tete-a-tete_ with Madame de Renal. He had had, almost by accident that blind courage which is sufficient for action; but he felt that it was out of his power to speak the simplest word to Madame de Renal. He was certain that, however slight her reproaches might be, he would nevertheless be worsted, and that the advantage he had just won would be destroyed. Luckily for him on this evening, his moving and emphatic speeches found favour with Madame Derville, who very often found him as clumsy as a child and not at all amusing. As for Madame de Renal, with her hand in Julien's, she did not have a thought; she simply allowed herself to go on living. The hours spent under this great pine tree, planted by by Charles the Bold according to the local tradition, were a real period of happiness. She listened with delight to the soughing of the wind in the thick foliage of the pine tree and to the noise of some stray drops which were beginning to fall upon the leaves which were lowest down. Julien failed to notice one circumstance which, if he had, would have quickly reassured him; Madame de Renal, who had been obliged to take away her hand, because she had got up to help her cousin to pick up a flower-pot which the wind had knocked over at her feet, had scarcely sat down again before she gave him her hand with scarcely any difficulty and as though it had already been a pre-arranged thing between them. Midnight had struck a long time ago; it was at last necessary to leave the garden; they separated. Madame de Renal swept away as she was, by the happiness of loving, was so completely ignorant of the world that she scarcely reproached herself at all. Her happiness deprived her of her sleep. A leaden sleep overwhelmed Julien who was mortally fatigued by the battle which timidity and pride had waged in his heart all through the day. He was called at five o'clock on the following day and scarcely gave Madame de Renal a single thought. He had accomplished his duty, and a heroic duty too. The consciousness of this filled him with happiness; he locked himself in his room, and abandoned himself with quite a new pleasure to reading exploits of his hero. When the breakfast bell sounded, the reading of the Bulletins of the Great Army had made him forget all his advantages of the previous day. He said to himself flippantly, as he went down to the salon, "I must tell that woman that I am in love with her." Instead of those looks brimful of pleasure which he was expecting to meet, he found the stern visage of M. de Renal, who had arrived from Verrieres two hours ago, and did not conceal his dissatisfaction at Julien's having passed the whole morning without attending to the children. Nothing could have been more sordid than this self-important man when he was in a bad temper and thought that he could safely show it. Each harsh word of her husband pierced Madame de Renal's heart. As for Julien, he was so plunged in his ecstasy, and still so engrossed by the great events which had been passing before his eyes for several hours, that he had some difficulty at first in bringing his attention sufficiently down to listen to the harsh remarks which M. de Renal was addressing to him. He said to him at last, rather abruptly, "I was ill." The tone of this answer would have stung a much less sensitive man than the mayor of Verrieres. He half thought of answering Julien by turning him out of the house straight away. He was only restrained by the maxim which he had prescribed for himself, of never hurrying unduly in business matters. "The young fool," he said to himself shortly afterwards, "has won a kind of reputation in my house. That man Valenod may take him into his family, or he may quite well marry Elisa, and in either case, he will be able to have the laugh of me in his heart." In spite of the wisdom of these reflections, M. de Renal's dissatisfaction did not fail to vent itself any the less by a string of coarse insults which gradually irritated Julien. Madame de Renal was on the point of bursting into tears. Breakfast was scarcely over, when she asked Julien to give her his arm for a walk. She leaned on him affectionately. Julien could only answer all that Madame de Renal said to him by whispering. "_That's what rich people are like!_" M. de Renal was walking quite close to them; his presence increased Julien's anger. He suddenly noticed that Madame de Renal was leaning on his arm in a manner which was somewhat marked. This horrified him, and he pushed her violently away and disengaged his arm. Luckily, M. de Renal did not see this new piece of impertinence; it was only noticed by Madame Derville. Her friend burst into tears. M. de Renal now started to chase away by a shower of stones a little peasant girl who had taken a private path crossing a corner of the orchard. "Monsieur Julien, restrain yourself, I pray you. Remember that we all have our moments of temper," said madame Derville rapidly. Julien looked at her coldly with eyes in which the most supreme contempt was depicted. This look astonished Madame Derville, and it would have surprised her even more if she had appreciated its real expression; she would have read in it something like a vague hope of the most atrocious vengeance. It is, no doubt, such moments of humiliation which have made Robespierres. "Your Julien is very violent; he frightens me," said Madame Derville to her friend, in a low voice. "He is right to be angry," she answered. "What does it matter if he does pass a morning without speaking to the children, after the astonishing progress which he has made them make. One must admit that men are very hard." For the first time in her life Madame de Renal experienced a kind of desire for vengeance against her husband. The extreme hatred of the rich by which Julien was animated was on the point of exploding. Luckily, M. de Renal called his gardener, and remained occupied with him in barring by faggots of thorns the private road through the orchard. Julien did not vouchsafe any answer to the kindly consideration of which he was the object during all the rest of the walk. M. de Renal had scarcely gone away before the two friends made the excuse of being fatigued, and each asked him for an arm. Walking as he did between these two women whose extreme nervousness filled their cheeks with a blushing embarrassment, the haughty pallor and sombre, resolute air of Julien formed a strange contrast. He despised these women and all tender sentiments. "What!" he said to himself, "not even an income of five hundred francs to finish my studies! Ah! how I should like to send them packing." And absorbed as he was by these stern ideas, such few courteous words of his two friends as he deigned to take the trouble to understand, displeased him as devoid of sense, silly, feeble, in a word--feminine. As the result of speaking for the sake of speaking and of endeavouring to keep the conversation alive, it came about that Madame de Renal mentioned that her husband had come from Verrieres because he had made a bargain for the May straw with one of his farmers. (In this district it is the May straw with which the bed mattresses are filled). "My husband will not rejoin us," added Madame de Renal; "he will occupy himself with finishing the re-stuffing of the house mattresses with the help of the gardener and his valet. He has put the May straw this morning in all the beds on the first storey; he is now at the second." Julien changed colour. He looked at Madame de Renal in a singular way, and soon managed somehow to take her on one side, doubling his pace. Madame Derville allowed them to get ahead. "Save my life," said Julien to Madame de Renal; "only you can do it, for you know that the valet hates me desperately. I must confess to you, madame, that I have a portrait. I have hidden it in the mattress of my bed." At these words Madame de Renal in her turn became pale. "Only you, Madame, are able at this moment to go into my room, feel about without their noticing in the corner of the mattress; it is nearest the window. You will find a small, round box of black cardboard, very glossy." "Does it contain a portrait?" said Madame de Renal, scarcely able to hold herself upright. Julien noticed her air of discouragement, and at once proceeded to exploit it. "I have a second favour to ask you, madame. I entreat you not to look at that portrait; it is my secret." "It is a secret," repeated Madame de Renal in a faint voice. But though she had been brought up among people who are proud of their fortune and appreciative of nothing except money, love had already instilled generosity into her soul. Truly wounded as she was, it was with an air of the most simple devotion that Madame de Renal asked Julien the questions necessary to enable her to fulfil her commission. "So" she said to him as she went away, "it is a little round box of black cardboard, very glossy." "Yes, Madame," answered Julien, with that hardness which danger gives to men. She ascended the second storey of the chateau as pale as though she had been going to her death. Her misery was completed by the sensation that she was on the verge of falling ill, but the necessity of doing Julien a service restored her strength. "I must have that box," she said to herself, as she doubled her pace. She heard her husband speaking to the valet in Julien's very room. Happily, they passed into the children's room. She lifted up the mattress, and plunged her hand into the stuffing so violently that she bruised her fingers. But, though she was very sensitive to slight pain of this kind, she was not conscious of it now, for she felt almost simultaneously the smooth surface of the cardboard box. She seized it and disappeared. She had scarcely recovered from the fear of being surprised by her husband than the horror with which this box inspired her came within an ace of positively making her feel ill. "So Julien is in love, and I hold here the portrait of the woman whom he loves!" Seated on the chair in the ante-chamber of his apartment, Madame de Renal fell a prey to all the horrors of jealousy. Her extreme ignorance, moreover, was useful to her at this juncture; her astonishment mitigated her grief. Julien seized the box without thanking her or saying a single word, and ran into his room, where he lit a fire and immediately burnt it. He was pale and in a state of collapse. He exaggerated the extent of the danger which he had undergone. "Finding Napoleon's portrait," he said to himself, "in the possession of a man who professes so great a hate for the usurper! Found, too, by M. de Renal, who is so great an _ultra_, and is now in a state of irritation, and, to complete my imprudence, lines written in my own handwriting on the white cardboard behind the portrait, lines, too, which can leave no doubt on the score of my excessive admiration. And each of these transports of love is dated. There was one the day before yesterday." "All my reputation collapsed and shattered in a moment," said Julien to himself as he watched the box burn, "and my reputation is my only asset. It is all I have to live by--and what a life to, by heaven!" An hour afterwards, this fatigue, together with the pity which he felt for himself made him inclined to be more tender. He met Madame de Renal and took her hand, which he kissed with more sincerity than he had ever done before. She blushed with happiness and almost simultaneously rebuffed Julien with all the anger of jealousy. Julien's pride which had been so recently wounded made him act foolishly at this juncture. He saw in Madame de Renal nothing but a rich woman, he disdainfully let her hand fall and went away. He went and walked about meditatively in the garden. Soon a bitter smile appeared on his lips. "Here I am walking about as serenely as a man who is master of his own time. I am not bothering about the children! I am exposing myself to M. de Renal's humiliating remarks, and he will be quite right." He ran to the children's room. The caresses of the youngest child, whom he loved very much, somewhat calmed his agony. "He does not despise me yet," thought Julien. But he soon reproached himself for this alleviation of his agony as though it were a new weakness. The children caress me just in the same way in which they would caress the young hunting-hound which was bought yesterday.

Part 1, Chapter 9

https://web.archive.org/web/20200920104425/https://www.shmoop.com/study-guides/literature/red-and-the-black/summary/part-1-chapter-9

Julien sits down with Madame de Renal and her friend Madame Derville one evening. When he's sure that Derville can't see, he reaches out and holds Madame de Renal's hand. She pulls away, but he grabs it again. When Madame Derville asks to head back inside the house, Madame de Renal says she'd like to stay out . Julien hardly sleeps that night and sleeps in until noon the next day. When he comes downstairs, he gets chewed out by a newly returned Monsieur de Renal. The boss isn't happy that Julien has wasted the entire morning with teaching anything to the de Renal children. While walking with Madame de Renal, Julie learns the Monsieur de Renal is going to have all the mattresses in the house re-stuffed. He is secretly hiding a picture under his mattress and he's worried that it'll be found. At this point, we don't know who's in the picture. He takes Madame de Renal aside and asks her to help him get his picture back. Madame is crushed because she assumes it's a picture of his sweetheart. Nonetheless, she goes up to his room for him and gets the box that the picture is in. She has also promised Julien not to look at the picture. We only find out afterward that it's a portrait of Napoleon Bonaparte that Julien is hiding. The rich folks of France all despise Napoleon, and Julien might get run out of town if people found out that he worshipped the man like a hero. Julien burns the box and everything in it. Afterward, he tries to kiss Madame's hand. But she pushes him away and he storms off, angry with hurt pride.

gradesaver

all_chapterized_books/161-chapters/18.txt

finished_summaries/gradesaver/Sense and Sensibility/section_1_part_8.txt

Sense and Sensibility.chapter 18

chapter 18

{"name": "Chapter 18", "url": "https://web.archive.org/web/20210419170735/https://www.gradesaver.com/sense-and-sensibility/study-guide/summary-chapters-11-20", "summary": "It is painful to Elinor that Edward is so obviously unhappy, and doesn't show the same affection for her he once did; she is confused by his mixed signals and alternation of happy and dejected spirits. They discuss the countryside, which Edward admires, but cannot appreciate as Marianne does, with such romantic conviction. Then, Marianne notices a ring Edward is wearing, with a lock of hair in it; she asks if it is the hair of Edward's sister, making him blush. Marianne and Elinor see that the hair looks exactly like Elinor's, but Elinor is puzzled since she never gave him any of her hair. Mrs. Jennings and Sir John come by to meet Edward, and decide that he must be the Mr. F. that Margaret hinted about. They are invited for tea and dinner at Barton Park, and of course accept the invitations. Sir John mentions Willoughby, and Edward manages to find out that Marianne likes him, although there is little discussion of him.", "analysis": "The lock of hair is a clue about the reasons for Edward's dejection; that Edward seems embarrassed at its notice, just as he was embarrassed by saying he stayed at Plymouth with friends, foreshadows that a secret about Edward is soon to be revealed. Edward's ring is a symbolic representation of this secret, and how closely he guards it. Elinor's situation is somewhat parallel to what Marianne's was, in that she is perceived to be more closely tied to a gentleman than she actually is; even Elinor's discretion cannot stop Mrs. Jennings from imagining that Edward and Elinor are engaged, when this is an overstatement of their relationship"}

Elinor saw, with great uneasiness the low spirits of her friend. His visit afforded her but a very partial satisfaction, while his own enjoyment in it appeared so imperfect. It was evident that he was unhappy; she wished it were equally evident that he still distinguished her by the same affection which once she had felt no doubt of inspiring; but hitherto the continuance of his preference seemed very uncertain; and the reservedness of his manner towards her contradicted one moment what a more animated look had intimated the preceding one. He joined her and Marianne in the breakfast-room the next morning before the others were down; and Marianne, who was always eager to promote their happiness as far as she could, soon left them to themselves. But before she was half way upstairs she heard the parlour door open, and, turning round, was astonished to see Edward himself come out. "I am going into the village to see my horses," said he, "as you are not yet ready for breakfast; I shall be back again presently." *** Edward returned to them with fresh admiration of the surrounding country; in his walk to the village, he had seen many parts of the valley to advantage; and the village itself, in a much higher situation than the cottage, afforded a general view of the whole, which had exceedingly pleased him. This was a subject which ensured Marianne's attention, and she was beginning to describe her own admiration of these scenes, and to question him more minutely on the objects that had particularly struck him, when Edward interrupted her by saying, "You must not enquire too far, Marianne--remember I have no knowledge in the picturesque, and I shall offend you by my ignorance and want of taste if we come to particulars. I shall call hills steep, which ought to be bold; surfaces strange and uncouth, which ought to be irregular and rugged; and distant objects out of sight, which ought only to be indistinct through the soft medium of a hazy atmosphere. You must be satisfied with such admiration as I can honestly give. I call it a very fine country--the hills are steep, the woods seem full of fine timber, and the valley looks comfortable and snug--with rich meadows and several neat farm houses scattered here and there. It exactly answers my idea of a fine country, because it unites beauty with utility--and I dare say it is a picturesque one too, because you admire it; I can easily believe it to be full of rocks and promontories, grey moss and brush wood, but these are all lost on me. I know nothing of the picturesque." "I am afraid it is but too true," said Marianne; "but why should you boast of it?" "I suspect," said Elinor, "that to avoid one kind of affectation, Edward here falls into another. Because he believes many people pretend to more admiration of the beauties of nature than they really feel, and is disgusted with such pretensions, he affects greater indifference and less discrimination in viewing them himself than he possesses. He is fastidious and will have an affectation of his own." "It is very true," said Marianne, "that admiration of landscape scenery is become a mere jargon. Every body pretends to feel and tries to describe with the taste and elegance of him who first defined what picturesque beauty was. I detest jargon of every kind, and sometimes I have kept my feelings to myself, because I could find no language to describe them in but what was worn and hackneyed out of all sense and meaning." "I am convinced," said Edward, "that you really feel all the delight in a fine prospect which you profess to feel. But, in return, your sister must allow me to feel no more than I profess. I like a fine prospect, but not on picturesque principles. I do not like crooked, twisted, blasted trees. I admire them much more if they are tall, straight, and flourishing. I do not like ruined, tattered cottages. I am not fond of nettles or thistles, or heath blossoms. I have more pleasure in a snug farm-house than a watch-tower--and a troop of tidy, happy villages please me better than the finest banditti in the world." Marianne looked with amazement at Edward, with compassion at her sister. Elinor only laughed. The subject was continued no farther; and Marianne remained thoughtfully silent, till a new object suddenly engaged her attention. She was sitting by Edward, and in taking his tea from Mrs. Dashwood, his hand passed so directly before her, as to make a ring, with a plait of hair in the centre, very conspicuous on one of his fingers. "I never saw you wear a ring before, Edward," she cried. "Is that Fanny's hair? I remember her promising to give you some. But I should have thought her hair had been darker." Marianne spoke inconsiderately what she really felt--but when she saw how much she had pained Edward, her own vexation at her want of thought could not be surpassed by his. He coloured very deeply, and giving a momentary glance at Elinor, replied, "Yes; it is my sister's hair. The setting always casts a different shade on it, you know." Elinor had met his eye, and looked conscious likewise. That the hair was her own, she instantaneously felt as well satisfied as Marianne; the only difference in their conclusions was, that what Marianne considered as a free gift from her sister, Elinor was conscious must have been procured by some theft or contrivance unknown to herself. She was not in a humour, however, to regard it as an affront, and affecting to take no notice of what passed, by instantly talking of something else, she internally resolved henceforward to catch every opportunity of eyeing the hair and of satisfying herself, beyond all doubt, that it was exactly the shade of her own. Edward's embarrassment lasted some time, and it ended in an absence of mind still more settled. He was particularly grave the whole morning. Marianne severely censured herself for what she had said; but her own forgiveness might have been more speedy, had she known how little offence it had given her sister. Before the middle of the day, they were visited by Sir John and Mrs. Jennings, who, having heard of the arrival of a gentleman at the cottage, came to take a survey of the guest. With the assistance of his mother-in-law, Sir John was not long in discovering that the name of Ferrars began with an F. and this prepared a future mine of raillery against the devoted Elinor, which nothing but the newness of their acquaintance with Edward could have prevented from being immediately sprung. But, as it was, she only learned, from some very significant looks, how far their penetration, founded on Margaret's instructions, extended. Sir John never came to the Dashwoods without either inviting them to dine at the park the next day, or to drink tea with them that evening. On the present occasion, for the better entertainment of their visitor, towards whose amusement he felt himself bound to contribute, he wished to engage them for both. "You MUST drink tea with us to night," said he, "for we shall be quite alone--and tomorrow you must absolutely dine with us, for we shall be a large party." Mrs. Jennings enforced the necessity. "And who knows but you may raise a dance," said she. "And that will tempt YOU, Miss Marianne." "A dance!" cried Marianne. "Impossible! Who is to dance?" "Who! why yourselves, and the Careys, and Whitakers to be sure.--What! you thought nobody could dance because a certain person that shall be nameless is gone!" "I wish with all my soul," cried Sir John, "that Willoughby were among us again." This, and Marianne's blushing, gave new suspicions to Edward. "And who is Willoughby?" said he, in a low voice, to Miss Dashwood, by whom he was sitting. She gave him a brief reply. Marianne's countenance was more communicative. Edward saw enough to comprehend, not only the meaning of others, but such of Marianne's expressions as had puzzled him before; and when their visitors left them, he went immediately round her, and said, in a whisper, "I have been guessing. Shall I tell you my guess?" "What do you mean?" "Shall I tell you." "Certainly." "Well then; I guess that Mr. Willoughby hunts." Marianne was surprised and confused, yet she could not help smiling at the quiet archness of his manner, and after a moment's silence, said, "Oh, Edward! How can you?--But the time will come I hope...I am sure you will like him." "I do not doubt it," replied he, rather astonished at her earnestness and warmth; for had he not imagined it to be a joke for the good of her acquaintance in general, founded only on a something or a nothing between Mr. Willoughby and herself, he would not have ventured to mention it.

Chapter 18

https://web.archive.org/web/20210419170735/https://www.gradesaver.com/sense-and-sensibility/study-guide/summary-chapters-11-20

It is painful to Elinor that Edward is so obviously unhappy, and doesn't show the same affection for her he once did; she is confused by his mixed signals and alternation of happy and dejected spirits. They discuss the countryside, which Edward admires, but cannot appreciate as Marianne does, with such romantic conviction. Then, Marianne notices a ring Edward is wearing, with a lock of hair in it; she asks if it is the hair of Edward's sister, making him blush. Marianne and Elinor see that the hair looks exactly like Elinor's, but Elinor is puzzled since she never gave him any of her hair. Mrs. Jennings and Sir John come by to meet Edward, and decide that he must be the Mr. F. that Margaret hinted about. They are invited for tea and dinner at Barton Park, and of course accept the invitations. Sir John mentions Willoughby, and Edward manages to find out that Marianne likes him, although there is little discussion of him.

The lock of hair is a clue about the reasons for Edward's dejection; that Edward seems embarrassed at its notice, just as he was embarrassed by saying he stayed at Plymouth with friends, foreshadows that a secret about Edward is soon to be revealed. Edward's ring is a symbolic representation of this secret, and how closely he guards it. Elinor's situation is somewhat parallel to what Marianne's was, in that she is perceived to be more closely tied to a gentleman than she actually is; even Elinor's discretion cannot stop Mrs. Jennings from imagining that Edward and Elinor are engaged, when this is an overstatement of their relationship

shmoop

all_chapterized_books/28054-chapters/38.txt

finished_summaries/shmoop/The Brothers Karamazov/section_37_part_0.txt

The Brothers Karamazov.book 5.chapter 7

book 5, chapter 7

{"name": "Book 5, Chapter 7", "url": "https://web.archive.org/web/20201023112808/https://www.shmoop.com/study-guides/literature/brothers-karamazov/summary/book-5-chapter-7", "summary": "When Ivan enters the house, he is too irritated to bother speaking with his father. But during the night, he finds himself oddly compelled to get up and check up on him, and he's not sure why. When morning comes, he announces to his father that he is off to Moscow. Fyodor begs Ivan to go to Chermashnya to take care of a business deal. Wondering why everyone wants him to go to Chermashnya, Ivan tells his father he'll consider it. On his way out, he blurts out to Smerdyakov that he's off to Chermashnya. Smerdyakov's reply is that it's \"always interesting to talk with an intelligent man.\" On his way to the train station, Ivan's not sure what Smerdyakov meant by that phrase, but he's really bothered by it. He decides not to go to Chermashnya and to go straight to Moscow instead. A couple hours after Ivan leaves, Smerdyakov has a fall and goes into an epileptic fit. Fyodor is concerned because Smerdyakov's been his lookout for both Grushenka and for Dmitri, but he's somewhat reassured because, before his epileptic fit, Smerdyakov had told him that Grushenka would almost certainly arrive that night.", "analysis": ""}

Chapter VII. "It's Always Worth While Speaking To A Clever Man" And in the same nervous frenzy, too, he spoke. Meeting Fyodor Pavlovitch in the drawing-room directly he went in, he shouted to him, waving his hands, "I am going upstairs to my room, not in to you. Good-by!" and passed by, trying not even to look at his father. Very possibly the old man was too hateful to him at that moment; but such an unceremonious display of hostility was a surprise even to Fyodor Pavlovitch. And the old man evidently wanted to tell him something at once and had come to meet him in the drawing-room on purpose. Receiving this amiable greeting, he stood still in silence and with an ironical air watched his son going upstairs, till he passed out of sight. "What's the matter with him?" he promptly asked Smerdyakov, who had followed Ivan. "Angry about something. Who can tell?" the valet muttered evasively. "Confound him! Let him be angry then. Bring in the samovar, and get along with you. Look sharp! No news?" Then followed a series of questions such as Smerdyakov had just complained of to Ivan, all relating to his expected visitor, and these questions we will omit. Half an hour later the house was locked, and the crazy old man was wandering along through the rooms in excited expectation of hearing every minute the five knocks agreed upon. Now and then he peered out into the darkness, seeing nothing. It was very late, but Ivan was still awake and reflecting. He sat up late that night, till two o'clock. But we will not give an account of his thoughts, and this is not the place to look into that soul--its turn will come. And even if one tried, it would be very hard to give an account of them, for there were no thoughts in his brain, but something very vague, and, above all, intense excitement. He felt himself that he had lost his bearings. He was fretted, too, by all sorts of strange and almost surprising desires; for instance, after midnight he suddenly had an intense irresistible inclination to go down, open the door, go to the lodge and beat Smerdyakov. But if he had been asked why, he could not have given any exact reason, except perhaps that he loathed the valet as one who had insulted him more gravely than any one in the world. On the other hand, he was more than once that night overcome by a sort of inexplicable humiliating terror, which he felt positively paralyzed his physical powers. His head ached and he was giddy. A feeling of hatred was rankling in his heart, as though he meant to avenge himself on some one. He even hated Alyosha, recalling the conversation he had just had with him. At moments he hated himself intensely. Of Katerina Ivanovna he almost forgot to think, and wondered greatly at this afterwards, especially as he remembered perfectly that when he had protested so valiantly to Katerina Ivanovna that he would go away next day to Moscow, something had whispered in his heart, "That's nonsense, you are not going, and it won't be so easy to tear yourself away as you are boasting now." Remembering that night long afterwards, Ivan recalled with peculiar repulsion how he had suddenly got up from the sofa and had stealthily, as though he were afraid of being watched, opened the door, gone out on the staircase and listened to Fyodor Pavlovitch stirring down below, had listened a long while--some five minutes--with a sort of strange curiosity, holding his breath while his heart throbbed. And why he had done all this, why he was listening, he could not have said. That "action" all his life afterwards he called "infamous," and at the bottom of his heart, he thought of it as the basest action of his life. For Fyodor Pavlovitch himself he felt no hatred at that moment, but was simply intensely curious to know how he was walking down there below and what he must be doing now. He wondered and imagined how he must be peeping out of the dark windows and stopping in the middle of the room, listening, listening--for some one to knock. Ivan went out on to the stairs twice to listen like this. About two o'clock when everything was quiet, and even Fyodor Pavlovitch had gone to bed, Ivan had got into bed, firmly resolved to fall asleep at once, as he felt fearfully exhausted. And he did fall asleep at once, and slept soundly without dreams, but waked early, at seven o'clock, when it was broad daylight. Opening his eyes, he was surprised to feel himself extraordinarily vigorous. He jumped up at once and dressed quickly; then dragged out his trunk and began packing immediately. His linen had come back from the laundress the previous morning. Ivan positively smiled at the thought that everything was helping his sudden departure. And his departure certainly was sudden. Though Ivan had said the day before (to Katerina Ivanovna, Alyosha, and Smerdyakov) that he was leaving next day, yet he remembered that he had no thought of departure when he went to bed, or, at least, had not dreamed that his first act in the morning would be to pack his trunk. At last his trunk and bag were ready. It was about nine o'clock when Marfa Ignatyevna came in with her usual inquiry, "Where will your honor take your tea, in your own room or downstairs?" He looked almost cheerful, but there was about him, about his words and gestures, something hurried and scattered. Greeting his father affably, and even inquiring specially after his health, though he did not wait to hear his answer to the end, he announced that he was starting off in an hour to return to Moscow for good, and begged him to send for the horses. His father heard this announcement with no sign of surprise, and forgot in an unmannerly way to show regret at losing him. Instead of doing so, he flew into a great flutter at the recollection of some important business of his own. "What a fellow you are! Not to tell me yesterday! Never mind; we'll manage it all the same. Do me a great service, my dear boy. Go to Tchermashnya on the way. It's only to turn to the left from the station at Volovya, only another twelve versts and you come to Tchermashnya." "I'm sorry, I can't. It's eighty versts to the railway and the train starts for Moscow at seven o'clock to-night. I can only just catch it." "You'll catch it to-morrow or the day after, but to-day turn off to Tchermashnya. It won't put you out much to humor your father! If I hadn't had something to keep me here, I would have run over myself long ago, for I've some business there in a hurry. But here I ... it's not the time for me to go now.... You see, I've two pieces of copse land there. The Maslovs, an old merchant and his son, will give eight thousand for the timber. But last year I just missed a purchaser who would have given twelve. There's no getting any one about here to buy it. The Maslovs have it all their own way. One has to take what they'll give, for no one here dare bid against them. The priest at Ilyinskoe wrote to me last Thursday that a merchant called Gorstkin, a man I know, had turned up. What makes him valuable is that he is not from these parts, so he is not afraid of the Maslovs. He says he will give me eleven thousand for the copse. Do you hear? But he'll only be here, the priest writes, for a week altogether, so you must go at once and make a bargain with him." "Well, you write to the priest; he'll make the bargain." "He can't do it. He has no eye for business. He is a perfect treasure, I'd give him twenty thousand to take care of for me without a receipt; but he has no eye for business, he is a perfect child, a crow could deceive him. And yet he is a learned man, would you believe it? This Gorstkin looks like a peasant, he wears a blue kaftan, but he is a regular rogue. That's the common complaint. He is a liar. Sometimes he tells such lies that you wonder why he is doing it. He told me the year before last that his wife was dead and that he had married another, and would you believe it, there was not a word of truth in it? His wife has never died at all, she is alive to this day and gives him a beating twice a week. So what you have to find out is whether he is lying or speaking the truth, when he says he wants to buy it and would give eleven thousand." "I shall be no use in such a business. I have no eye either." "Stay, wait a bit! You will be of use, for I will tell you the signs by which you can judge about Gorstkin. I've done business with him a long time. You see, you must watch his beard; he has a nasty, thin, red beard. If his beard shakes when he talks and he gets cross, it's all right, he is saying what he means, he wants to do business. But if he strokes his beard with his left hand and grins--he is trying to cheat you. Don't watch his eyes, you won't find out anything from his eyes, he is a deep one, a rogue--but watch his beard! I'll give you a note and you show it to him. He's called Gorstkin, though his real name is Lyagavy(4); but don't call him so, he will be offended. If you come to an understanding with him, and see it's all right, write here at once. You need only write: 'He's not lying.' Stand out for eleven thousand; one thousand you can knock off, but not more. Just think! there's a difference between eight thousand and eleven thousand. It's as good as picking up three thousand; it's not so easy to find a purchaser, and I'm in desperate need of money. Only let me know it's serious, and I'll run over and fix it up. I'll snatch the time somehow. But what's the good of my galloping over, if it's all a notion of the priest's? Come, will you go?" "Oh, I can't spare the time. You must excuse me." "Come, you might oblige your father. I shan't forget it. You've no heart, any of you--that's what it is? What's a day or two to you? Where are you going now--to Venice? Your Venice will keep another two days. I would have sent Alyosha, but what use is Alyosha in a thing like that? I send you just because you are a clever fellow. Do you suppose I don't see that? You know nothing about timber, but you've got an eye. All that is wanted is to see whether the man is in earnest. I tell you, watch his beard--if his beard shakes you know he is in earnest." "You force me to go to that damned Tchermashnya yourself, then?" cried Ivan, with a malignant smile. Fyodor Pavlovitch did not catch, or would not catch, the malignancy, but he caught the smile. "Then you'll go, you'll go? I'll scribble the note for you at once." "I don't know whether I shall go. I don't know. I'll decide on the way." "Nonsense! Decide at once. My dear fellow, decide! If you settle the matter, write me a line; give it to the priest and he'll send it on to me at once. And I won't delay you more than that. You can go to Venice. The priest will give you horses back to Volovya station." The old man was quite delighted. He wrote the note, and sent for the horses. A light lunch was brought in, with brandy. When Fyodor Pavlovitch was pleased, he usually became expansive, but to-day he seemed to restrain himself. Of Dmitri, for instance, he did not say a word. He was quite unmoved by the parting, and seemed, in fact, at a loss for something to say. Ivan noticed this particularly. "He must be bored with me," he thought. Only when accompanying his son out on to the steps, the old man began to fuss about. He would have kissed him, but Ivan made haste to hold out his hand, obviously avoiding the kiss. His father saw it at once, and instantly pulled himself up. "Well, good luck to you, good luck to you!" he repeated from the steps. "You'll come again some time or other? Mind you do come. I shall always be glad to see you. Well, Christ be with you!" Ivan got into the carriage. "Good-by, Ivan! Don't be too hard on me!" the father called for the last time. The whole household came out to take leave--Smerdyakov, Marfa and Grigory. Ivan gave them ten roubles each. When he had seated himself in the carriage, Smerdyakov jumped up to arrange the rug. "You see ... I am going to Tchermashnya," broke suddenly from Ivan. Again, as the day before, the words seemed to drop of themselves, and he laughed, too, a peculiar, nervous laugh. He remembered it long after. "It's a true saying then, that 'it's always worth while speaking to a clever man,' " answered Smerdyakov firmly, looking significantly at Ivan. The carriage rolled away. Nothing was clear in Ivan's soul, but he looked eagerly around him at the fields, at the hills, at the trees, at a flock of geese flying high overhead in the bright sky. And all of a sudden he felt very happy. He tried to talk to the driver, and he felt intensely interested in an answer the peasant made him; but a minute later he realized that he was not catching anything, and that he had not really even taken in the peasant's answer. He was silent, and it was pleasant even so. The air was fresh, pure and cool, the sky bright. The images of Alyosha and Katerina Ivanovna floated into his mind. But he softly smiled, blew softly on the friendly phantoms, and they flew away. "There's plenty of time for them," he thought. They reached the station quickly, changed horses, and galloped to Volovya. "Why is it worth while speaking to a clever man? What did he mean by that?" The thought seemed suddenly to clutch at his breathing. "And why did I tell him I was going to Tchermashnya?" They reached Volovya station. Ivan got out of the carriage, and the drivers stood round him bargaining over the journey of twelve versts to Tchermashnya. He told them to harness the horses. He went into the station house, looked round, glanced at the overseer's wife, and suddenly went back to the entrance. "I won't go to Tchermashnya. Am I too late to reach the railway by seven, brothers?" "We shall just do it. Shall we get the carriage out?" "At once. Will any one of you be going to the town to-morrow?" "To be sure. Mitri here will." "Can you do me a service, Mitri? Go to my father's, to Fyodor Pavlovitch Karamazov, and tell him I haven't gone to Tchermashnya. Can you?" "Of course I can. I've known Fyodor Pavlovitch a long time." "And here's something for you, for I dare say he won't give you anything," said Ivan, laughing gayly. "You may depend on it he won't." Mitya laughed too. "Thank you, sir. I'll be sure to do it." At seven o'clock Ivan got into the train and set off to Moscow "Away with the past. I've done with the old world for ever, and may I have no news, no echo, from it. To a new life, new places and no looking back!" But instead of delight his soul was filled with such gloom, and his heart ached with such anguish, as he had never known in his life before. He was thinking all the night. The train flew on, and only at daybreak, when he was approaching Moscow, he suddenly roused himself from his meditation. "I am a scoundrel," he whispered to himself. Fyodor Pavlovitch remained well satisfied at having seen his son off. For two hours afterwards he felt almost happy, and sat drinking brandy. But suddenly something happened which was very annoying and unpleasant for every one in the house, and completely upset Fyodor Pavlovitch's equanimity at once. Smerdyakov went to the cellar for something and fell down from the top of the steps. Fortunately, Marfa Ignatyevna was in the yard and heard him in time. She did not see the fall, but heard his scream--the strange, peculiar scream, long familiar to her--the scream of the epileptic falling in a fit. They could not tell whether the fit had come on him at the moment he was descending the steps, so that he must have fallen unconscious, or whether it was the fall and the shock that had caused the fit in Smerdyakov, who was known to be liable to them. They found him at the bottom of the cellar steps, writhing in convulsions and foaming at the mouth. It was thought at first that he must have broken something--an arm or a leg--and hurt himself, but "God had preserved him," as Marfa Ignatyevna expressed it--nothing of the kind had happened. But it was difficult to get him out of the cellar. They asked the neighbors to help and managed it somehow. Fyodor Pavlovitch himself was present at the whole ceremony. He helped, evidently alarmed and upset. The sick man did not regain consciousness; the convulsions ceased for a time, but then began again, and every one concluded that the same thing would happen, as had happened a year before, when he accidentally fell from the garret. They remembered that ice had been put on his head then. There was still ice in the cellar, and Marfa Ignatyevna had some brought up. In the evening, Fyodor Pavlovitch sent for Doctor Herzenstube, who arrived at once. He was a most estimable old man, and the most careful and conscientious doctor in the province. After careful examination, he concluded that the fit was a very violent one and might have serious consequences; that meanwhile he, Herzenstube, did not fully understand it, but that by to-morrow morning, if the present remedies were unavailing, he would venture to try something else. The invalid was taken to the lodge, to a room next to Grigory's and Marfa Ignatyevna's. Then Fyodor Pavlovitch had one misfortune after another to put up with that day. Marfa Ignatyevna cooked the dinner, and the soup, compared with Smerdyakov's, was "no better than dish-water," and the fowl was so dried up that it was impossible to masticate it. To her master's bitter, though deserved, reproaches, Marfa Ignatyevna replied that the fowl was a very old one to begin with, and that she had never been trained as a cook. In the evening there was another trouble in store for Fyodor Pavlovitch; he was informed that Grigory, who had not been well for the last three days, was completely laid up by his lumbago. Fyodor Pavlovitch finished his tea as early as possible and locked himself up alone in the house. He was in terrible excitement and suspense. That evening he reckoned on Grushenka's coming almost as a certainty. He had received from Smerdyakov that morning an assurance "that she had promised to come without fail." The incorrigible old man's heart throbbed with excitement; he paced up and down his empty rooms listening. He had to be on the alert. Dmitri might be on the watch for her somewhere, and when she knocked on the window (Smerdyakov had informed him two days before that he had told her where and how to knock) the door must be opened at once. She must not be a second in the passage, for fear--which God forbid!--that she should be frightened and run away. Fyodor Pavlovitch had much to think of, but never had his heart been steeped in such voluptuous hopes. This time he could say almost certainly that she would come!

Book 5, Chapter 7

https://web.archive.org/web/20201023112808/https://www.shmoop.com/study-guides/literature/brothers-karamazov/summary/book-5-chapter-7

When Ivan enters the house, he is too irritated to bother speaking with his father. But during the night, he finds himself oddly compelled to get up and check up on him, and he's not sure why. When morning comes, he announces to his father that he is off to Moscow. Fyodor begs Ivan to go to Chermashnya to take care of a business deal. Wondering why everyone wants him to go to Chermashnya, Ivan tells his father he'll consider it. On his way out, he blurts out to Smerdyakov that he's off to Chermashnya. Smerdyakov's reply is that it's "always interesting to talk with an intelligent man." On his way to the train station, Ivan's not sure what Smerdyakov meant by that phrase, but he's really bothered by it. He decides not to go to Chermashnya and to go straight to Moscow instead. A couple hours after Ivan leaves, Smerdyakov has a fall and goes into an epileptic fit. Fyodor is concerned because Smerdyakov's been his lookout for both Grushenka and for Dmitri, but he's somewhat reassured because, before his epileptic fit, Smerdyakov had told him that Grushenka would almost certainly arrive that night.

shmoop

all_chapterized_books/1526-chapters/16.txt

finished_summaries/shmoop/Twelfth Night, or What You Will/section_15_part_0.txt

Twelfth Night, or What You Will.act 4.scene 2

act 4, scene 2

{"name": "Act 4, Scene 2", "url": "https://web.archive.org/web/20210415161814/https://www.shmoop.com/study-guides/literature/twelfth-night/summary/act-4-scene-2", "summary": "Inside Olivia's house, Maria makes Feste wear a disguise and pretend he's a clergyman named Sir Topas, who has come to visit Malvolio. Feste makes a crack about how he's not the first fraud to wear a clergyman's outfit. Then he approaches Malvolio and pretends to be \"Sir Topas.\" \"Sir Topas\" says that he's come to visit \"Malvolio the lunatic.\" Malvolio begs \"Sir Topas\" to fetch Olivia so the whole mess can be straightened out. \"Sir Topas\" says Malvolio's been possessed by a sex-crazed devil and proceeds with the mock exorcism. Malvolio complains about the darkness of the room but \"Sir Topas\" insists it's perfectly well lit. It has bay windows that are as clear as a stone wall and windows facing north and south that are blackened. So...really, Feste is agreeing that it's dark, but he's talking in riddles and saying that Malvolio thinks it's dark because he's mad. Malvolio insists he's sane and tells the fool to ask him a common sense question to prove it. The fool asks him about Pythagoras, and Malvolio answers, correctly, that Pythagoras believed in reincarnation, a philosophy Malvolio doesn't agree with. The fool turns Malvolio's views against him and steps out. Maria comments that Feste could have pulled off the prank without the physical costume since the whole joke depends more on Feste's ability to disguise his voice, not his looks. Toby tells Feste to go back to Malvolio and play himself and Sir Topas. Feste obliges. Feste returns to Malvolio and sings one of his catchy little songs. Malvolio recognizes Feste's voice and begs the Fool to fetch him a pen, paper, and a light so he can write a letter that will exonerate him. Feste treats Malvolio like a madman and Malvolio tries to explain that Toby and crew have locked him up and sent an exorcist in order to make him go crazy. Feste uses his \"Sir Topas\" voice and advises Malvolio to get some sleep. Then Feste pretends to have a conversation with Sir Topas about Malvolio's condition. Malvolio begs Feste for pen and paper again and claims he is as sane as anybody else in Illyria. Feste asks him if he's faking the whole thing and finally promises to fetch some paper and a pen. Feste skips off singing while Malvolio remains locked up.", "analysis": ""}

SCENE II. A Room in OLIVIA'S House. [Enter MARIA and CLOWN.] MARIA. Nay, I pr'ythee, put on this gown and this beard; make him believe thou art Sir Topas the curate; do it quickly: I'll call Sir Toby the whilst. [Exit MARIA.] CLOWN. Well, I'll put it on, and I will dissemble myself in't; and I would I were the first that ever dissembled in such a gown. I am not tall enough to become the function well: nor lean enough to be thought a good student: but to be said, an honest man and a good housekeeper, goes as fairly as to say, a careful man and a great scholar. The competitors enter. [Enter SIR TOBY BELCH and MARIA.] SIR TOBY. Jove bless thee, Master Parson. CLOWN. Bonos dies, Sir Toby: for as the old hermit of Prague, that never saw pen and ink, very wittily said to a niece of King Gorboduc, 'That that is, is'; so I, being master parson, am master parson: for what is that but that? and is but is? SIR TOBY. To him, Sir Topas. CLOWN. What, hoa, I say,--Peace in this prison! SIR TOBY. The knave counterfeits well; a good knave. MALVOLIO. [In an inner chamber.] Who calls there? CLOWN. Sir Topas the curate, who comes to visit Malvolio the lunatic. MALVOLIO. Sir Topas, Sir Topas, good Sir Topas, go to my lady. CLOWN. Out, hyperbolical fiend! how vexest thou this man? talkest thou nothing but of ladies? SIR TOBY. Well said, master parson. MALVOLIO. Sir Topas, never was man thus wronged: good Sir Topas, do not think I am mad; they have laid me here in hideous darkness. CLOWN. Fie, thou dishonest Sathan! I call thee by the most modest terms; for I am one of those gentle ones that will use the devil himself with courtesy. Say'st thou that house is dark? MALVOLIO. As hell, Sir Topas. CLOWN. Why, it hath bay windows transparent as barricadoes, and the clear storeys toward the south-north are as lustrous as ebony; and yet complainest thou of obstruction? MALVOLIO. I am not mad, Sir Topas; I say to you this house is dark. CLOWN. Madman, thou errest. I say there is no darkness but ignorance; in which thou art more puzzled than the Egyptians in their fog. MALVOLIO. I say this house is as dark as ignorance, though ignorance were as dark as hell; and I say there was never man thus abused. I am no more mad than you are; make the trial of it in any constant question. CLOWN. What is the opinion of Pythagoras concerning wild-fowl? MALVOLIO. That the soul of our grandam might haply inhabit a bird. CLOWN. What thinkest thou of his opinion? MALVOLIO. I think nobly of the soul, and no way approve his opinion. CLOWN. Fare thee well. Remain thou still in darkness: thou shalt hold the opinion of Pythagoras ere I will allow of thy wits; and fear to kill a woodcock, lest thou dispossess the soul of thy grandam. Fare thee well. MALVOLIO. Sir Topas, Sir Topas! SIR TOBY. My most exquisite Sir Topas! CLOWN. Nay, I am for all waters. MARIA. Thou mightst have done this without thy beard and gown: he sees thee not. SIR TOBY. To him in thine own voice, and bring me word how thou findest him; I would we were well rid of this knavery. If he may be conveniently delivered, I would he were; for I am now so far in offence with my niece that I cannot pursue with any safety this sport to the upshot. Come by and by to my chamber. [Exeunt SIR TOBY and MARIA.] CLOWN. [Singing.] 'Hey, Robin, jolly Robin, Tell me how thy lady does.' MALVOLIO. Fool,-- CLOWN. 'My lady is unkind, perdy.' MALVOLIO. Fool,-- CLOWN. 'Alas, why is she so?' MALVOLIO. Fool, I say;-- CLOWN. 'She loves another'--Who calls, ha? MALVOLIO. Good fool, as ever thou wilt deserve well at my hand, help me to a candle, and pen, ink, and paper; as I am a gentleman, I will live to be thankful to thee for't. CLOWN. Master Malvolio! MALVOLIO. Ay, good fool. CLOWN. Alas, sir, how fell you besides your five wits? MALVOLIO. Fool, there was never man so notoriously abused; I am as well in my wits, fool, as thou art. CLOWN. But as well? then you are mad indeed, if you be no better in your wits than a fool. MALVOLIO. They have here propertied me; keep me in darkness, send ministers to me, asses, and do all they can to face me out of my wits. CLOWN. Advise you what you say: the minister is here.--Malvolio, thy wits the heavens restore! endeavour thyself to sleep, and leave thy vain bibble-babble. MALVOLIO. Sir Topas,-- CLOWN. Maintain no words with him, good fellow. Who, I, sir? not I, sir. God b' wi' you, good Sir Topas.--Marry, amen.--I will sir, I will. MALVOLIO. Fool, fool, fool, I say,-- CLOWN. Alas, sir, be patient. What say you, sir? I am shent for speaking to you. MALVOLIO. Good fool, help me to some light and some paper; I tell thee I am as well in my wits as any man in Illyria. CLOWN. Well-a-day,--that you were, sir! MALVOLIO. By this hand, I am: Good fool, some ink, paper, and light, and convey what I will set down to my lady; it shall advantage thee more than ever the bearing of letter did. CLOWN. I will help you to't. But tell me true, are you not mad indeed? or do you but counterfeit? MALVOLIO. Believe me, I am not; I tell thee true. CLOWN. Nay, I'll ne'er believe a madman till I see his brains. I will fetch you light, and paper, and ink. MALVOLIO. Fool, I'll requite it in the highest degree: I pr'ythee be gone. CLOWN. [Singing.] 'I am gone, sir, And anon, sir, I'll be with you again, In a trice, Like to the old vice, Your need to sustain; Who with dagger of lath, In his rage and his wrath, Cries ah, ha! to the devil: Like a mad lad, Pare thy nails, dad. Adieu, goodman drivel. [Exit.]

Act 4, Scene 2

https://web.archive.org/web/20210415161814/https://www.shmoop.com/study-guides/literature/twelfth-night/summary/act-4-scene-2

Inside Olivia's house, Maria makes Feste wear a disguise and pretend he's a clergyman named Sir Topas, who has come to visit Malvolio. Feste makes a crack about how he's not the first fraud to wear a clergyman's outfit. Then he approaches Malvolio and pretends to be "Sir Topas." "Sir Topas" says that he's come to visit "Malvolio the lunatic." Malvolio begs "Sir Topas" to fetch Olivia so the whole mess can be straightened out. "Sir Topas" says Malvolio's been possessed by a sex-crazed devil and proceeds with the mock exorcism. Malvolio complains about the darkness of the room but "Sir Topas" insists it's perfectly well lit. It has bay windows that are as clear as a stone wall and windows facing north and south that are blackened. So...really, Feste is agreeing that it's dark, but he's talking in riddles and saying that Malvolio thinks it's dark because he's mad. Malvolio insists he's sane and tells the fool to ask him a common sense question to prove it. The fool asks him about Pythagoras, and Malvolio answers, correctly, that Pythagoras believed in reincarnation, a philosophy Malvolio doesn't agree with. The fool turns Malvolio's views against him and steps out. Maria comments that Feste could have pulled off the prank without the physical costume since the whole joke depends more on Feste's ability to disguise his voice, not his looks. Toby tells Feste to go back to Malvolio and play himself and Sir Topas. Feste obliges. Feste returns to Malvolio and sings one of his catchy little songs. Malvolio recognizes Feste's voice and begs the Fool to fetch him a pen, paper, and a light so he can write a letter that will exonerate him. Feste treats Malvolio like a madman and Malvolio tries to explain that Toby and crew have locked him up and sent an exorcist in order to make him go crazy. Feste uses his "Sir Topas" voice and advises Malvolio to get some sleep. Then Feste pretends to have a conversation with Sir Topas about Malvolio's condition. Malvolio begs Feste for pen and paper again and claims he is as sane as anybody else in Illyria. Feste asks him if he's faking the whole thing and finally promises to fetch some paper and a pen. Feste skips off singing while Malvolio remains locked up.

gradesaver

all_chapterized_books/14328-chapters/book_iii.txt

finished_summaries/gradesaver/The Consolation of Philosophy/section_2_part_0.txt

The Consolation of Philosophy.book iii

book iii

{"name": "Book III", "url": "https://web.archive.org/web/20201128165942/https://www.gradesaver.com/the-consolation-of-philosophy/study-guide/summary-book-iii", "summary": "Book III, the central Book and the longest of the five, opens with Boethius enchanted by Philosophy's final song of Book II. Throughout The Consolation of Philosophy, Boethius tells us, Philosophy's songs have been accompanied by the most beautiful music, for music is Philosophy's \"handmaid\" Boethius has become refreshed, and the compelling arguments of Book II have made him ready for more \"cures\" and \"capable of facing the blows of Fortune.\" Philosophy then informs Boethius that the object of her next lecture will be true happiness. True and perfect happiness can only be achieved by the possession of the supreme good in which all goods are possessed. All human beings desire true happiness, but most are lead into error by desiring false, or temporal, goods. Philosophy goes on to explain that what many in the world think of as good; freedom from want , respect , power, or fame, or simply pleasure, or those with confused or combined desires, such as the desire for wealth for the sake of power and pleasure, or power for the sake of money and fame, and even those who desire a spouse and children for the pleasure they bring. Beauty and strength of the body confer power and renown, and is a form of those desires. All of these desires are for happiness, however. The problem arises when humanity treats these goods as the ultimate good or the path to happiness. The fallen state of man is such that he seeks happiness in these inferior, exterior, multiple goods, rather than the one supreme good of God. Before, however, Boethius and Philosophy sing their closing hymn to God, the source of all happiness, Philosophy goes through each of the supposed goods of earth. Wealth, once attained, is a source of worry. Physical beauty and strength is an illusion, created by the other people's desire to see beauty in the body. Furthermore, physical beauty and strength are easily and quickly lost, by time and illness. A man in high office receives honor and respect, but the office does not confer wisdom or virtue on the holder. Often, Philosophy says, high office creates corruption and degrades rather than elevates the officeholder. Virtue has intrinsic value, which, once achieved, confers its worth to those who possess it, but the same is not true of high office. If a king or official has power, the constant acquisition of more power would bring more happiness. But there is no empire on earth which rules all of humanity, so the inherent lack of power in power itself confers unhappiness on those with power. Philosophy begins Part VI of Book III with the admonition, \"Fame, in fact, is a shameful thing, and so often deceptive.\" She argues that nothing is more shameful than unjust fame. Also, the fame of a human being can never be spread to all the people of the world, just as power can't be over all people. Nobility of family doesn't confer virtue, either, except in the negative sense it may incite the noble to not disgrace the memory of their ancestors. Bodily pleasure is of the least concern to Philosophy. She views it with contempt, and says that its \"pursuit is full of anxiety and its fulfillment full of remorse.\" It is unhealthful, and even the worthy pleasure of a spouse and children can also bring many woes. Because these goods are not perfect, they are unable to give perfect happiness to any human being. Boethius and Lady Philosophy agree that any or all of these earthly goods cannot bring any measure of true happiness to anyone, and therefore continue their inquiry after the \"sufficiency\" which would satisfy humanity's desire for true happiness. Here begins Boethius's partial proof for the existence of God. Since Boethius and Philosophy agree that humanity desires true happiness, that standard means that a supreme good exists. Since Lady Philosophy has shown that none of the earthly goods are the supreme good, nor are all of them together the supreme good, something outside of the earth must be the supreme good. Sufficiency is linked by Lady Philosophy to power, since the being who was sufficient in all things would be powerful enough to live apart from earthly concerns. Therefore, something that is sufficient would need nothing, want nothing, exhibit supreme powerful, and thus would be worthy of reverence. This being would be happy. Therefore, Lady Philosophy concludes, this being would be wholly sufficient, powerful, glorious, and would be revered. All of these conditions for pure happiness go by various names, but they consist of the same substance. This one happy, sufficient being, Boethius implies, is God. The unity that God fulfills is the essence of the desire of all things. Boethius and Philosophy end Book III with a song asking for help in finding the true nature of happiness and God.", "analysis": "The \"lack of completeness\" argument for fame and power may seem flimsy to some modern readers. Where is the gratitude for what one has? Why, according to Boethius and Lady Philosophy, can't we be happy with some power and some fame, or, by extension some physical beauty or strength, or some wealth, even though we may not possess all of these things or for eternity or in their completeness. Why is not a measure of good things enough? Boethius would argue that the incompleteness of these goods shows how imperfect as \"goods\" they really are. The attainment of any of these desires is merely a misdirected desire for true happiness in God, which is attainable in its complete and whole form. There are some holes in this argument, but, again, it is necessary to consider Boethius's dialogue within the context of his Christianity. Why, for example, couldn't the attainment of some of the goods be a source of lasting or real happiness on earth, at least until death and the communion with God? Boethius sees that no human being is without further desires, and any acquisition of these earthly goods only incites people to want more of them. While some people may be \"content\" with the satisfaction of their basic needs, they are not made happy by the attainment of these earthly goods, but only by some spiritual source of happiness. So even those who are not particularly greedy or acquisitive are still not able to access happiness here on earth. To some this may seem a pessimistic argument, and particularly damning of human nature. However, Boethius also considered that any happiness on earth would represent a denial of God, an idea he was unwilling to contemplate because he was a Christian - the suggestion that human beings can be fulfilled and happy apart from God is tantamount to blasphemy for Boethius. The proof of God in this Book is considered partial by most theologians, and wasn't the focus of the book. Boethius takes for granted that there is a God, and that his readers agree with him. But the proof is based on the inadequacy of temporal desires, and is really a negative proof; because it is not earthly, it must be spiritual. It is carefully constructed, however, and beautifully executed. And, certainly, just because it is negative doesn't mean it is necessarily wrong. Certain aspects of the arguments about physical beauty and bodily pleasure would be refuted by many readers, and, since Boethius doesn't consider them to be all that important, are not as carefully addressed as the desires for fame or power. His overall argument, however, is carefully balanced on the inadequacy of earthly desires and attainments, and its structure is sound. The leap from the desire for true happiness to the existence of God is not as abrupt as it sounds. It is carefully built up throughout Book III, and lays carefully on the refutation of each kind of happiness possible, according to Boethius, on earth. An atheist, animist, or other spiritual type of happiness is not discussed here - the existence of God is not really in question, it is rather the logical conclusion between two speakers who already agree that God exists. The focus is on the logical argument about the folly of earthly desires."}

<CHAPTER> BOOK III. I. She ceased, but I stood fixed by the sweetness of the song in wonderment and eager expectation, my ears still strained to listen. And then after a little I said: 'Thou sovereign solace of the stricken soul, what refreshment hast thou brought me, no less by the sweetness of thy singing than by the weightiness of thy discourse! Verily, I think not that I shall hereafter be unequal to the blows of Fortune. Wherefore, I no longer dread the remedies which thou saidst were something too severe for my strength; nay, rather, I am eager to hear of them and call for them with all vehemence.' Then said she: 'I marked thee fastening upon my words silently and intently, and I expected, or--to speak more truly--I myself brought about in thee, this state of mind. What now remains is of such sort that to the taste indeed it is biting, but when received within it turns to sweetness. But whereas thou dost profess thyself desirous of hearing, with what ardour wouldst thou not burn didst thou but perceive whither it is my task to lead thee!' 'Whither?' said I. 'To true felicity,' said she, 'which even now thy spirit sees in dreams, but cannot behold in very truth, while thine eyes are engrossed with semblances.' Then said I: 'I beseech thee, do thou show to me her true shape without a moment's loss.' 'Gladly will I, for thy sake,' said she. 'But first I will try to sketch in words, and describe a cause which is more familiar to thee, that, when thou hast viewed this carefully, thou mayst turn thy eyes the other way, and recognise the beauty of true happiness.' SONG I. THE THORNS OF ERROR. Who fain would sow the fallow field, And see the growing corn, Must first remove the useless weeds, The bramble and the thorn. After ill savour, honey's taste Is to the mouth more sweet; After the storm, the twinkling stars The eyes more cheerly greet. When night hath past, the bright dawn comes In car of rosy hue; So drive the false bliss from thy mind, And thou shall see the true. II. For a little space she remained in a fixed gaze, withdrawn, as it were, into the august chamber of her mind; then she thus began: 'All mortal creatures in those anxious aims which find employment in so many varied pursuits, though they take many paths, yet strive to reach one goal--the goal of happiness. Now, _the good_ is that which, when a man hath got, he can lack nothing further. This it is which is the supreme good of all, containing within itself all particular good; so that if anything is still wanting thereto, this cannot be the supreme good, since something would be left outside which might be desired. 'Tis clear, then, that happiness is a state perfected by the assembling together of all good things. To this state, as we have said, all men try to attain, but by different paths. For the desire of the true good is naturally implanted in the minds of men; only error leads them aside out of the way in pursuit of the false. Some, deeming it the highest good to want for nothing, spare no pains to attain affluence; others, judging the good to be that to which respect is most worthily paid, strive to win the reverence of their fellow-citizens by the attainment of official dignity. Some there are who fix the chief good in supreme power; these either wish themselves to enjoy sovereignty, or try to attach themselves to those who have it. Those, again, who think renown to be something of supreme excellence are in haste to spread abroad the glory of their name either through the arts of war or of peace. A great many measure the attainment of good by joy and gladness of heart; these think it the height of happiness to give themselves over to pleasure. Others there are, again, who interchange the ends and means one with the other in their aims; for instance, some want riches for the sake of pleasure and power, some covet power either for the sake of money or in order to bring renown to their name. So it is on these ends, then, that the aim of human acts and wishes is centred, and on others like to these--for instance, noble birth and popularity, which seem to compass a certain renown; wife and children, which are sought for the sweetness of their possession; while as for friendship, the most sacred kind indeed is counted in the category of virtue, not of fortune; but other kinds are entered upon for the sake of power or of enjoyment. And as for bodily excellences, it is obvious that they are to be ranged with the above. For strength and stature surely manifest power; beauty and fleetness of foot bring celebrity; health brings pleasure. It is plain, then, that the only object sought for in all these ways is _happiness_. For that which each seeks in preference to all else, that is in his judgment the supreme good. And we have defined the supreme good to be happiness. Therefore, that state which each wishes in preference to all others is in his judgment happy. 'Thou hast, then, set before thine eyes something like a scheme of human happiness--wealth, rank, power, glory, pleasure. Now Epicurus, from a sole regard to these considerations, with some consistency concluded the highest good to be pleasure, because all the other objects seem to bring some delight to the soul. But to return to human pursuits and aims: man's mind seeks to recover its proper good, in spite of the mistiness of its recollection, but, like a drunken man, knows not by what path to return home. Think you they are wrong who strive to escape want? Nay, truly there is nothing which can so well complete happiness as a state abounding in all good things, needing nothing from outside, but wholly self-sufficing. Do they fall into error who deem that which is best to be also best deserving to receive the homage of reverence? Not at all. That cannot possibly be vile and contemptible, to attain which the endeavours of nearly all mankind are directed. Then, is power not to be reckoned in the category of good? Why, can that which is plainly more efficacious than anything else be esteemed a thing feeble and void of strength? Or is renown to be thought of no account? Nay, it cannot be ignored that the highest renown is constantly associated with the highest excellence. And what need is there to say that happiness is not haunted by care and gloom, nor exposed to trouble and vexation, since that is a condition we ask of the very least of things, from the possession and enjoyment of which we expect delight? So, then, these are the blessings men wish to win; they want riches, rank, sovereignty, glory, pleasure, because they believe that by these means they will secure independence, reverence, power, renown, and joy of heart. Therefore, it is _the good_ which men seek by such divers courses; and herein is easily shown the might of Nature's power, since, although opinions are so various and discordant, yet they agree in cherishing _good_ as the end.' SONG II. THE BENT OF NATURE. How the might of Nature sways All the world in ordered ways, How resistless laws control Each least portion of the whole-- Fain would I in sounding verse On my pliant strings rehearse. Lo, the lion captive ta'en Meekly wears his gilded chain; Yet though he by hand be fed, Though a master's whip he dread, If but once the taste of gore Whet his cruel lips once more, Straight his slumbering fierceness wakes, With one roar his bonds he breaks, And first wreaks his vengeful force On his trainer's mangled corse. And the woodland songster, pent In forlorn imprisonment, Though a mistress' lavish care Store of honeyed sweets prepare; Yet, if in his narrow cage, As he hops from bar to bar, He should spy the woods afar, Cool with sheltering foliage, All these dainties he will spurn, To the woods his heart will turn; Only for the woods he longs, Pipes the woods in all his songs. To rude force the sapling bends, While the hand its pressure lends; If the hand its pressure slack, Straight the supple wood springs back. Phoebus in the western main Sinks; but swift his car again By a secret path is borne To the wonted gates of morn. Thus are all things seen to yearn In due time for due return; And no order fixed may stay, Save which in th' appointed way Joins the end to the beginning In a steady cycle spinning. III. 'Ye, too, creatures of earth, have some glimmering of your origin, however faint, and though in a vision dim and clouded, yet in some wise, notwithstanding, ye discern the true end of happiness, and so the aim of nature leads you thither--to that true good--while error in many forms leads you astray therefrom. For reflect whether men are able to win happiness by those means through which they think to reach the proposed end. Truly, if either wealth, rank, or any of the rest, bring with them anything of such sort as seems to have nothing wanting to it that is good, we, too, acknowledge that some are made happy by the acquisition of these things. But if they are not able to fulfil their promises, and, moreover, lack many good things, is not the happiness men seek in them clearly discovered to be a false show? Therefore do I first ask thee thyself, who but lately wert living in affluence, amid all that abundance of wealth, was thy mind never troubled in consequence of some wrong done to thee?' 'Nay,' said I, 'I cannot ever remember a time when my mind was so completely at peace as not to feel the pang of some uneasiness.' 'Was it not because either something was absent which thou wouldst not have absent, or present which thou wouldst have away?' 'Yes,' said I. 'Then, thou didst want the presence of the one, the absence of the other?' 'Admitted.' 'But a man lacks that of which he is in want?' 'He does.' 'And he who lacks something is not in all points self-sufficing?' 'No; certainly not,' said I. 'So wert thou, then, in the plenitude of thy wealth, supporting this insufficiency?' 'I must have been.' 'Wealth, then, cannot make its possessor independent and free from all want, yet this was what it seemed to promise. Moreover, I think this also well deserves to be considered--that there is nothing in the special nature of money to hinder its being taken away from those who possess it against their will.' 'I admit it.' 'Why, of course, when every day the stronger wrests it from the weaker without his consent. Else, whence come lawsuits, except in seeking to recover moneys which have been taken away against their owner's will by force or fraud?' 'True,' said I. 'Then, everyone will need some extraneous means of protection to keep his money safe.' 'Who can venture to deny it?' 'Yet he would not, unless he possessed the money which it is possible to lose.' 'No; he certainly would not.' 'Then, we have worked round to an opposite conclusion: the wealth which was thought to make a man independent rather puts him in need of further protection. How in the world, then, can want be driven away by riches? Cannot the rich feel hunger? Cannot they thirst? Are not the limbs of the wealthy sensitive to the winter's cold? "But," thou wilt say, "the rich have the wherewithal to sate their hunger, the means to get rid of thirst and cold." True enough; want can thus be soothed by riches, wholly removed it cannot be. For if this ever-gaping, ever-craving want is glutted by wealth, it needs must be that the want itself which can be so glutted still remains. I do not speak of how very little suffices for nature, and how for avarice nothing is enough. Wherefore, if wealth cannot get rid of want, and makes new wants of its own, how can ye believe that it bestows independence?' SONG III. THE INSATIABLENESS OF AVARICE. Though the covetous grown wealthy See his piles of gold rise high; Though he gather store of treasure That can never satisfy; Though with pearls his gorget blazes, Rarest that the ocean yields; Though a hundred head of oxen Travail in his ample fields; Ne'er shall carking care forsake him While he draws this vital breath, And his riches go not with him, When his eyes are closed in death. IV. 'Well, but official dignity clothes him to whom it comes with honour and reverence! Have, then, offices of state such power as to plant virtue in the minds of their possessors, and drive out vice? Nay, they are rather wont to signalize iniquity than to chase it away, and hence arises our indignation that honours so often fall to the most iniquitous of men. Accordingly, Catullus calls Nonius an "ulcer-spot," though "sitting in the curule chair." Dost not see what infamy high position brings upon the bad? Surely their unworthiness will be less conspicuous if their rank does not draw upon them the public notice! In thy own case, wouldst thou ever have been induced by all these perils to think of sharing office with Decoratus, since thou hast discerned in him the spirit of a rascally parasite and informer? No; we cannot deem men worthy of reverence on account of their office, whom we deem unworthy of the office itself. But didst thou see a man endued with wisdom, couldst thou suppose him not worthy of reverence, nor of that wisdom with which he was endued?' 'No; certainly not.' 'There is in Virtue a dignity of her own which she forthwith passes over to those to whom she is united. And since public honours cannot do this, it is clear that they do not possess the true beauty of dignity. And here this well deserves to be noticed--that if a man is the more scorned in proportion as he is despised by a greater number, high position not only fails to win reverence for the wicked, but even loads them the more with contempt by drawing more attention to them. But not without retribution; for the wicked pay back a return in kind to the dignities they put on by the pollution of their touch. Perhaps, too, another consideration may teach thee to confess that true reverence cannot come through these counterfeit dignities. It is this: If one who had been many times consul chanced to visit barbaric lands, would his office win him the reverence of the barbarians? And yet if reverence were the natural effect of dignities, they would not forego their proper function in any part of the world, even as fire never anywhere fails to give forth heat. But since this effect is not due to their own efficacy, but is attached to them by the mistaken opinion of mankind, they disappear straightway when they are set before those who do not esteem them dignities. Thus the case stands with foreign peoples. But does their repute last for ever, even in the land of their origin? Why, the prefecture, which was once a great power, is now an empty name--a burden merely on the senator's fortune; the commissioner of the public corn supply was once a personage--now what is more contemptible than this office? For, as we said just now, that which hath no true comeliness of its own now receives, now loses, lustre at the caprice of those who have to do with it. So, then, if dignities cannot win men reverence, if they are actually sullied by the contamination of the wicked, if they lose their splendour through time's changes, if they come into contempt merely for lack of public estimation, what precious beauty have they in themselves, much less to give to others?' SONG IV. DISGRACE OF HONOURS CONFERRED BY A TYRANT. Though royal purple soothes his pride, And snowy pearls his neck adorn, Nero in all his riot lives The mark of universal scorn. Yet he on reverend heads conferred Th' inglorious honours of the state. Shall we, then, deem them truly blessed Whom such preferment hath made great? V. 'Well, then, does sovereignty and the intimacy of kings prove able to confer power? Why, surely does not the happiness of kings endure for ever? And yet antiquity is full of examples, and these days also, of kings whose happiness has turned into calamity. How glorious a power, which is not even found effectual for its own preservation! But if happiness has its source in sovereign power, is not happiness diminished, and misery inflicted in its stead, in so far as that power falls short of completeness? Yet, however widely human sovereignty be extended, there must still be more peoples left, over whom each several king holds no sway. Now, at whatever point the power on which happiness depends ceases, here powerlessness steals in and makes wretchedness; so, by this way of reckoning, there must needs be a balance of wretchedness in the lot of the king. The tyrant who had made trial of the perils of his condition figured the fears that haunt a throne under the image of a sword hanging over a man's head.[G] What sort of power, then, is this which cannot drive away the gnawings of anxiety, or shun the stings of terror? Fain would they themselves have lived secure, but they cannot; then they boast about their power! Dost thou count him to possess power whom thou seest to wish what he cannot bring to pass? Dost thou count him to possess power who encompasses himself with a body-guard, who fears those he terrifies more than they fear him, who, to keep up the semblance of power, is himself at the mercy of his slaves? Need I say anything of the friends of kings, when I show royal dominion itself so utterly and miserably weak--why ofttimes the royal power in its plenitude brings them low, ofttimes involves them in its fall? Nero drove his friend and preceptor, Seneca, to the choice of the manner of his death. Antoninus exposed Papinianus, who was long powerful at court, to the swords of the soldiery. Yet each of these was willing to renounce his power. Seneca tried to surrender his wealth also to Nero, and go into retirement; but neither achieved his purpose. When they tottered, their very greatness dragged them down. What manner of thing, then, is this power which keeps men in fear while they possess it--which when thou art fain to keep, thou art not safe, and when thou desirest to lay it aside thou canst not rid thyself of? Are friends any protection who have been attached by fortune, not by virtue? Nay; him whom good fortune has made a friend, ill fortune will make an enemy. And what plague is more effectual to do hurt than a foe of one's own household?' FOOTNOTES: [G] The sword of Damocles. SONG V. SELF-MASTERY. Who on power sets his aim, First must his own spirit tame; He must shun his neck to thrust 'Neath th' unholy yoke of lust. For, though India's far-off land Bow before his wide command, Utmost Thule homage pay-- If he cannot drive away Haunting care and black distress, In his power, he's powerless. VI. 'Again, how misleading, how base, a thing ofttimes is glory! Well does the tragic poet exclaim: '"Oh, fond Repute, how many a time and oft Hast them raised high in pride the base-born churl!" For many have won a great name through the mistaken beliefs of the multitude--and what can be imagined more shameful than that? Nay, they who are praised falsely must needs themselves blush at their own praises! And even when praise is won by merit, still, how does it add to the good conscience of the wise man who measures his good not by popular repute, but by the truth of inner conviction? And if at all it does seem a fair thing to get this same renown spread abroad, it follows that any failure so to spread it is held foul. But if, as I set forth but now, there must needs be many tribes and peoples whom the fame of any single man cannot reach, it follows that he whom thou esteemest glorious seems all inglorious in a neighbouring quarter of the globe. As to popular favour, I do not think it even worthy of mention in this place, since it never cometh of judgment, and never lasteth steadily. 'Then, again, who does not see how empty, how foolish, is the fame of noble birth? Why, if the nobility is based on renown, the renown is another's! For, truly, nobility seems to be a sort of reputation coming from the merits of ancestors. But if it is the praise which brings renown, of necessity it is they who are praised that are famous. Wherefore, the fame of another clothes thee not with splendour if thou hast none of thine own. So, if there is any excellence in nobility of birth, methinks it is this alone--that it would seem to impose upon the nobly born the obligation not to degenerate from the virtue of their ancestors.' SONG VI. TRUE NOBILITY. All men are of one kindred stock, though scattered far and wide; For one is Father of us all--one doth for all provide. He gave the sun his golden beams, the moon her silver horn; He set mankind upon the earth, as stars the heavens adorn. He shut a soul--a heaven-born soul--within the body's frame; The noble origin he gave each mortal wight may claim. Why boast ye, then, so loud of race and high ancestral line? If ye behold your being's source, and God's supreme design, None is degenerate, none base, unless by taint of sin And cherished vice he foully stain his heavenly origin. VII. 'Then, what shall I say of the pleasures of the body? The lust thereof is full of uneasiness; the sating, of repentance. What sicknesses, what intolerable pains, are they wont to bring on the bodies of those who enjoy them--the fruits of iniquity, as it were! Now, what sweetness the stimulus of pleasure may have I do not know. But that the issues of pleasure are painful everyone may understand who chooses to recall the memory of his own fleshly lusts. Nay, if these can make happiness, there is no reason why the beasts also should not be happy, since all their efforts are eagerly set upon satisfying the bodily wants. I know, indeed, that the sweetness of wife and children should be right comely, yet only too true to nature is what was said of one--that he found in his sons his tormentors. And how galling such a contingency would be, I must needs put thee in mind, since thou hast never in any wise suffered such experiences, nor art thou now under any uneasiness. In such a case, I agree with my servant Euripides, who said that a man without children was fortunate in his misfortune.'[H] FOOTNOTES: [H] Paley translates the lines in Euripides' 'Andromache': 'They [the childless] are indeed spared from much pain and sorrow, but their supposed happiness is after all but wretchedness.' Euripides' meaning is therefore really just the reverse of that which Boethius makes it. See Euripides, 'Andromache,' Il. 418-420. SONG VII. PLEASURE'S STING. This is the way of Pleasure: She stings them that despoil her; And, like the winged toiler Who's lost her honeyed treasure, She flies, but leaves her smart Deep-rankling in the heart. VIII. 'It is beyond doubt, then, that these paths do not lead to happiness; they cannot guide anyone to the promised goal. Now, I will very briefly show what serious evils are involved in following them. Just consider. Is it thy endeavour to heap up money? Why, thou must wrest it from its present possessor! Art thou minded to put on the splendour of official dignity? Thou must beg from those who have the giving of it; thou who covetest to outvie others in honour must lower thyself to the humble posture of petition. Dost thou long for power? Thou must face perils, for thou wilt be at the mercy of thy subjects' plots. Is glory thy aim? Thou art lured on through all manner of hardships, and there is an end to thy peace of mind. Art fain to lead a life of pleasure? Yet who does not scorn and contemn one who is the slave of the weakest and vilest of things--the body? Again, on how slight and perishable a possession do they rely who set before themselves bodily excellences! Can ye ever surpass the elephant in bulk or the bull in strength? Can ye excel the tiger in swiftness? Look upon the infinitude, the solidity, the swift motion, of the heavens, and for once cease to admire things mean and worthless. And yet the heavens are not so much to be admired on this account as for the reason which guides them. Then, how transient is the lustre of beauty! how soon gone!--more fleeting than the fading bloom of spring flowers. And yet if, as Aristotle says, men should see with the eyes of Lynceus, so that their sight might pierce through obstructions, would not that body of Alcibiades, so gloriously fair in outward seeming, appear altogether loathsome when all its inward parts lay open to the view? Therefore, it is not thy own nature that makes thee seem beautiful, but the weakness of the eyes that see thee. Yet prize as unduly as ye will that body's excellences; so long as ye know that this that ye admire, whatever its worth, can be dissolved away by the feeble flame of a three days' fever. From all which considerations we may conclude as a whole, that these things which cannot make good the advantages they promise, which are never made perfect by the assemblage of all good things--these neither lead as by-ways to happiness, nor themselves make men completely happy.' SONG VIII. HUMAN FOLLY. Alas! how wide astray Doth Ignorance these wretched mortals lead From Truth's own way! For not on leafy stems Do ye within the green wood look for gold, Nor strip the vine for gems; Your nets ye do not spread Upon the hill-tops, that the groaning board With fish be furnished; If ye are fain to chase The bounding goat, ye sweep not in vain search The ocean's ruffled face. The sea's far depths they know, Each hidden nook, wherein the waves o'erwash The pearl as white as snow; Where lurks the Tyrian shell, Where fish and prickly urchins do abound, All this they know full well. But not to know or care Where hidden lies the good all hearts desire-- This blindness they can bear; With gaze on earth low-bent, They seek for that which reacheth far beyond The starry firmament. What curse shall I call down On hearts so dull? May they the race still run For wealth and high renown! And when with much ado The false good they have grasped--ah, then too late!-- May they discern the true! IX. 'This much may well suffice to set forth the form of false happiness; if this is now clear to thine eyes, the next step is to show what true happiness is.' 'Indeed,' said I, 'I see clearly enough that neither is independence to be found in wealth, nor power in sovereignty, nor reverence in dignities, nor fame in glory, nor true joy in pleasures.' 'Hast thou discerned also the causes why this is so?' 'I seem to have some inkling, but I should like to learn more at large from thee.' 'Why, truly the reason is hard at hand. _That which is simple and indivisible by nature human error separates_, and transforms from the true and perfect to the false and imperfect. Dost thou imagine that which lacketh nothing can want power?' 'Certainly not.' 'Right; for if there is any feebleness of strength in anything, in this there must necessarily be need of external protection.' 'That is so.' 'Accordingly, the nature of independence and power is one and the same.' 'It seems so.' 'Well, but dost think that anything of such a nature as this can be looked upon with contempt, or is it rather of all things most worthy of veneration?' 'Nay; there can be no doubt as to that.' 'Let us, then, add reverence to independence and power, and conclude these three to be one.' 'We must if we will acknowledge the truth.' 'Thinkest thou, then, this combination of qualities to be obscure and without distinction, or rather famous in all renown? Just consider: can that want renown which has been agreed to be lacking in nothing, to be supreme in power, and right worthy of honour, for the reason that it cannot bestow this upon itself, and so comes to appear somewhat poor in esteem?' 'I cannot but acknowledge that, being what it is, this union of qualities is also right famous.' 'It follows, then, that we must admit that renown is not different from the other three.' 'It does,' said I. 'That, then, which needs nothing outside itself, which can accomplish all things in its own strength, which enjoys fame and compels reverence, must not this evidently be also fully crowned with joy?' 'In sooth, I cannot conceive,' said I, 'how any sadness can find entrance into such a state; wherefore I must needs acknowledge it full of joy--at least, if our former conclusions are to hold.' 'Then, for the same reasons, this also is necessary--that independence, power, renown, reverence, and sweetness of delight, are different only in name, but in substance differ no wise one from the other.' 'It is,' said I. 'This, then, which is one, and simple by nature, human perversity separates, and, in trying to win a part of that which has no parts, fails to attain not only that portion (since there are no portions), but also the whole, to which it does not dream of aspiring.' 'How so?' said I. 'He who, to escape want, seeks riches, gives himself no concern about power; he prefers a mean and low estate, and also denies himself many pleasures dear to nature to avoid losing the money which he has gained. But at this rate he does not even attain to independence--a weakling void of strength, vexed by distresses, mean and despised, and buried in obscurity. He, again, who thirsts alone for power squanders his wealth, despises pleasure, and thinks fame and rank alike worthless without power. But thou seest in how many ways his state also is defective. Sometimes it happens that he lacks necessaries, that he is gnawed by anxieties, and, since he cannot rid himself of these inconveniences, even ceases to have that power which was his whole end and aim. In like manner may we cast up the reckoning in case of rank, of glory, or of pleasure. For since each one of these severally is identical with the rest, whosoever seeks any one of them without the others does not even lay hold of that one which he makes his aim.' 'Well,' said I, 'what then?' 'Suppose anyone desire to obtain them together, he does indeed wish for happiness as a whole; but will he find it in these things which, as we have proved, are unable to bestow what they promise?' 'Nay; by no means,' said I. 'Then, happiness must certainly not be sought in these things which severally are believed to afford some one of the blessings most to be desired.' 'They must not, I admit. No conclusion could be more true.' 'So, then, the form and the causes of false happiness are set before thine eyes. Now turn thy gaze to the other side; there thou wilt straightway see the true happiness I promised.' 'Yea, indeed, 'tis plain to the blind.' said I. 'Thou didst point it out even now in seeking to unfold the causes of the false. For, unless I am mistaken, that is true and perfect happiness which crowns one with the union of independence, power, reverence, renown, and joy. And to prove to thee with how deep an insight I have listened--since all these are the same--that which can truly bestow one of them I know to be without doubt full and complete happiness.' 'Happy art thou, my scholar, in this thy conviction; only one thing shouldst thou add.' 'What is that?' said I. 'Is there aught, thinkest thou, amid these mortal and perishable things which can produce a state such as this?' 'Nay, surely not; and this thou hast so amply demonstrated that no word more is needed.' 'Well, then, these things seem to give to mortals shadows of the true good, or some kind of imperfect good; but the true and perfect good they cannot bestow.' 'Even so,' said I. 'Since, then, thou hast learnt what that true happiness is, and what men falsely call happiness, it now remains that thou shouldst learn from what source to seek this.' 'Yes; to this I have long been eagerly looking forward.' 'Well, since, as Plato maintains in the "Timaeus," we ought even in the most trivial matters to implore the Divine protection, what thinkest thou should we now do in order to deserve to find the seat of that highest good?' 'We must invoke the Father of all things,' said I; 'for without this no enterprise sets out from a right beginning.' 'Thou sayest well,' said she; and forthwith lifted up her voice and sang: SONG IX. INVOCATION. [I] Maker of earth and sky, from age to age Who rul'st the world by reason; at whose word Time issues from Eternity's abyss: To all that moves the source of movement, fixed Thyself and moveless. Thee no cause impelled Extrinsic this proportioned frame to shape From shapeless matter; but, deep-set within Thy inmost being, the form of perfect good, From envy free; and Thou didst mould the whole To that supernal pattern. Beauteous The world in Thee thus imaged, being Thyself Most beautiful. So Thou the work didst fashion In that fair likeness, bidding it put on Perfection through the exquisite perfectness Of every part's contrivance. Thou dost bind The elements in balanced harmony, So that the hot and cold, the moist and dry, Contend not; nor the pure fire leaping up Escape, or weight of waters whelm the earth. Thou joinest and diffusest through the whole, Linking accordantly its several parts, A soul of threefold nature, moving all. This, cleft in twain, and in two circles gathered, Speeds in a path that on itself returns, Encompassing mind's limits, and conforms The heavens to her true semblance. Lesser souls And lesser lives by a like ordinance Thou sendest forth, each to its starry car Affixing, and dost strew them far and wide O'er earth and heaven. These by a law benign Thou biddest turn again, and render back To thee their fires. Oh, grant, almighty Father, Grant us on reason's wing to soar aloft To heaven's exalted height; grant us to see The fount of good; grant us, the true light found, To fix our steadfast eyes in vision clear On Thee. Disperse the heavy mists of earth, And shine in Thine own splendour. For Thou art The true serenity and perfect rest Of every pious soul--to see Thy face, The end and the beginning--One the guide, The traveller, the pathway, and the goal. FOOTNOTES: [I] The substance of this poem is taken from Plato's 'Timaeus,' 29-42. See Jowett, vol. iii., pp. 448-462 (third edition). X. 'Since now thou hast seen what is the form of the imperfect good, and what the form of the perfect also, methinks I should next show in what manner this perfection of felicity is built up. And here I conceive it proper to inquire, first, whether any excellence, such as thou hast lately defined, can exist in the nature of things, lest we be deceived by an empty fiction of thought to which no true reality answers. But it cannot be denied that such does exist, and is, as it were, the source of all things good. For everything which is called imperfect is spoken of as imperfect by reason of the privation of some perfection; so it comes to pass that, whenever imperfection is found in any particular, there must necessarily be a perfection in respect of that particular also. For were there no such perfection, it is utterly inconceivable how that so-called _im_perfection should come into existence. Nature does not make a beginning with things mutilated and imperfect; she starts with what is whole and perfect, and falls away later to these feeble and inferior productions. So if there is, as we showed before, a happiness of a frail and imperfect kind, it cannot be doubted but there is also a happiness substantial and perfect.' 'Most true is thy conclusion, and most sure,' said I. 'Next to consider where the dwelling-place of this happiness may be. The common belief of all mankind agrees that God, the supreme of all things, is good. For since nothing can be imagined better than God, how can we doubt Him to be good than whom there is nothing better? Now, reason shows God to be good in such wise as to prove that in Him is perfect good. For were it not so, He would not be supreme of all things; for there would be something else more excellent, possessed of perfect good, which would seem to have the advantage in priority and dignity, since it has clearly appeared that all perfect things are prior to those less complete. Wherefore, lest we fall into an infinite regression, we must acknowledge the supreme God to be full of supreme and perfect good. But we have determined that true happiness is the perfect good; therefore true happiness must dwell in the supreme Deity.' 'I accept thy reasonings,' said I; 'they cannot in any wise be disputed.' 'But, come, see how strictly and incontrovertibly thou mayst prove this our assertion that the supreme Godhead hath fullest possession of the highest good.' 'In what way, pray?' said I. 'Do not rashly suppose that He who is the Father of all things hath received that highest good of which He is said to be possessed either from some external source, or hath it as a natural endowment in such sort that thou mightest consider the essence of the happiness possessed, and of the God who possesses it, distinct and different. For if thou deemest it received from without, thou mayst esteem that which gives more excellent than that which has received. But Him we most worthily acknowledge to be the most supremely excellent of all things. If, however, it is in Him by nature, yet is logically distinct, the thought is inconceivable, since we are speaking of God, who is supreme of all things. Who was there to join these distinct essences? Finally, when one thing is different from another, the things so conceived as distinct cannot be identical. Therefore that which of its own nature is distinct from the highest good is not itself the highest good--an impious thought of Him than whom, 'tis plain, nothing can be more excellent. For universally nothing can be better in nature than the source from which it has come; therefore on most true grounds of reason would I conclude that which is the source of all things to be in its own essence the highest good.' 'And most justly,' said I. 'But the highest good has been admitted to be happiness.' 'Yes.' 'Then,' said she, 'it is necessary to acknowledge that God is very happiness.' 'Yes,' said I; 'I cannot gainsay my former admissions, and I see clearly that this is a necessary inference therefrom.' 'Reflect, also,' said she, 'whether the same conclusion is not further confirmed by considering that there cannot be two supreme goods distinct one from the other. For the goods which are different clearly cannot be severally each what the other is: wherefore neither of the two can be perfect, since to either the other is wanting; but since it is not perfect, it cannot manifestly be the supreme good. By no means, then, can goods which are supreme be different one from the other. But we have concluded that both happiness and God are the supreme good; wherefore that which is highest Divinity must also itself necessarily be supreme happiness.' 'No conclusion,' said I, 'could be truer to fact, nor more soundly reasoned out, nor more worthy of God.' 'Then, further,' said she, 'just as geometricians are wont to draw inferences from their demonstrations to which they give the name "deductions," so will I add here a sort of corollary. For since men become happy by the acquisition of happiness, while happiness is very Godship, it is manifest that they become happy by the acquisition of Godship. But as by the acquisition of justice men become just, and wise by the acquisition of wisdom, so by parity of reasoning by acquiring Godship they must of necessity become gods. So every man who is happy is a god; and though in nature God is One only, yet there is nothing to hinder that very many should be gods by participation in that nature.' 'A fair conclusion, and a precious,' said I, 'deduction or corollary, by whichever name thou wilt call it.' 'And yet,' said she, 'not one whit fairer than this which reason persuades us to add.' 'Why, what?' said I. 'Why, seeing happiness has many particulars included under it, should all these be regarded as forming one body of happiness, as it were, made up of various parts, or is there some one of them which forms the full essence of happiness, while all the rest are relative to this?' 'I would thou wouldst unfold the whole matter to me at large.' 'We judge happiness to be good, do we not?' 'Yea, the supreme good.' 'And this superlative applies to all; for this same happiness is adjudged to be the completest independence, the highest power, reverence, renown, and pleasure.' 'What then?' 'Are all these goods--independence, power, and the rest--to be deemed members of happiness, as it were, or are they all relative to good as to their summit and crown?' 'I understand the problem, but I desire to hear how thou wouldst solve it.' 'Well, then, listen to the determination of the matter. Were all these members composing happiness, they would differ severally one from the other. For this is the nature of parts--that by their difference they compose one body. All these, however, have been proved to be the same; therefore they cannot possibly be members, otherwise happiness will seem to be built up out of one member, which cannot be.' 'There can be no doubt as to that,' said I; 'but I am impatient to hear what remains.' 'Why, it is manifest that all the others are relative to the good. For the very reason why independence is sought is that it is judged good, and so power also, because it is believed to be good. The same, too, may be supposed of reverence, of renown, and of pleasant delight. Good, then, is the sum and source of all desirable things. That which has not in itself any good, either in reality or in semblance, can in no wise be desired. Contrariwise, even things which by nature are not good are desired as if they were truly good, if they seem to be so. Whereby it comes to pass that goodness is rightly believed to be the sum and hinge and cause of all things desirable. Now, that for the sake of which anything is desired itself seems to be most wished for. For instance, if anyone wishes to ride for the sake of health, he does not so much wish for the exercise of riding as the benefit of his health. Since, then, all things are sought for the sake of the good, it is not these so much as good itself that is sought by all. But that on account of which all other things are wished for was, we agreed, happiness; wherefore thus also it appears that it is happiness alone which is sought. From all which it is transparently clear that the essence of absolute good and of happiness is one and the same.' 'I cannot see how anyone can dissent from these conclusions.' 'But we have also proved that God and true happiness are one and the same.' 'Yes,' said I. 'Then we can safely conclude, also, that God's essence is seated in absolute good, and nowhere else.' SONG X. THE TRUE LIGHT. Hither come, all ye whose minds Lust with rosy fetters binds-- Lust to bondage hard compelling Th' earthy souls that are his dwelling-- Here shall be your labour's close; Here your haven of repose. Come, to your one refuge press; Wide it stands to all distress! Not the glint of yellow gold Down bright Hermus' current rolled; Not the Tagus' precious sands, Nor in far-off scorching lands All the radiant gems that hide Under Indus' storied tide-- Emerald green and glistering white-- Can illume our feeble sight; But they rather leave the mind In its native darkness blind. For the fairest beams they shed In earth's lowest depths were fed; But the splendour that supplies Strength and vigour to the skies, And the universe controls, Shunneth dark and ruined souls. He who once hath seen _this_ light Will not call the sunbeam bright. XI. 'I quite agree,' said I, 'truly all thy reasonings hold admirably together.' Then said she: 'What value wouldst thou put upon the boon shouldst thou come to the knowledge of the absolute good?' 'Oh, an infinite,' said I, 'if only I were so blest as to learn to know God also who is the good.' 'Yet this will I make clear to thee on truest grounds of reason, if only our recent conclusions stand fast.' 'They will.' 'Have we not shown that those things which most men desire are not true and perfect good precisely for this cause--that they differ severally one from another, and, seeing that one is wanting to another, they cannot bestow full and absolute good; but that they become the true good when they are gathered, as it were, into one form and agency, so that that which is independence is likewise power, reverence, renown, and pleasant delight, and unless they are all one and the same, they have no claim to be counted among things desirable?' 'Yes; this was clearly proved, and cannot in any wise be doubted.' 'Now, when things are far from being good while they are different, but become good as soon as they are one, is it not true that these become good by acquiring unity?' 'It seems so,' said I. 'But dost not thou allow that all which is good is good by participation in goodness?' 'It is.' 'Then, thou must on similar grounds admit that unity and goodness are the same; for when the effects of things in their natural working differ not, their essence is one and the same.' 'There is no denying it.' 'Now, dost thou know,' said she, 'that all which is abides and subsists so long as it continues one, but so soon as it ceases to be one it perishes and falls to pieces?' 'In what way?' 'Why, take animals, for example. When soul and body come together, and continue in one, this is, we say, a living creature; but when this unity is broken by the separation of these two, the creature dies, and is clearly no longer living. The body also, while it remains in one form by the joining together of its members, presents a human appearance; but if the separation and dispersal of the parts break up the body's unity, it ceases to be what it was. And if we extend our survey to all other things, without doubt it will manifestly appear that each several thing subsists while it is one, but when it ceases to be one perishes.' 'Yes; when I consider further, I see it to be even as thou sayest.' 'Well, is there aught,' said she, 'which, in so far as it acts conformably to nature, abandons the wish for life, and desires to come to death and corruption?' 'Looking to living creatures, which have some faults of choice, I find none that, without external compulsion, forego the will to live, and of their own accord hasten to destruction. For every creature diligently pursues the end of self-preservation, and shuns death and destruction! As to herbs and trees, and inanimate things generally, I am altogether in doubt what to think.' 'And yet there is no possibility of question about this either, since thou seest how herbs and trees grow in places suitable for them, where, as far as their nature admits, they cannot quickly wither and die. Some spring up in the plains, others in the mountains; some grow in marshes, others cling to rocks; and others, again, find a fertile soil in the barren sands; and if you try to transplant these elsewhere, they wither away. Nature gives to each the soil that suits it, and uses her diligence to prevent any of them dying, so long as it is possible for them to continue alive. Why do they all draw their nourishment from roots as from a mouth dipped into the earth, and distribute the strong bark over the pith? Why are all the softer parts like the pith deeply encased within, while the external parts have the strong texture of wood, and outside of all is the bark to resist the weather's inclemency, like a champion stout in endurance? Again, how great is nature's diligence to secure universal propagation by multiplying seed! Who does not know all these to be contrivances, not only for the present maintenance of a species, but for its lasting continuance, generation after generation, for ever? And do not also the things believed inanimate on like grounds of reason seek each what is proper to itself? Why do the flames shoot lightly upward, while the earth presses downward with its weight, if it is not that these motions and situations are suitable to their respective natures? Moreover, each several thing is preserved by that which is agreeable to its nature, even as it is destroyed by things inimical. Things solid like stones resist disintegration by the close adhesion of their parts. Things fluid like air and water yield easily to what divides them, but swiftly flow back and mingle with those parts from which they have been severed, while fire, again, refuses to be cut at all. And we are not now treating of the voluntary motions of an intelligent soul, but of the drift of nature. Even so is it that we digest our food without thinking about it, and draw our breath unconsciously in sleep; nay, even in living creatures the love of life cometh not of conscious will, but from the principles of nature. For oftentimes in the stress of circumstances will chooses the death which nature shrinks from; and contrarily, in spite of natural appetite, will restrains that work of reproduction by which alone the persistence of perishable creatures is maintained. So entirely does this love of self come from drift of nature, not from animal impulse. Providence has furnished things with this most cogent reason for continuance: they must desire life, so long as it is naturally possible for them to continue living. Wherefore in no way mayst thou doubt but that things naturally aim at continuance of existence, and shun destruction.' 'I confess,' said I, 'that what I lately thought uncertain, I now perceive to be indubitably clear.' 'Now, that which seeks to subsist and continue desires to be one; for if its oneness be gone, its very existence cannot continue.' 'True,' said I. 'All things, then, desire to be one.' 'I agree.' 'But we have proved that one is the very same thing as good.' 'We have.' 'All things, then, seek the good; indeed, you may express the fact by defining good as that which all desire.' 'Nothing could be more truly thought out. Either there is no single end to which all things are relative, or else the end to which all things universally hasten must be the highest good of all.' Then she: 'Exceedingly do I rejoice, dear pupil; thine eye is now fixed on the very central mark of truth. Moreover, herein is revealed that of which thou didst erstwhile profess thyself ignorant.' 'What is that?' said I. 'The end and aim of the whole universe. Surely it is that which is desired of all; and, since we have concluded the good to be such, we ought to acknowledge the end and aim of the whole universe to be "the good."' SONG XI. REMINISCENCE. [J] Who truth pursues, who from false ways His heedful steps would keep, By inward light must search within In meditation deep; All outward bent he must repress His soul's true treasure to possess. Then all that error's mists obscured Shall shine more clear than light, This fleshly frame's oblivious weight Hath quenched not reason quite; The germs of truth still lie within, Whence we by learning all may win. Else how could ye the answer due Untaught to questions give, Were't not that deep within the soul Truth's secret sparks do live? If Plato's teaching erreth not, We learn but that we have forgot. FOOTNOTES: [J] The doctrine of Reminiscence--_i.e._, that all learning is really recollection--is set forth at length by Plato in the 'Meno,' 81-86, and the 'Phaedo,' 72-76. See Jowett, vol. ii., pp. 40-47 and 213-218. XII. Then said I: 'With all my heart I agree with Plato; indeed, this is now the second time that these things have been brought back to my mind--first I lost them through the clogging contact of the body; then after through the stress of heavy grief.' Then she continued: 'If thou wilt reflect upon thy former admissions, it will not be long before thou dost also recollect that of which erstwhile thou didst confess thyself ignorant.' 'What is that?' said I. 'The principles of the world's government,' said she. 'Yes; I remember my confession, and, although I now anticipate what thou intendest, I have a desire to hear the argument plainly set forth.' 'Awhile ago thou deemedst it beyond all doubt that God doth govern the world.' 'I do not think it doubtful now, nor shall I ever; and by what reasons I am brought to this assurance I will briefly set forth. This world could never have taken shape as a single system out of parts so diverse and opposite were it not that there is One who joins together these so diverse things. And when it had once come together, the very diversity of natures would have dissevered it and torn it asunder in universal discord were there not One who keeps together what He has joined. Nor would the order of nature proceed so regularly, nor could its course exhibit motions so fixed in respect of position, time, range, efficacy, and character, unless there were One who, Himself abiding, disposed these various vicissitudes of change. This power, whatsoever it be, whereby they remain as they were created, and are kept in motion, I call by the name which all recognise--God.' Then said she: 'Seeing that such is thy belief, it will cost me little trouble, I think, to enable thee to win happiness, and return in safety to thy own country. But let us give our attention to the task that we have set before ourselves. Have we not counted independence in the category of happiness, and agreed that God is absolute happiness?' 'Truly, we have.' 'Then, He will need no external assistance for the ruling of the world. Otherwise, if He stands in need of aught, He will not possess complete independence.' 'That is necessarily so,' said I. 'Then, by His own power alone He disposes all things.' 'It cannot be denied.' 'Now, God was proved to be absolute good.' 'Yes; I remember.' 'Then, He disposes all things by the agency of good, if it be true that _He_ rules all things by His own power whom we have agreed to be good; and He is, as it were, the rudder and helm by which the world's mechanism is kept steady and in order.' 'Heartily do I agree; and, indeed, I anticipated what thou wouldst say, though it may be in feeble surmise only.' 'I well believe it,' said she; 'for, as I think, thou now bringest to the search eyes quicker in discerning truth; but what I shall say next is no less plain and easy to see.' 'What is it?' said I. 'Why,' said she, 'since God is rightly believed to govern all things with the rudder of goodness, and since all things do likewise, as I have taught, haste towards good by the very aim of nature, can it be doubted that His governance is willingly accepted, and that all submit themselves to the sway of the Disposer as conformed and attempered to His rule?' 'Necessarily so,' said I; 'no rule would seem happy if it were a yoke imposed on reluctant wills, and not the safe-keeping of obedient subjects.' 'There is nothing, then, which, while it follows nature, endeavours to resist good.' 'No; nothing.' 'But if anything should, will it have the least success against Him whom we rightly agreed to be supreme Lord of happiness?' 'It would be utterly impotent.' 'There is nothing, then, which has either the will or the power to oppose this supreme good.' 'No; I think not.' 'So, then,' said she, 'it is the supreme good which rules in strength, and graciously disposes all things.' Then said I: 'How delighted am I at thy reasonings, and the conclusion to which thou hast brought them, but most of all at these very words which thou usest! I am now at last ashamed of the folly that so sorely vexed me.' 'Thou hast heard the story of the giants assailing heaven; but a beneficent strength disposed of them also, as they deserved. But shall we submit our arguments to the shock of mutual collision?--it may be from the impact some fair spark of truth may be struck out.' 'If it be thy good pleasure,' said I. 'No one can doubt that God is all-powerful.' 'No one at all can question it who thinks consistently.' 'Now, there is nothing which One who is all-powerful cannot do.' 'Nothing.' 'But can God do evil, then?' 'Nay; by no means.' 'Then, evil is nothing,' said she, 'since He to whom nothing is impossible is unable to do evil.' 'Art thou mocking me,' said I, 'weaving a labyrinth of tangled arguments, now seeming to begin where thou didst end, and now to end where thou didst begin, or dost thou build up some wondrous circle of Divine simplicity? For, truly, a little before thou didst begin with happiness, and say it was the supreme good, and didst declare it to be seated in the supreme Godhead. God Himself, too, thou didst affirm to be supreme good and all-complete happiness; and from this thou didst go on to add, as by the way, the proof that no one would be happy unless he were likewise God. Again, thou didst say that the very form of good was the essence both of God and of happiness, and didst teach that the absolute One was the absolute good which was sought by universal nature. Thou didst maintain, also, that God rules the universe by the governance of goodness, that all things obey Him willingly, and that evil has no existence in nature. And all this thou didst unfold without the help of assumptions from without, but by inherent and proper proofs, drawing credence one from the other.' Then answered she: 'Far is it from me to mock thee; nay, by the blessing of God, whom we lately addressed in prayer, we have achieved the most important of all objects. For such is the form of the Divine essence, that neither can it pass into things external, nor take up anything external into itself; but, as Parmenides says of it, '"In body like to a sphere on all sides perfectly rounded," it rolls the restless orb of the universe, keeping itself motionless the while. And if I have also employed reasonings not drawn from without, but lying within the compass of our subject, there is no cause for thee to marvel, since thou hast learnt on Plato's authority that words ought to be akin to the matter of which they treat.' SONG XII. ORPHEUS AND EURYDICE. Blest he whose feet have stood Beside the fount of good; Blest he whose will could break Earth's chains for wisdom's sake! The Thracian bard, 'tis said, Mourned his dear consort dead; To hear the plaintive strain The woods moved in his train, And the stream ceased to flow, Held by so soft a woe; The deer without dismay Beside the lion lay; The hound, by song subdued, No more the hare pursued, But the pang unassuaged In his own bosom raged. The music that could calm All else brought him no balm. Chiding the powers immortal, He came unto Hell's portal; There breathed all tender things Upon his sounding strings, Each rhapsody high-wrought His goddess-mother taught-- All he from grief could borrow And love redoubling sorrow, Till, as the echoes waken, All Taenarus is shaken; Whilst he to ruth persuades The monarch of the shades With dulcet prayer. Spell-bound, The triple-headed hound At sounds so strangely sweet Falls crouching at his feet. The dread Avengers, too, That guilty minds pursue With ever-haunting fears, Are all dissolved in tears. Ixion, on his wheel, A respite brief doth feel; For, lo! the wheel stands still. And, while those sad notes thrill, Thirst-maddened Tantalus Listens, oblivious Of the stream's mockery And his long agony. The vulture, too, doth spare Some little while to tear At Tityus' rent side, Sated and pacified. At length the shadowy king, His sorrows pitying, 'He hath prevailed!' cried; 'We give him back his bride! To him she shall belong, As guerdon of his song. One sole condition yet Upon the boon is set: Let him not turn his eyes To view his hard-won prize, Till they securely pass The gates of Hell.' Alas! What law can lovers move? A higher law is love! For Orpheus--woe is me!-- On his Eurydice-- Day's threshold all but won-- Looked, lost, and was undone! Ye who the light pursue, This story is for you, Who seek to find a way Unto the clearer day. If on the darkness past One backward look ye cast, Your weak and wandering eyes Have lost the matchless prize. </CHAPTER> BOOK IV. GOOD AND ILL FORTUNE. SUMMARY. CH. I. The mystery of the seeming moral confusion. Philosophy engages to make this plain, and to fulfil her former promise to the full.--CH. II. Accordingly, (a) she first expounds the paradox that the good alone have power, the bad are altogether powerless.--CH. III. (b) The righteous never lack their reward, nor the wicked their punishment.--CH. IV. (c) The wicked are more unhappy when they accomplish their desires than when they fail to attain them. (d) Evil-doers are more fortunate when they expiate their crimes by suffering punishment than when they escape unpunished. (e) The wrong-doer is more wretched than he who suffers injury.--CH. V. Boethius still cannot understand why the distribution of happiness and misery to the righteous and the wicked seems the result of chance. Philosophy replies that this only seems so because we do not understand the principles of God's moral governance.--CH. VI. The distinction of Fate and Providence. The apparent moral confusion is due to our ignorance of the secret counsels of God's providence. If we possessed the key, we should see how all things are guided to good.--CH. VII. Thus all fortune is good fortune; for it either rewards, disciplines, amends, or punishes, and so is either useful or just.

Book III

https://web.archive.org/web/20201128165942/https://www.gradesaver.com/the-consolation-of-philosophy/study-guide/summary-book-iii

Book III, the central Book and the longest of the five, opens with Boethius enchanted by Philosophy's final song of Book II. Throughout The Consolation of Philosophy, Boethius tells us, Philosophy's songs have been accompanied by the most beautiful music, for music is Philosophy's "handmaid" Boethius has become refreshed, and the compelling arguments of Book II have made him ready for more "cures" and "capable of facing the blows of Fortune." Philosophy then informs Boethius that the object of her next lecture will be true happiness. True and perfect happiness can only be achieved by the possession of the supreme good in which all goods are possessed. All human beings desire true happiness, but most are lead into error by desiring false, or temporal, goods. Philosophy goes on to explain that what many in the world think of as good; freedom from want , respect , power, or fame, or simply pleasure, or those with confused or combined desires, such as the desire for wealth for the sake of power and pleasure, or power for the sake of money and fame, and even those who desire a spouse and children for the pleasure they bring. Beauty and strength of the body confer power and renown, and is a form of those desires. All of these desires are for happiness, however. The problem arises when humanity treats these goods as the ultimate good or the path to happiness. The fallen state of man is such that he seeks happiness in these inferior, exterior, multiple goods, rather than the one supreme good of God. Before, however, Boethius and Philosophy sing their closing hymn to God, the source of all happiness, Philosophy goes through each of the supposed goods of earth. Wealth, once attained, is a source of worry. Physical beauty and strength is an illusion, created by the other people's desire to see beauty in the body. Furthermore, physical beauty and strength are easily and quickly lost, by time and illness. A man in high office receives honor and respect, but the office does not confer wisdom or virtue on the holder. Often, Philosophy says, high office creates corruption and degrades rather than elevates the officeholder. Virtue has intrinsic value, which, once achieved, confers its worth to those who possess it, but the same is not true of high office. If a king or official has power, the constant acquisition of more power would bring more happiness. But there is no empire on earth which rules all of humanity, so the inherent lack of power in power itself confers unhappiness on those with power. Philosophy begins Part VI of Book III with the admonition, "Fame, in fact, is a shameful thing, and so often deceptive." She argues that nothing is more shameful than unjust fame. Also, the fame of a human being can never be spread to all the people of the world, just as power can't be over all people. Nobility of family doesn't confer virtue, either, except in the negative sense it may incite the noble to not disgrace the memory of their ancestors. Bodily pleasure is of the least concern to Philosophy. She views it with contempt, and says that its "pursuit is full of anxiety and its fulfillment full of remorse." It is unhealthful, and even the worthy pleasure of a spouse and children can also bring many woes. Because these goods are not perfect, they are unable to give perfect happiness to any human being. Boethius and Lady Philosophy agree that any or all of these earthly goods cannot bring any measure of true happiness to anyone, and therefore continue their inquiry after the "sufficiency" which would satisfy humanity's desire for true happiness. Here begins Boethius's partial proof for the existence of God. Since Boethius and Philosophy agree that humanity desires true happiness, that standard means that a supreme good exists. Since Lady Philosophy has shown that none of the earthly goods are the supreme good, nor are all of them together the supreme good, something outside of the earth must be the supreme good. Sufficiency is linked by Lady Philosophy to power, since the being who was sufficient in all things would be powerful enough to live apart from earthly concerns. Therefore, something that is sufficient would need nothing, want nothing, exhibit supreme powerful, and thus would be worthy of reverence. This being would be happy. Therefore, Lady Philosophy concludes, this being would be wholly sufficient, powerful, glorious, and would be revered. All of these conditions for pure happiness go by various names, but they consist of the same substance. This one happy, sufficient being, Boethius implies, is God. The unity that God fulfills is the essence of the desire of all things. Boethius and Philosophy end Book III with a song asking for help in finding the true nature of happiness and God.

The "lack of completeness" argument for fame and power may seem flimsy to some modern readers. Where is the gratitude for what one has? Why, according to Boethius and Lady Philosophy, can't we be happy with some power and some fame, or, by extension some physical beauty or strength, or some wealth, even though we may not possess all of these things or for eternity or in their completeness. Why is not a measure of good things enough? Boethius would argue that the incompleteness of these goods shows how imperfect as "goods" they really are. The attainment of any of these desires is merely a misdirected desire for true happiness in God, which is attainable in its complete and whole form. There are some holes in this argument, but, again, it is necessary to consider Boethius's dialogue within the context of his Christianity. Why, for example, couldn't the attainment of some of the goods be a source of lasting or real happiness on earth, at least until death and the communion with God? Boethius sees that no human being is without further desires, and any acquisition of these earthly goods only incites people to want more of them. While some people may be "content" with the satisfaction of their basic needs, they are not made happy by the attainment of these earthly goods, but only by some spiritual source of happiness. So even those who are not particularly greedy or acquisitive are still not able to access happiness here on earth. To some this may seem a pessimistic argument, and particularly damning of human nature. However, Boethius also considered that any happiness on earth would represent a denial of God, an idea he was unwilling to contemplate because he was a Christian - the suggestion that human beings can be fulfilled and happy apart from God is tantamount to blasphemy for Boethius. The proof of God in this Book is considered partial by most theologians, and wasn't the focus of the book. Boethius takes for granted that there is a God, and that his readers agree with him. But the proof is based on the inadequacy of temporal desires, and is really a negative proof; because it is not earthly, it must be spiritual. It is carefully constructed, however, and beautifully executed. And, certainly, just because it is negative doesn't mean it is necessarily wrong. Certain aspects of the arguments about physical beauty and bodily pleasure would be refuted by many readers, and, since Boethius doesn't consider them to be all that important, are not as carefully addressed as the desires for fame or power. His overall argument, however, is carefully balanced on the inadequacy of earthly desires and attainments, and its structure is sound. The leap from the desire for true happiness to the existence of God is not as abrupt as it sounds. It is carefully built up throughout Book III, and lays carefully on the refutation of each kind of happiness possible, according to Boethius, on earth. An atheist, animist, or other spiritual type of happiness is not discussed here - the existence of God is not really in question, it is rather the logical conclusion between two speakers who already agree that God exists. The focus is on the logical argument about the folly of earthly desires.

cliffnotes

all_chapterized_books/28054-chapters/book_viii.txt

finished_summaries/cliffnotes/The Brothers Karamazov/section_11_part_0.txt

The Brothers Karamazov.book viii.chapter i-chapter viii

book viii

{"name": "Book VIII", "url": "https://web.archive.org/web/20201219142226/https://www.cliffsnotes.com/literature/b/the-brothers-karamazov/summary-and-analysis/part-3-book-viii", "summary": "Dmitri feels that there is still a possibility that Grushenka may accept him as her husband, but his problem is that if she does accept him, he cannot rightfully carry her away until he repays the money he owes Katerina Ivanovna. In a desperate effort to find a solution, he contrives a fantastic scheme. He goes to old Samsonov -- Grushenka's previous protector -- and offers him the rights to some property that he believes the law courts might take away from Fyodor and give to him if the old merchant will immediately give him 3,000 rubles. The merchant, of course, refuses and plays a trick on Dmitri: he sends him off to the country to see a merchant named Lyagavy, who is bargaining with Fyodor for this very property. Dmitri pawns his watch, hires transportation to the neighboring town, and finds the merchant. Unfortunately, the man is thoroughly drunk. Dmitri tries to sober him up but is unable to, so he waits until the next day. The merchant remains in a stupor, so Dmitri returns to town, hoping to borrow money from Madame Hohlakov. Madame Hohlakov, however, tries to convince him that he should go off to the gold mines if he wants money; she refuses to lend him anything. Dmitri next goes to claim Grushenka but finds that she is not at home. The servant is no help; she pretends that she does not know where Grushenka has gone. Dmitri is outraged. He picks up a brass pestle and dashes to his father's house. Then he sneaks into the garden and peers through a lighted window. He is sure that Grushenka has finally come to the old man. He is disappointed, however; he sees only his father pacing the floor. But to make certain that Grushenka is not there, Dmitri taps the secret signal. The old man opens the window and Dmitri is greatly relieved. Grushenka is not with his father! Meanwhile, Grigory, the old servant, awakens and goes into the garden for a breath of air. He sees Dmitri leaving the garden and tries to stop him, but Dmitri, confused and distraught, fights off his attacker and finally strikes him on the head with the pestle. The servant crumples to the ground, and Dmitri stops for a moment to see if the man is dead. He tries to stop the puddle of blood; then, in a panic, he tosses the pestle away and flees. He returns to Grushenka's house and forces the servants to reveal where Grushenka has gone. The answer is agonizing: she has gone to rejoin her first lover. Dmitri knows now that he can no longer claim the girl. He must step aside and leave her to her happiness. But he passionately wants one last look at Grushenka. After that, he will kill himself; his future holds nothing without Grushenka. He goes to retrieve pistols from Perhotin, a minor official who lent Dmitri money and kept the pistols as security. Perhotin is amazed to see Dmitri, who is now carrying a large bundle of money and blotched with blood. He goes to a nearby store with young Karamazov and remains while Dmitri buys 300 rubles worth of food and wine and makes arrangements to go where Grushenka is rumored to be staying. After Perhotin watches Dmitri leave, he decides to do some detective work. Dmitri is in luck: Grushenka is indeed staying where he was directed. He rushes to her rooms and greatly shocks Grushenka, but she recovers and welcomes him. Until now, the celebration has been gloomy and restrained. Dmitri's wine helps liven the spirits, and soon Grushenka and her officer friend and Dmitri are all playing cards together. All does not go well, however. The Polish officer begins to cheat and tosses out disgusting, cynical remarks. Grushenka recoils. She realizes that she can never love such a man. Dmitri senses Grushenka's pain, and when the officer finally turns his insults on her, Dmitri forces him into another room and locks him inside. Then a real celebration ensues, and Grushenka knows that she can love only Dmitri. Dmitri is not quite so lucky. He is troubled because he has struck Grigory, perhaps killed him; he also owes money to Katerina Ivanovna. He talks with Grushenka of their future together, but they are interrupted. A group of officers arrive, charge Dmitri with the murder of his father, and place him under arrest.", "analysis": "Until now, the novel has moved with a sure, slow deliberateness as Dostoevsky depicts the intellectual conflicts in Ivan, the philosophy of Zossima, and the mystic affirmation of life by Alyosha. Now, however, this section, devoted to Dmitri, rushes along with breathtaking speed as it records Dmitri's frantic efforts to save both his life and his love. Dostoevsky is a master at depicting the torment of despondency within a character who has no money and desperately needs it in order to salvage some remnant of his honor. Dmitri has spent most of the money that Katerina Ivanovna has lent him, and, although we know that he has the rest concealed on him, he still feels that he cannot elope with Grushenka until the entire sum is repaid. He must secure the money so that he can begin a new life with Grushenka and still retain his integrity. If he were to use Katerina's money to elope with Grushenka, he feels that this would be his absolute lowest, most degrading act. Looking forward, when he decides to step aside and allow Grushenka to return to her first love, one should realize that by this time he has decided to end his life. This resolution should be kept in mind when Dmitri shows few qualms about usurping the money; it is not that he considers it any less dishonorable, but, because he intends to take his life, he will not have to face the dishonor. Dostoevsky does not present an entirely admirable character in Dmitri. He continually lets the reader know that Dmitri's financial predicament is due to his irresponsibility with money. Consequently, his frantic search for someone who will lend him money and his absurd proposals reveal his lack of acumen. He is also unable to realize that the old merchant, Samsonov, is making fun of him and sending him on a wild goose chase. It takes two days for Dmitri to come to his senses, but even then he tries to convince Madame Hohlakov that she should lend him money. Were he more rational, he would know that the lady detests him. These scenes of begging, then, show to what degree of desperation Dmitri will go in his need for money. This alone casts suspicion upon him concerning his father's murder. Remember, too, that Dostoevsky arranges his plot in such a way that it is natural and logical for the reader to assume on first reading that Dmitri is the murderer. Every detail in this chapter attests to the incriminating evidence that will be accumulated against Dmitri. Furthermore, even Dmitri's thoughts cast suspicion upon him. As he goes to see Madame Hohlakov, for example, he thinks \"his last hope . . . if this broke down, nothing else was left him in the world but to rob and murder some one for the three thousand.\" Such evidence, coupled with his distraught emotions, allows the reader to assume that Dmitri is indeed guilty of his father's murder. Ironically, one small lie contributes most of all to Dmitri's arrest. Fenya, Grushenka's servant, lies to him; she says that she does not know of Grushenka's whereabouts, thereby forcing Dmitri to go to his father's to search for her. Had the servant told the truth, Dmitri would not have been present at the scene of the murder; nor would he have been covered with Grigory's blood. Dmitri's resolve to commit suicide is quite believable. On the road to Mokroe to meet Grushenka, he fully intends to see her and then kill himself. Indeed, the mere fact that he is now spending the rest of Katerina Ivanovna's money and the fact that he has left old Grigory to face possible death from his wounds suggest that Dmitri no longer has any concern about the future. During the ride, he knows that he cannot stand in Grushenka's way, but he wants to see her once more. He is in agony; he even asks the peasant driver, as one might ask a priest, to forgive him all the sins of his life. Incidentally, with this last act, he echoes one of Zossima's ideas concerning the repudiation of master-servant distinction and the responsibility of all men for one another. Dmitri fully intends to kill himself, and his prayer, most of all, reveals the anguish in his soul. \"Lord,\" he pleads, \"receive me with all my lawlessness and do not condemn me. Let me pass Thy judgment -- do not condemn me for I have condemned myself . . . for I love Thee, O Lord. I am a wretch, but I love Thee. If Thou sendest me to hell, I shall love Thee there and from there I shall cry out that I love Thee for ever and ever.\" In this prayer is Dmitri's most redeeming value; it holds the key to Dmitri's character -- that which Zossima recognized. Dmitri is one of the \"folk\" of whom the elder spoke. He is one of those who may sin, but who still love God. That love, said Zossima, leads to salvation; such deep love the elder recognized early in his relationship with Dmitri. Henceforth, young Karamazov calls upon this love and its strength as he begins the slow journey toward regeneration and redemption."}

Book VIII. Mitya Chapter I. Kuzma Samsonov But Dmitri, to whom Grushenka, flying away to a new life, had left her last greetings, bidding him remember the hour of her love for ever, knew nothing of what had happened to her, and was at that moment in a condition of feverish agitation and activity. For the last two days he had been in such an inconceivable state of mind that he might easily have fallen ill with brain fever, as he said himself afterwards. Alyosha had not been able to find him the morning before, and Ivan had not succeeded in meeting him at the tavern on the same day. The people at his lodgings, by his orders, concealed his movements. He had spent those two days literally rushing in all directions, "struggling with his destiny and trying to save himself," as he expressed it himself afterwards, and for some hours he even made a dash out of the town on urgent business, terrible as it was to him to lose sight of Grushenka for a moment. All this was explained afterwards in detail, and confirmed by documentary evidence; but for the present we will only note the most essential incidents of those two terrible days immediately preceding the awful catastrophe, that broke so suddenly upon him. Though Grushenka had, it is true, loved him for an hour, genuinely and sincerely, yet she tortured him sometimes cruelly and mercilessly. The worst of it was that he could never tell what she meant to do. To prevail upon her by force or kindness was also impossible: she would yield to nothing. She would only have become angry and turned away from him altogether, he knew that well already. He suspected, quite correctly, that she, too, was passing through an inward struggle, and was in a state of extraordinary indecision, that she was making up her mind to something, and unable to determine upon it. And so, not without good reason, he divined, with a sinking heart, that at moments she must simply hate him and his passion. And so, perhaps, it was, but what was distressing Grushenka he did not understand. For him the whole tormenting question lay between him and Fyodor Pavlovitch. Here, we must note, by the way, one certain fact: he was firmly persuaded that Fyodor Pavlovitch would offer, or perhaps had offered, Grushenka lawful wedlock, and did not for a moment believe that the old voluptuary hoped to gain his object for three thousand roubles. Mitya had reached this conclusion from his knowledge of Grushenka and her character. That was how it was that he could believe at times that all Grushenka's uneasiness rose from not knowing which of them to choose, which was most to her advantage. Strange to say, during those days it never occurred to him to think of the approaching return of the "officer," that is, of the man who had been such a fatal influence in Grushenka's life, and whose arrival she was expecting with such emotion and dread. It is true that of late Grushenka had been very silent about it. Yet he was perfectly aware of a letter she had received a month ago from her seducer, and had heard of it from her own lips. He partly knew, too, what the letter contained. In a moment of spite Grushenka had shown him that letter, but to her astonishment he attached hardly any consequence to it. It would be hard to say why this was. Perhaps, weighed down by all the hideous horror of his struggle with his own father for this woman, he was incapable of imagining any danger more terrible, at any rate for the time. He simply did not believe in a suitor who suddenly turned up again after five years' disappearance, still less in his speedy arrival. Moreover, in the "officer's" first letter which had been shown to Mitya, the possibility of his new rival's visit was very vaguely suggested. The letter was very indefinite, high-flown, and full of sentimentality. It must be noted that Grushenka had concealed from him the last lines of the letter, in which his return was alluded to more definitely. He had, besides, noticed at that moment, he remembered afterwards, a certain involuntary proud contempt for this missive from Siberia on Grushenka's face. Grushenka told him nothing of what had passed later between her and this rival; so that by degrees he had completely forgotten the officer's existence. He felt that whatever might come later, whatever turn things might take, his final conflict with Fyodor Pavlovitch was close upon him, and must be decided before anything else. With a sinking heart he was expecting every moment Grushenka's decision, always believing that it would come suddenly, on the impulse of the moment. All of a sudden she would say to him: "Take me, I'm yours for ever," and it would all be over. He would seize her and bear her away at once to the ends of the earth. Oh, then he would bear her away at once, as far, far away as possible; to the farthest end of Russia, if not of the earth, then he would marry her, and settle down with her incognito, so that no one would know anything about them, there, here, or anywhere. Then, oh, then, a new life would begin at once! Of this different, reformed and "virtuous" life ("it must, it must be virtuous") he dreamed feverishly at every moment. He thirsted for that reformation and renewal. The filthy morass, in which he had sunk of his own free will, was too revolting to him, and, like very many men in such cases, he put faith above all in change of place. If only it were not for these people, if only it were not for these circumstances, if only he could fly away from this accursed place--he would be altogether regenerated, would enter on a new path. That was what he believed in, and what he was yearning for. But all this could only be on condition of the first, the _happy_ solution of the question. There was another possibility, a different and awful ending. Suddenly she might say to him: "Go away. I have just come to terms with Fyodor Pavlovitch. I am going to marry him and don't want you"--and then ... but then.... But Mitya did not know what would happen then. Up to the last hour he didn't know. That must be said to his credit. He had no definite intentions, had planned no crime. He was simply watching and spying in agony, while he prepared himself for the first, happy solution of his destiny. He drove away any other idea, in fact. But for that ending a quite different anxiety arose, a new, incidental, but yet fatal and insoluble difficulty presented itself. If she were to say to him: "I'm yours; take me away," how could he take her away? Where had he the means, the money to do it? It was just at this time that all sources of revenue from Fyodor Pavlovitch, doles which had gone on without interruption for so many years, ceased. Grushenka had money, of course, but with regard to this Mitya suddenly evinced extraordinary pride; he wanted to carry her away and begin the new life with her himself, at his own expense, not at hers. He could not conceive of taking her money, and the very idea caused him a pang of intense repulsion. I won't enlarge on this fact or analyze it here, but confine myself to remarking that this was his attitude at the moment. All this may have arisen indirectly and unconsciously from the secret stings of his conscience for the money of Katerina Ivanovna that he had dishonestly appropriated. "I've been a scoundrel to one of them, and I shall be a scoundrel again to the other directly," was his feeling then, as he explained after: "and when Grushenka knows, she won't care for such a scoundrel." Where then was he to get the means, where was he to get the fateful money? Without it, all would be lost and nothing could be done, "and only because I hadn't the money. Oh, the shame of it!" To anticipate things: he did, perhaps, know where to get the money, knew, perhaps, where it lay at that moment. I will say no more of this here, as it will all be clear later. But his chief trouble, I must explain however obscurely, lay in the fact that to have that sum he knew of, to _have the right_ to take it, he must first restore Katerina Ivanovna's three thousand--if not, "I'm a common pickpocket, I'm a scoundrel, and I don't want to begin a new life as a scoundrel," Mitya decided. And so he made up his mind to move heaven and earth to return Katerina Ivanovna that three thousand, and that _first of all_. The final stage of this decision, so to say, had been reached only during the last hours, that is, after his last interview with Alyosha, two days before, on the high-road, on the evening when Grushenka had insulted Katerina Ivanovna, and Mitya, after hearing Alyosha's account of it, had admitted that he was a scoundrel, and told him to tell Katerina Ivanovna so, if it could be any comfort to her. After parting from his brother on that night, he had felt in his frenzy that it would be better "to murder and rob some one than fail to pay my debt to Katya. I'd rather every one thought me a robber and a murderer, I'd rather go to Siberia than that Katya should have the right to say that I deceived her and stole her money, and used her money to run away with Grushenka and begin a new life! That I can't do!" So Mitya decided, grinding his teeth, and he might well fancy at times that his brain would give way. But meanwhile he went on struggling.... Strange to say, though one would have supposed there was nothing left for him but despair--for what chance had he, with nothing in the world, to raise such a sum?--yet to the very end he persisted in hoping that he would get that three thousand, that the money would somehow come to him of itself, as though it might drop from heaven. That is just how it is with people who, like Dmitri, have never had anything to do with money, except to squander what has come to them by inheritance without any effort of their own, and have no notion how money is obtained. A whirl of the most fantastic notions took possession of his brain immediately after he had parted with Alyosha two days before, and threw his thoughts into a tangle of confusion. This is how it was he pitched first on a perfectly wild enterprise. And perhaps to men of that kind in such circumstances the most impossible, fantastic schemes occur first, and seem most practical. He suddenly determined to go to Samsonov, the merchant who was Grushenka's protector, and to propose a "scheme" to him, and by means of it to obtain from him at once the whole of the sum required. Of the commercial value of his scheme he had no doubt, not the slightest, and was only uncertain how Samsonov would look upon his freak, supposing he were to consider it from any but the commercial point of view. Though Mitya knew the merchant by sight, he was not acquainted with him and had never spoken a word to him. But for some unknown reason he had long entertained the conviction that the old reprobate, who was lying at death's door, would perhaps not at all object now to Grushenka's securing a respectable position, and marrying a man "to be depended upon." And he believed not only that he would not object, but that this was what he desired, and, if opportunity arose, that he would be ready to help. From some rumor, or perhaps from some stray word of Grushenka's, he had gathered further that the old man would perhaps prefer him to Fyodor Pavlovitch for Grushenka. Possibly many of the readers of my novel will feel that in reckoning on such assistance, and being ready to take his bride, so to speak, from the hands of her protector, Dmitri showed great coarseness and want of delicacy. I will only observe that Mitya looked upon Grushenka's past as something completely over. He looked on that past with infinite pity and resolved with all the fervor of his passion that when once Grushenka told him she loved him and would marry him, it would mean the beginning of a new Grushenka and a new Dmitri, free from every vice. They would forgive one another and would begin their lives afresh. As for Kuzma Samsonov, Dmitri looked upon him as a man who had exercised a fateful influence in that remote past of Grushenka's, though she had never loved him, and who was now himself a thing of the past, completely done with, and, so to say, non-existent. Besides, Mitya hardly looked upon him as a man at all, for it was known to every one in the town that he was only a shattered wreck, whose relations with Grushenka had changed their character and were now simply paternal, and that this had been so for a long time. In any case there was much simplicity on Mitya's part in all this, for in spite of all his vices, he was a very simple-hearted man. It was an instance of this simplicity that Mitya was seriously persuaded that, being on the eve of his departure for the next world, old Kuzma must sincerely repent of his past relations with Grushenka, and that she had no more devoted friend and protector in the world than this, now harmless old man. After his conversation with Alyosha, at the cross-roads, he hardly slept all night, and at ten o'clock next morning, he was at the house of Samsonov and telling the servant to announce him. It was a very large and gloomy old house of two stories, with a lodge and outhouses. In the lower story lived Samsonov's two married sons with their families, his old sister, and his unmarried daughter. In the lodge lived two of his clerks, one of whom also had a large family. Both the lodge and the lower story were overcrowded, but the old man kept the upper floor to himself, and would not even let the daughter live there with him, though she waited upon him, and in spite of her asthma was obliged at certain fixed hours, and at any time he might call her, to run upstairs to him from below. This upper floor contained a number of large rooms kept purely for show, furnished in the old-fashioned merchant style, with long monotonous rows of clumsy mahogany chairs along the walls, with glass chandeliers under shades, and gloomy mirrors on the walls. All these rooms were entirely empty and unused, for the old man kept to one room, a small, remote bedroom, where he was waited upon by an old servant with a kerchief on her head, and by a lad, who used to sit on the locker in the passage. Owing to his swollen legs, the old man could hardly walk at all, and was only rarely lifted from his leather arm-chair, when the old woman supporting him led him up and down the room once or twice. He was morose and taciturn even with this old woman. When he was informed of the arrival of the "captain," he at once refused to see him. But Mitya persisted and sent his name up again. Samsonov questioned the lad minutely: What he looked like? Whether he was drunk? Was he going to make a row? The answer he received was: that he was sober, but wouldn't go away. The old man again refused to see him. Then Mitya, who had foreseen this, and purposely brought pencil and paper with him, wrote clearly on the piece of paper the words: "On most important business closely concerning Agrafena Alexandrovna," and sent it up to the old man. After thinking a little Samsonov told the lad to take the visitor to the drawing-room, and sent the old woman downstairs with a summons to his younger son to come upstairs to him at once. This younger son, a man over six foot and of exceptional physical strength, who was closely-shaven and dressed in the European style, though his father still wore a kaftan and a beard, came at once without a comment. All the family trembled before the father. The old man had sent for this giant, not because he was afraid of the "captain" (he was by no means of a timorous temper), but in order to have a witness in case of any emergency. Supported by his son and the servant-lad, he waddled at last into the drawing-room. It may be assumed that he felt considerable curiosity. The drawing-room in which Mitya was awaiting him was a vast, dreary room that laid a weight of depression on the heart. It had a double row of windows, a gallery, marbled walls, and three immense chandeliers with glass lusters covered with shades. Mitya was sitting on a little chair at the entrance, awaiting his fate with nervous impatience. When the old man appeared at the opposite door, seventy feet away, Mitya jumped up at once, and with his long, military stride walked to meet him. Mitya was well dressed, in a frock-coat, buttoned up, with a round hat and black gloves in his hands, just as he had been three days before at the elder's, at the family meeting with his father and brothers. The old man waited for him, standing dignified and unbending, and Mitya felt at once that he had looked him through and through as he advanced. Mitya was greatly impressed, too, with Samsonov's immensely swollen face. His lower lip, which had always been thick, hung down now, looking like a bun. He bowed to his guest in dignified silence, motioned him to a low chair by the sofa, and, leaning on his son's arm he began lowering himself on to the sofa opposite, groaning painfully, so that Mitya, seeing his painful exertions, immediately felt remorseful and sensitively conscious of his insignificance in the presence of the dignified person he had ventured to disturb. "What is it you want of me, sir?" said the old man, deliberately, distinctly, severely, but courteously, when he was at last seated. Mitya started, leapt up, but sat down again. Then he began at once speaking with loud, nervous haste, gesticulating, and in a positive frenzy. He was unmistakably a man driven into a corner, on the brink of ruin, catching at the last straw, ready to sink if he failed. Old Samsonov probably grasped all this in an instant, though his face remained cold and immovable as a statue's. "Most honored sir, Kuzma Kuzmitch, you have no doubt heard more than once of my disputes with my father, Fyodor Pavlovitch Karamazov, who robbed me of my inheritance from my mother ... seeing the whole town is gossiping about it ... for here every one's gossiping of what they shouldn't ... and besides, it might have reached you through Grushenka ... I beg your pardon, through Agrafena Alexandrovna ... Agrafena Alexandrovna, the lady for whom I have the highest respect and esteem ..." So Mitya began, and broke down at the first sentence. We will not reproduce his speech word for word, but will only summarize the gist of it. Three months ago, he said, he had of express intention (Mitya purposely used these words instead of "intentionally") consulted a lawyer in the chief town of the province, "a distinguished lawyer, Kuzma Kuzmitch, Pavel Pavlovitch Korneplodov. You have perhaps heard of him? A man of vast intellect, the mind of a statesman ... he knows you, too ... spoke of you in the highest terms ..." Mitya broke down again. But these breaks did not deter him. He leapt instantly over the gaps, and struggled on and on. This Korneplodov, after questioning him minutely, and inspecting the documents he was able to bring him (Mitya alluded somewhat vaguely to these documents, and slurred over the subject with special haste), reported that they certainly might take proceedings concerning the village of Tchermashnya, which ought, he said, to have come to him, Mitya, from his mother, and so checkmate the old villain, his father ... "because every door was not closed and justice might still find a loophole." In fact, he might reckon on an additional sum of six or even seven thousand roubles from Fyodor Pavlovitch, as Tchermashnya was worth, at least, twenty-five thousand, he might say twenty-eight thousand, in fact, "thirty, thirty, Kuzma Kuzmitch, and would you believe it, I didn't get seventeen from that heartless man!" So he, Mitya, had thrown the business up, for the time, knowing nothing about the law, but on coming here was struck dumb by a cross-claim made upon him (here Mitya went adrift again and again took a flying leap forward), "so will not you, excellent and honored Kuzma Kuzmitch, be willing to take up all my claims against that unnatural monster, and pay me a sum down of only three thousand?... You see, you cannot, in any case, lose over it. On my honor, my honor, I swear that. Quite the contrary, you may make six or seven thousand instead of three." Above all, he wanted this concluded that very day. "I'll do the business with you at a notary's, or whatever it is ... in fact, I'm ready to do anything.... I'll hand over all the deeds ... whatever you want, sign anything ... and we could draw up the agreement at once ... and if it were possible, if it were only possible, that very morning.... You could pay me that three thousand, for there isn't a capitalist in this town to compare with you, and so would save me from ... would save me, in fact ... for a good, I might say an honorable action.... For I cherish the most honorable feelings for a certain person, whom you know well, and care for as a father. I would not have come, indeed, if it had not been as a father. And, indeed, it's a struggle of three in this business, for it's fate--that's a fearful thing, Kuzma Kuzmitch! A tragedy, Kuzma Kuzmitch, a tragedy! And as you've dropped out long ago, it's a tug- of-war between two. I'm expressing it awkwardly, perhaps, but I'm not a literary man. You see, I'm on the one side, and that monster on the other. So you must choose. It's either I or the monster. It all lies in your hands--the fate of three lives, and the happiness of two.... Excuse me, I'm making a mess of it, but you understand ... I see from your venerable eyes that you understand ... and if you don't understand, I'm done for ... so you see!" Mitya broke off his clumsy speech with that, "so you see!" and jumping up from his seat, awaited the answer to his foolish proposal. At the last phrase he had suddenly become hopelessly aware that it had all fallen flat, above all, that he had been talking utter nonsense. "How strange it is! On the way here it seemed all right, and now it's nothing but nonsense." The idea suddenly dawned on his despairing mind. All the while he had been talking, the old man sat motionless, watching him with an icy expression in his eyes. After keeping him for a moment in suspense, Kuzma Kuzmitch pronounced at last in the most positive and chilling tone: "Excuse me, we don't undertake such business." Mitya suddenly felt his legs growing weak under him. "What am I to do now, Kuzma Kuzmitch?" he muttered, with a pale smile. "I suppose it's all up with me--what do you think?" "Excuse me...." Mitya remained standing, staring motionless. He suddenly noticed a movement in the old man's face. He started. "You see, sir, business of that sort's not in our line," said the old man slowly. "There's the court, and the lawyers--it's a perfect misery. But if you like, there is a man here you might apply to." "Good heavens! Who is it? You're my salvation, Kuzma Kuzmitch," faltered Mitya. "He doesn't live here, and he's not here just now. He is a peasant, he does business in timber. His name is Lyagavy. He's been haggling with Fyodor Pavlovitch for the last year, over your copse at Tchermashnya. They can't agree on the price, maybe you've heard? Now he's come back again and is staying with the priest at Ilyinskoe, about twelve versts from the Volovya station. He wrote to me, too, about the business of the copse, asking my advice. Fyodor Pavlovitch means to go and see him himself. So if you were to be beforehand with Fyodor Pavlovitch and to make Lyagavy the offer you've made me, he might possibly--" "A brilliant idea!" Mitya interrupted ecstatically. "He's the very man, it would just suit him. He's haggling with him for it, being asked too much, and here he would have all the documents entitling him to the property itself. Ha ha ha!" And Mitya suddenly went off into his short, wooden laugh, startling Samsonov. "How can I thank you, Kuzma Kuzmitch?" cried Mitya effusively. "Don't mention it," said Samsonov, inclining his head. "But you don't know, you've saved me. Oh, it was a true presentiment brought me to you.... So now to this priest!" "No need of thanks." "I'll make haste and fly there. I'm afraid I've overtaxed your strength. I shall never forget it. It's a Russian says that, Kuzma Kuzmitch, a R-r- russian!" "To be sure!" Mitya seized his hand to press it, but there was a malignant gleam in the old man's eye. Mitya drew back his hand, but at once blamed himself for his mistrustfulness. "It's because he's tired," he thought. "For her sake! For her sake, Kuzma Kuzmitch! You understand that it's for her," he cried, his voice ringing through the room. He bowed, turned sharply round, and with the same long stride walked to the door without looking back. He was trembling with delight. "Everything was on the verge of ruin and my guardian angel saved me," was the thought in his mind. And if such a business man as Samsonov (a most worthy old man, and what dignity!) had suggested this course, then ... then success was assured. He would fly off immediately. "I will be back before night, I shall be back at night and the thing is done. Could the old man have been laughing at me?" exclaimed Mitya, as he strode towards his lodging. He could, of course, imagine nothing, but that the advice was practical "from such a business man" with an understanding of the business, with an understanding of this Lyagavy (curious surname!). Or--the old man was laughing at him. Alas! The second alternative was the correct one. Long afterwards, when the catastrophe had happened, old Samsonov himself confessed, laughing, that he had made a fool of the "captain." He was a cold, spiteful and sarcastic man, liable to violent antipathies. Whether it was the "captain's" excited face, or the foolish conviction of the "rake and spendthrift," that he, Samsonov, could be taken in by such a cock-and-bull story as his scheme, or his jealousy of Grushenka, in whose name this "scapegrace" had rushed in on him with such a tale to get money which worked on the old man, I can't tell. But at the instant when Mitya stood before him, feeling his legs grow weak under him, and frantically exclaiming that he was ruined, at that moment the old man looked at him with intense spite, and resolved to make a laughing-stock of him. When Mitya had gone, Kuzma Kuzmitch, white with rage, turned to his son and bade him see to it that that beggar be never seen again, and never admitted even into the yard, or else he'd-- He did not utter his threat. But even his son, who often saw him enraged, trembled with fear. For a whole hour afterwards, the old man was shaking with anger, and by evening he was worse, and sent for the doctor. Chapter II. Lyagavy So he must drive at full speed, and he had not the money for horses. He had forty kopecks, and that was all, all that was left after so many years of prosperity! But he had at home an old silver watch which had long ceased to go. He snatched it up and carried it to a Jewish watchmaker who had a shop in the market-place. The Jew gave him six roubles for it. "And I didn't expect that," cried Mitya, ecstatically. (He was still in a state of ecstasy.) He seized his six roubles and ran home. At home he borrowed three roubles from the people of the house, who loved him so much that they were pleased to give it him, though it was all they had. Mitya in his excitement told them on the spot that his fate would be decided that day, and he described, in desperate haste, the whole scheme he had put before Samsonov, the latter's decision, his own hopes for the future, and so on. These people had been told many of their lodger's secrets before, and so looked upon him as a gentleman who was not at all proud, and almost one of themselves. Having thus collected nine roubles Mitya sent for posting-horses to take him to the Volovya station. This was how the fact came to be remembered and established that "at midday, on the day before the event, Mitya had not a farthing, and that he had sold his watch to get money and had borrowed three roubles from his landlord, all in the presence of witnesses." I note this fact, later on it will be apparent why I do so. Though he was radiant with the joyful anticipation that he would at last solve all his difficulties, yet, as he drew near Volovya station, he trembled at the thought of what Grushenka might be doing in his absence. What if she made up her mind to-day to go to Fyodor Pavlovitch? This was why he had gone off without telling her and why he left orders with his landlady not to let out where he had gone, if any one came to inquire for him. "I must, I must get back to-night," he repeated, as he was jolted along in the cart, "and I dare say I shall have to bring this Lyagavy back here ... to draw up the deed." So mused Mitya, with a throbbing heart, but alas! his dreams were not fated to be carried out. To begin with, he was late, taking a short cut from Volovya station which turned out to be eighteen versts instead of twelve. Secondly, he did not find the priest at home at Ilyinskoe; he had gone off to a neighboring village. While Mitya, setting off there with the same exhausted horses, was looking for him, it was almost dark. The priest, a shy and amiable looking little man, informed him at once that though Lyagavy had been staying with him at first, he was now at Suhoy Possyolok, that he was staying the night in the forester's cottage, as he was buying timber there too. At Mitya's urgent request that he would take him to Lyagavy at once, and by so doing "save him, so to speak," the priest agreed, after some demur, to conduct him to Suhoy Possyolok; his curiosity was obviously aroused. But, unluckily, he advised their going on foot, as it would not be "much over" a verst. Mitya, of course, agreed, and marched off with his yard-long strides, so that the poor priest almost ran after him. He was a very cautious man, though not old. Mitya at once began talking to him, too, of his plans, nervously and excitedly asking advice in regard to Lyagavy, and talking all the way. The priest listened attentively, but gave little advice. He turned off Mitya's questions with: "I don't know. Ah, I can't say. How can I tell?" and so on. When Mitya began to speak of his quarrel with his father over his inheritance, the priest was positively alarmed, as he was in some way dependent on Fyodor Pavlovitch. He inquired, however, with surprise, why he called the peasant-trader Gorstkin, Lyagavy, and obligingly explained to Mitya that, though the man's name really was Lyagavy, he was never called so, as he would be grievously offended at the name, and that he must be sure to call him Gorstkin, "or you'll do nothing with him; he won't even listen to you," said the priest in conclusion. Mitya was somewhat surprised for a moment, and explained that that was what Samsonov had called him. On hearing this fact, the priest dropped the subject, though he would have done well to put into words his doubt whether, if Samsonov had sent him to that peasant, calling him Lyagavy, there was not something wrong about it and he was turning him into ridicule. But Mitya had no time to pause over such trifles. He hurried, striding along, and only when he reached Suhoy Possyolok did he realize that they had come not one verst, nor one and a half, but at least three. This annoyed him, but he controlled himself. They went into the hut. The forester lived in one half of the hut, and Gorstkin was lodging in the other, the better room the other side of the passage. They went into that room and lighted a tallow candle. The hut was extremely overheated. On the table there was a samovar that had gone out, a tray with cups, an empty rum bottle, a bottle of vodka partly full, and some half-eaten crusts of wheaten bread. The visitor himself lay stretched at full length on the bench, with his coat crushed up under his head for a pillow, snoring heavily. Mitya stood in perplexity. "Of course I must wake him. My business is too important. I've come in such haste. I'm in a hurry to get back to-day," he said in great agitation. But the priest and the forester stood in silence, not giving their opinion. Mitya went up and began trying to wake him himself; he tried vigorously, but the sleeper did not wake. "He's drunk," Mitya decided. "Good Lord! What am I to do? What am I to do?" And, terribly impatient, he began pulling him by the arms, by the legs, shaking his head, lifting him up and making him sit on the bench. Yet, after prolonged exertions, he could only succeed in getting the drunken man to utter absurd grunts, and violent, but inarticulate oaths. "No, you'd better wait a little," the priest pronounced at last, "for he's obviously not in a fit state." "He's been drinking the whole day," the forester chimed in. "Good heavens!" cried Mitya. "If only you knew how important it is to me and how desperate I am!" "No, you'd better wait till morning," the priest repeated. "Till morning? Mercy! that's impossible!" And in his despair he was on the point of attacking the sleeping man again, but stopped short at once, realizing the uselessness of his efforts. The priest said nothing, the sleepy forester looked gloomy. "What terrible tragedies real life contrives for people," said Mitya, in complete despair. The perspiration was streaming down his face. The priest seized the moment to put before him, very reasonably, that, even if he succeeded in wakening the man, he would still be drunk and incapable of conversation. "And your business is important," he said, "so you'd certainly better put it off till morning." With a gesture of despair Mitya agreed. "Father, I will stay here with a light, and seize the favorable moment. As soon as he wakes I'll begin. I'll pay you for the light," he said to the forester, "for the night's lodging, too; you'll remember Dmitri Karamazov. Only, Father, I don't know what we're to do with you. Where will you sleep?" "No, I'm going home. I'll take his horse and get home," he said, indicating the forester. "And now I'll say good-by. I wish you all success." So it was settled. The priest rode off on the forester's horse, delighted to escape, though he shook his head uneasily, wondering whether he ought not next day to inform his benefactor Fyodor Pavlovitch of this curious incident, "or he may in an unlucky hour hear of it, be angry, and withdraw his favor." The forester, scratching himself, went back to his room without a word, and Mitya sat on the bench to "catch the favorable moment," as he expressed it. Profound dejection clung about his soul like a heavy mist. A profound, intense dejection! He sat thinking, but could reach no conclusion. The candle burnt dimly, a cricket chirped; it became insufferably close in the overheated room. He suddenly pictured the garden, the path behind the garden, the door of his father's house mysteriously opening and Grushenka running in. He leapt up from the bench. "It's a tragedy!" he said, grinding his teeth. Mechanically he went up to the sleeping man and looked in his face. He was a lean, middle-aged peasant, with a very long face, flaxen curls, and a long, thin, reddish beard, wearing a blue cotton shirt and a black waistcoat, from the pocket of which peeped the chain of a silver watch. Mitya looked at his face with intense hatred, and for some unknown reason his curly hair particularly irritated him. What was insufferably humiliating was, that after leaving things of such importance and making such sacrifices, he, Mitya, utterly worn out, should with business of such urgency be standing over this dolt on whom his whole fate depended, while he snored as though there were nothing the matter, as though he'd dropped from another planet. "Oh, the irony of fate!" cried Mitya, and, quite losing his head, he fell again to rousing the tipsy peasant. He roused him with a sort of ferocity, pulled at him, pushed him, even beat him; but after five minutes of vain exertions, he returned to his bench in helpless despair, and sat down. "Stupid! Stupid!" cried Mitya. "And how dishonorable it all is!" something made him add. His head began to ache horribly. "Should he fling it up and go away altogether?" he wondered. "No, wait till to-morrow now. I'll stay on purpose. What else did I come for? Besides, I've no means of going. How am I to get away from here now? Oh, the idiocy of it!" But his head ached more and more. He sat without moving, and unconsciously dozed off and fell asleep as he sat. He seemed to have slept for two hours or more. He was waked up by his head aching so unbearably that he could have screamed. There was a hammering in his temples, and the top of his head ached. It was a long time before he could wake up fully and understand what had happened to him. At last he realized that the room was full of charcoal fumes from the stove, and that he might die of suffocation. And the drunken peasant still lay snoring. The candle guttered and was about to go out. Mitya cried out, and ran staggering across the passage into the forester's room. The forester waked up at once, but hearing that the other room was full of fumes, to Mitya's surprise and annoyance, accepted the fact with strange unconcern, though he did go to see to it. "But he's dead, he's dead! and ... what am I to do then?" cried Mitya frantically. They threw open the doors, opened a window and the chimney. Mitya brought a pail of water from the passage. First he wetted his own head, then, finding a rag of some sort, dipped it into the water, and put it on Lyagavy's head. The forester still treated the matter contemptuously, and when he opened the window said grumpily: "It'll be all right, now." He went back to sleep, leaving Mitya a lighted lantern. Mitya fussed about the drunken peasant for half an hour, wetting his head, and gravely resolved not to sleep all night. But he was so worn out that when he sat down for a moment to take breath, he closed his eyes, unconsciously stretched himself full length on the bench and slept like the dead. It was dreadfully late when he waked. It was somewhere about nine o'clock. The sun was shining brightly in the two little windows of the hut. The curly-headed peasant was sitting on the bench and had his coat on. He had another samovar and another bottle in front of him. Yesterday's bottle had already been finished, and the new one was more than half empty. Mitya jumped up and saw at once that the cursed peasant was drunk again, hopelessly and incurably. He stared at him for a moment with wide opened eyes. The peasant was silently and slyly watching him, with insulting composure, and even a sort of contemptuous condescension, so Mitya fancied. He rushed up to him. "Excuse me, you see ... I ... you've most likely heard from the forester here in the hut. I'm Lieutenant Dmitri Karamazov, the son of the old Karamazov whose copse you are buying." "That's a lie!" said the peasant, calmly and confidently. "A lie? You know Fyodor Pavlovitch?" "I don't know any of your Fyodor Pavlovitches," said the peasant, speaking thickly. "You're bargaining with him for the copse, for the copse. Do wake up, and collect yourself. Father Pavel of Ilyinskoe brought me here. You wrote to Samsonov, and he has sent me to you," Mitya gasped breathlessly. "You're l-lying!" Lyagavy blurted out again. Mitya's legs went cold. "For mercy's sake! It isn't a joke! You're drunk, perhaps. Yet you can speak and understand ... or else ... I understand nothing!" "You're a painter!" "For mercy's sake! I'm Karamazov, Dmitri Karamazov. I have an offer to make you, an advantageous offer ... very advantageous offer, concerning the copse!" The peasant stroked his beard importantly. "No, you've contracted for the job and turned out a scamp. You're a scoundrel!" "I assure you you're mistaken," cried Mitya, wringing his hands in despair. The peasant still stroked his beard, and suddenly screwed up his eyes cunningly. "No, you show me this: you tell me the law that allows roguery. D'you hear? You're a scoundrel! Do you understand that?" Mitya stepped back gloomily, and suddenly "something seemed to hit him on the head," as he said afterwards. In an instant a light seemed to dawn in his mind, "a light was kindled and I grasped it all." He stood, stupefied, wondering how he, after all a man of intelligence, could have yielded to such folly, have been led into such an adventure, and have kept it up for almost twenty-four hours, fussing round this Lyagavy, wetting his head. "Why, the man's drunk, dead drunk, and he'll go on drinking now for a week; what's the use of waiting here? And what if Samsonov sent me here on purpose? What if she--? Oh, God, what have I done?" The peasant sat watching him and grinning. Another time Mitya might have killed the fool in a fury, but now he felt as weak as a child. He went quietly to the bench, took up his overcoat, put it on without a word, and went out of the hut. He did not find the forester in the next room; there was no one there. He took fifty kopecks in small change out of his pocket and put them on the table for his night's lodging, the candle, and the trouble he had given. Coming out of the hut he saw nothing but forest all round. He walked at hazard, not knowing which way to turn out of the hut, to the right or to the left. Hurrying there the evening before with the priest, he had not noticed the road. He had no revengeful feeling for anybody, even for Samsonov, in his heart. He strode along a narrow forest path, aimless, dazed, without heeding where he was going. A child could have knocked him down, so weak was he in body and soul. He got out of the forest somehow, however, and a vista of fields, bare after the harvest, stretched as far as the eye could see. "What despair! What death all round!" he repeated, striding on and on. He was saved by meeting an old merchant who was being driven across country in a hired trap. When he overtook him, Mitya asked the way, and it turned out that the old merchant, too, was going to Volovya. After some discussion Mitya got into the trap. Three hours later they arrived. At Volovya, Mitya at once ordered posting-horses to drive to the town, and suddenly realized that he was appallingly hungry. While the horses were being harnessed, an omelette was prepared for him. He ate it all in an instant, ate a huge hunk of bread, ate a sausage, and swallowed three glasses of vodka. After eating, his spirits and his heart grew lighter. He flew towards the town, urged on the driver, and suddenly made a new and "unalterable" plan to procure that "accursed money" before evening. "And to think, only to think that a man's life should be ruined for the sake of that paltry three thousand!" he cried, contemptuously. "I'll settle it to- day." And if it had not been for the thought of Grushenka and of what might have happened to her, which never left him, he would perhaps have become quite cheerful again.... But the thought of her was stabbing him to the heart every moment, like a sharp knife. At last they arrived, and Mitya at once ran to Grushenka. Chapter III. Gold-Mines This was the visit of Mitya of which Grushenka had spoken to Rakitin with such horror. She was just then expecting the "message," and was much relieved that Mitya had not been to see her that day or the day before. She hoped that "please God he won't come till I'm gone away," and he suddenly burst in on her. The rest we know already. To get him off her hands she suggested at once that he should walk with her to Samsonov's, where she said she absolutely must go "to settle his accounts," and when Mitya accompanied her at once, she said good-by to him at the gate, making him promise to come at twelve o'clock to take her home again. Mitya, too, was delighted at this arrangement. If she was sitting at Samsonov's she could not be going to Fyodor Pavlovitch's, "if only she's not lying," he added at once. But he thought she was not lying from what he saw. He was that sort of jealous man who, in the absence of the beloved woman, at once invents all sorts of awful fancies of what may be happening to her, and how she may be betraying him, but, when shaken, heartbroken, convinced of her faithlessness, he runs back to her; at the first glance at her face, her gay, laughing, affectionate face, he revives at once, lays aside all suspicion and with joyful shame abuses himself for his jealousy. After leaving Grushenka at the gate he rushed home. Oh, he had so much still to do that day! But a load had been lifted from his heart, anyway. "Now I must only make haste and find out from Smerdyakov whether anything happened there last night, whether, by any chance, she went to Fyodor Pavlovitch; ough!" floated through his mind. Before he had time to reach his lodging, jealousy had surged up again in his restless heart. Jealousy! "Othello was not jealous, he was trustful," observed Pushkin. And that remark alone is enough to show the deep insight of our great poet. Othello's soul was shattered and his whole outlook clouded simply because _his ideal was destroyed_. But Othello did not begin hiding, spying, peeping. He was trustful, on the contrary. He had to be led up, pushed on, excited with great difficulty before he could entertain the idea of deceit. The truly jealous man is not like that. It is impossible to picture to oneself the shame and moral degradation to which the jealous man can descend without a qualm of conscience. And yet it's not as though the jealous were all vulgar and base souls. On the contrary, a man of lofty feelings, whose love is pure and full of self-sacrifice, may yet hide under tables, bribe the vilest people, and be familiar with the lowest ignominy of spying and eavesdropping. Othello was incapable of making up his mind to faithlessness--not incapable of forgiving it, but of making up his mind to it--though his soul was as innocent and free from malice as a babe's. It is not so with the really jealous man. It is hard to imagine what some jealous men can make up their mind to and overlook, and what they can forgive! The jealous are the readiest of all to forgive, and all women know it. The jealous man can forgive extraordinarily quickly (though, of course, after a violent scene), and he is able to forgive infidelity almost conclusively proved, the very kisses and embraces he has seen, if only he can somehow be convinced that it has all been "for the last time," and that his rival will vanish from that day forward, will depart to the ends of the earth, or that he himself will carry her away somewhere, where that dreaded rival will not get near her. Of course the reconciliation is only for an hour. For, even if the rival did disappear next day, he would invent another one and would be jealous of him. And one might wonder what there was in a love that had to be so watched over, what a love could be worth that needed such strenuous guarding. But that the jealous will never understand. And yet among them are men of noble hearts. It is remarkable, too, that those very men of noble hearts, standing hidden in some cupboard, listening and spying, never feel the stings of conscience at that moment, anyway, though they understand clearly enough with their "noble hearts" the shameful depths to which they have voluntarily sunk. At the sight of Grushenka, Mitya's jealousy vanished, and, for an instant he became trustful and generous, and positively despised himself for his evil feelings. But it only proved that, in his love for the woman, there was an element of something far higher than he himself imagined, that it was not only a sensual passion, not only the "curve of her body," of which he had talked to Alyosha. But, as soon as Grushenka had gone, Mitya began to suspect her of all the low cunning of faithlessness, and he felt no sting of conscience at it. And so jealousy surged up in him again. He had, in any case, to make haste. The first thing to be done was to get hold of at least a small, temporary loan of money. The nine roubles had almost all gone on his expedition. And, as we all know, one can't take a step without money. But he had thought over in the cart where he could get a loan. He had a brace of fine dueling pistols in a case, which he had not pawned till then because he prized them above all his possessions. In the "Metropolis" tavern he had some time since made acquaintance with a young official and had learnt that this very opulent bachelor was passionately fond of weapons. He used to buy pistols, revolvers, daggers, hang them on his wall and show them to acquaintances. He prided himself on them, and was quite a specialist on the mechanism of the revolver. Mitya, without stopping to think, went straight to him, and offered to pawn his pistols to him for ten roubles. The official, delighted, began trying to persuade him to sell them outright. But Mitya would not consent, so the young man gave him ten roubles, protesting that nothing would induce him to take interest. They parted friends. Mitya was in haste; he rushed towards Fyodor Pavlovitch's by the back way, to his arbor, to get hold of Smerdyakov as soon as possible. In this way the fact was established that three or four hours before a certain event, of which I shall speak later on, Mitya had not a farthing, and pawned for ten roubles a possession he valued, though, three hours later, he was in possession of thousands.... But I am anticipating. From Marya Kondratyevna (the woman living near Fyodor Pavlovitch's) he learned the very disturbing fact of Smerdyakov's illness. He heard the story of his fall in the cellar, his fit, the doctor's visit, Fyodor Pavlovitch's anxiety; he heard with interest, too, that his brother Ivan had set off that morning for Moscow. "Then he must have driven through Volovya before me," thought Dmitri, but he was terribly distressed about Smerdyakov. "What will happen now? Who'll keep watch for me? Who'll bring me word?" he thought. He began greedily questioning the women whether they had seen anything the evening before. They quite understood what he was trying to find out, and completely reassured him. No one had been there. Ivan Fyodorovitch had been there the night; everything had been perfectly as usual. Mitya grew thoughtful. He would certainly have to keep watch to-day, but where? Here or at Samsonov's gate? He decided that he must be on the look out both here and there, and meanwhile ... meanwhile.... The difficulty was that he had to carry out the new plan that he had made on the journey back. He was sure of its success, but he must not delay acting upon it. Mitya resolved to sacrifice an hour to it: "In an hour I shall know everything, I shall settle everything, and then, then, first of all to Samsonov's. I'll inquire whether Grushenka's there and instantly be back here again, stay till eleven, and then to Samsonov's again to bring her home." This was what he decided. He flew home, washed, combed his hair, brushed his clothes, dressed, and went to Madame Hohlakov's. Alas! he had built his hopes on her. He had resolved to borrow three thousand from that lady. And what was more, he felt suddenly convinced that she would not refuse to lend it to him. It may be wondered why, if he felt so certain, he had not gone to her at first, one of his own sort, so to speak, instead of to Samsonov, a man he did not know, who was not of his own class, and to whom he hardly knew how to speak. But the fact was that he had never known Madame Hohlakov well, and had seen nothing of her for the last month, and that he knew she could not endure him. She had detested him from the first because he was engaged to Katerina Ivanovna, while she had, for some reason, suddenly conceived the desire that Katerina Ivanovna should throw him over, and marry the "charming, chivalrously refined Ivan, who had such excellent manners." Mitya's manners she detested. Mitya positively laughed at her, and had once said about her that she was just as lively and at her ease as she was uncultivated. But that morning in the cart a brilliant idea had struck him: "If she is so anxious I should not marry Katerina Ivanovna" (and he knew she was positively hysterical upon the subject) "why should she refuse me now that three thousand, just to enable me to leave Katya and get away from her for ever. These spoilt fine ladies, if they set their hearts on anything, will spare no expense to satisfy their caprice. Besides, she's so rich," Mitya argued. As for his "plan" it was just the same as before; it consisted of the offer of his rights to Tchermashnya--but not with a commercial object, as it had been with Samsonov, not trying to allure the lady with the possibility of making a profit of six or seven thousand--but simply as a security for the debt. As he worked out this new idea, Mitya was enchanted with it, but so it always was with him in all his undertakings, in all his sudden decisions. He gave himself up to every new idea with passionate enthusiasm. Yet, when he mounted the steps of Madame Hohlakov's house he felt a shiver of fear run down his spine. At that moment he saw fully, as a mathematical certainty, that this was his last hope, that if this broke down, nothing else was left him in the world, but to "rob and murder some one for the three thousand." It was half-past seven when he rang at the bell. At first fortune seemed to smile upon him. As soon as he was announced he was received with extraordinary rapidity. "As though she were waiting for me," thought Mitya, and as soon as he had been led to the drawing-room, the lady of the house herself ran in, and declared at once that she was expecting him. "I was expecting you! I was expecting you! Though I'd no reason to suppose you would come to see me, as you will admit yourself. Yet, I did expect you. You may marvel at my instinct, Dmitri Fyodorovitch, but I was convinced all the morning that you would come." "That is certainly wonderful, madam," observed Mitya, sitting down limply, "but I have come to you on a matter of great importance.... On a matter of supreme importance for me, that is, madam ... for me alone ... and I hasten--" "I know you've come on most important business, Dmitri Fyodorovitch; it's not a case of presentiment, no reactionary harking back to the miraculous (have you heard about Father Zossima?). This is a case of mathematics: you couldn't help coming, after all that has passed with Katerina Ivanovna; you couldn't, you couldn't, that's a mathematical certainty." "The realism of actual life, madam, that's what it is. But allow me to explain--" "Realism indeed, Dmitri Fyodorovitch. I'm all for realism now. I've seen too much of miracles. You've heard that Father Zossima is dead?" "No, madam, it's the first time I've heard of it." Mitya was a little surprised. The image of Alyosha rose to his mind. "Last night, and only imagine--" "Madam," said Mitya, "I can imagine nothing except that I'm in a desperate position, and that if you don't help me, everything will come to grief, and I first of all. Excuse me for the triviality of the expression, but I'm in a fever--" "I know, I know that you're in a fever. You could hardly fail to be, and whatever you may say to me, I know beforehand. I have long been thinking over your destiny, Dmitri Fyodorovitch, I am watching over it and studying it.... Oh, believe me, I'm an experienced doctor of the soul, Dmitri Fyodorovitch." "Madam, if you are an experienced doctor, I'm certainly an experienced patient," said Mitya, with an effort to be polite, "and I feel that if you are watching over my destiny in this way, you will come to my help in my ruin, and so allow me, at least to explain to you the plan with which I have ventured to come to you ... and what I am hoping of you.... I have come, madam--" "Don't explain it. It's of secondary importance. But as for help, you're not the first I have helped, Dmitri Fyodorovitch. You have most likely heard of my cousin, Madame Belmesov. Her husband was ruined, 'had come to grief,' as you characteristically express it, Dmitri Fyodorovitch. I recommended him to take to horse-breeding, and now he's doing well. Have you any idea of horse-breeding, Dmitri Fyodorovitch?" "Not the faintest, madam; ah, madam, not the faintest!" cried Mitya, in nervous impatience, positively starting from his seat. "I simply implore you, madam, to listen to me. Only give me two minutes of free speech that I may just explain to you everything, the whole plan with which I have come. Besides, I am short of time. I'm in a fearful hurry," Mitya cried hysterically, feeling that she was just going to begin talking again, and hoping to cut her short. "I have come in despair ... in the last gasp of despair, to beg you to lend me the sum of three thousand, a loan, but on safe, most safe security, madam, with the most trustworthy guarantees! Only let me explain--" "You must tell me all that afterwards, afterwards!" Madame Hohlakov with a gesture demanded silence in her turn, "and whatever you may tell me, I know it all beforehand; I've told you so already. You ask for a certain sum, for three thousand, but I can give you more, immeasurably more, I will save you, Dmitri Fyodorovitch, but you must listen to me." Mitya started from his seat again. "Madam, will you really be so good!" he cried, with strong feeling. "Good God, you've saved me! You have saved a man from a violent death, from a bullet.... My eternal gratitude--" "I will give you more, infinitely more than three thousand!" cried Madame Hohlakov, looking with a radiant smile at Mitya's ecstasy. "Infinitely? But I don't need so much. I only need that fatal three thousand, and on my part I can give security for that sum with infinite gratitude, and I propose a plan which--" "Enough, Dmitri Fyodorovitch, it's said and done." Madame Hohlakov cut him short, with the modest triumph of beneficence: "I have promised to save you, and I will save you. I will save you as I did Belmesov. What do you think of the gold-mines, Dmitri Fyodorovitch?" "Of the gold-mines, madam? I have never thought anything about them." "But I have thought of them for you. Thought of them over and over again. I have been watching you for the last month. I've watched you a hundred times as you've walked past, saying to myself: That's a man of energy who ought to be at the gold-mines. I've studied your gait and come to the conclusion: that's a man who would find gold." "From my gait, madam?" said Mitya, smiling. "Yes, from your gait. You surely don't deny that character can be told from the gait, Dmitri Fyodorovitch? Science supports the idea. I'm all for science and realism now. After all this business with Father Zossima, which has so upset me, from this very day I'm a realist and I want to devote myself to practical usefulness. I'm cured. 'Enough!' as Turgenev says." "But, madam, the three thousand you so generously promised to lend me--" "It is yours, Dmitri Fyodorovitch," Madame Hohlakov cut in at once. "The money is as good as in your pocket, not three thousand, but three million, Dmitri Fyodorovitch, in less than no time. I'll make you a present of the idea: you shall find gold-mines, make millions, return and become a leading man, and wake us up and lead us to better things. Are we to leave it all to the Jews? You will found institutions and enterprises of all sorts. You will help the poor, and they will bless you. This is the age of railways, Dmitri Fyodorovitch. You'll become famous and indispensable to the Department of Finance, which is so badly off at present. The depreciation of the rouble keeps me awake at night, Dmitri Fyodorovitch; people don't know that side of me--" "Madam, madam!" Dmitri interrupted with an uneasy presentiment. "I shall indeed, perhaps, follow your advice, your wise advice, madam.... I shall perhaps set off ... to the gold-mines.... I'll come and see you again about it ... many times, indeed ... but now, that three thousand you so generously ... oh, that would set me free, and if you could to-day ... you see, I haven't a minute, a minute to lose to-day--" "Enough, Dmitri Fyodorovitch, enough!" Madame Hohlakov interrupted emphatically. "The question is, will you go to the gold-mines or not; have you quite made up your mind? Answer yes or no." "I will go, madam, afterwards.... I'll go where you like ... but now--" "Wait!" cried Madame Hohlakov. And jumping up and running to a handsome bureau with numerous little drawers, she began pulling out one drawer after another, looking for something with desperate haste. "The three thousand," thought Mitya, his heart almost stopping, "and at the instant ... without any papers or formalities ... that's doing things in gentlemanly style! She's a splendid woman, if only she didn't talk so much!" "Here!" cried Madame Hohlakov, running back joyfully to Mitya, "here is what I was looking for!" It was a tiny silver ikon on a cord, such as is sometimes worn next the skin with a cross. "This is from Kiev, Dmitri Fyodorovitch," she went on reverently, "from the relics of the Holy Martyr, Varvara. Let me put it on your neck myself, and with it dedicate you to a new life, to a new career." And she actually put the cord round his neck, and began arranging it. In extreme embarrassment, Mitya bent down and helped her, and at last he got it under his neck-tie and collar through his shirt to his chest. "Now you can set off," Madame Hohlakov pronounced, sitting down triumphantly in her place again. "Madam, I am so touched. I don't know how to thank you, indeed ... for such kindness, but ... If only you knew how precious time is to me.... That sum of money, for which I shall be indebted to your generosity.... Oh, madam, since you are so kind, so touchingly generous to me," Mitya exclaimed impulsively, "then let me reveal to you ... though, of course, you've known it a long time ... that I love somebody here.... I have been false to Katya ... Katerina Ivanovna I should say.... Oh, I've behaved inhumanly, dishonorably to her, but I fell in love here with another woman ... a woman whom you, madam, perhaps, despise, for you know everything already, but whom I cannot leave on any account, and therefore that three thousand now--" "Leave everything, Dmitri Fyodorovitch," Madame Hohlakov interrupted in the most decisive tone. "Leave everything, especially women. Gold-mines are your goal, and there's no place for women there. Afterwards, when you come back rich and famous, you will find the girl of your heart in the highest society. That will be a modern girl, a girl of education and advanced ideas. By that time the dawning woman question will have gained ground, and the new woman will have appeared." "Madam, that's not the point, not at all...." Mitya clasped his hands in entreaty. "Yes, it is, Dmitri Fyodorovitch, just what you need; the very thing you're yearning for, though you don't realize it yourself. I am not at all opposed to the present woman movement, Dmitri Fyodorovitch. The development of woman, and even the political emancipation of woman in the near future--that's my ideal. I've a daughter myself, Dmitri Fyodorovitch, people don't know that side of me. I wrote a letter to the author, Shtchedrin, on that subject. He has taught me so much, so much about the vocation of woman. So last year I sent him an anonymous letter of two lines: 'I kiss and embrace you, my teacher, for the modern woman. Persevere.' And I signed myself, 'A Mother.' I thought of signing myself 'A contemporary Mother,' and hesitated, but I stuck to the simple 'Mother'; there's more moral beauty in that, Dmitri Fyodorovitch. And the word 'contemporary' might have reminded him of '_The Contemporary_'--a painful recollection owing to the censorship.... Good Heavens, what is the matter!" "Madam!" cried Mitya, jumping up at last, clasping his hands before her in helpless entreaty. "You will make me weep if you delay what you have so generously--" "Oh, do weep, Dmitri Fyodorovitch, do weep! That's a noble feeling ... such a path lies open before you! Tears will ease your heart, and later on you will return rejoicing. You will hasten to me from Siberia on purpose to share your joy with me--" "But allow me, too!" Mitya cried suddenly. "For the last time I entreat you, tell me, can I have the sum you promised me to-day, if not, when may I come for it?" "What sum, Dmitri Fyodorovitch?" "The three thousand you promised me ... that you so generously--" "Three thousand? Roubles? Oh, no, I haven't got three thousand," Madame Hohlakov announced with serene amazement. Mitya was stupefied. "Why, you said just now ... you said ... you said it was as good as in my hands--" "Oh, no, you misunderstood me, Dmitri Fyodorovitch. In that case you misunderstood me. I was talking of the gold-mines. It's true I promised you more, infinitely more than three thousand, I remember it all now, but I was referring to the gold-mines." "But the money? The three thousand?" Mitya exclaimed, awkwardly. "Oh, if you meant money, I haven't any. I haven't a penny, Dmitri Fyodorovitch. I'm quarreling with my steward about it, and I've just borrowed five hundred roubles from Miuesov, myself. No, no, I've no money. And, do you know, Dmitri Fyodorovitch, if I had, I wouldn't give it to you. In the first place I never lend money. Lending money means losing friends. And I wouldn't give it to you particularly. I wouldn't give it you, because I like you and want to save you, for all you need is the gold-mines, the gold-mines, the gold-mines!" "Oh, the devil!" roared Mitya, and with all his might brought his fist down on the table. "Aie! Aie!" cried Madame Hohlakov, alarmed, and she flew to the other end of the drawing-room. Mitya spat on the ground, and strode rapidly out of the room, out of the house, into the street, into the darkness! He walked like one possessed, and beating himself on the breast, on the spot where he had struck himself two days previously, before Alyosha, the last time he saw him in the dark, on the road. What those blows upon his breast signified, _on that spot_, and what he meant by it--that was, for the time, a secret which was known to no one in the world, and had not been told even to Alyosha. But that secret meant for him more than disgrace; it meant ruin, suicide. So he had determined, if he did not get hold of the three thousand that would pay his debt to Katerina Ivanovna, and so remove from his breast, from _that spot on his breast_, the shame he carried upon it, that weighed on his conscience. All this will be fully explained to the reader later on, but now that his last hope had vanished, this man, so strong in appearance, burst out crying like a little child a few steps from the Hohlakovs' house. He walked on, and not knowing what he was doing, wiped away his tears with his fist. In this way he reached the square, and suddenly became aware that he had stumbled against something. He heard a piercing wail from an old woman whom he had almost knocked down. "Good Lord, you've nearly killed me! Why don't you look where you're going, scapegrace?" "Why, it's you!" cried Mitya, recognizing the old woman in the dark. It was the old servant who waited on Samsonov, whom Mitya had particularly noticed the day before. "And who are you, my good sir?" said the old woman, in quite a different voice. "I don't know you in the dark." "You live at Kuzma Kuzmitch's. You're the servant there?" "Just so, sir, I was only running out to Prohoritch's.... But I don't know you now." "Tell me, my good woman, is Agrafena Alexandrovna there now?" said Mitya, beside himself with suspense. "I saw her to the house some time ago." "She has been there, sir. She stayed a little while, and went off again." "What? Went away?" cried Mitya. "When did she go?" "Why, as soon as she came. She only stayed a minute. She only told Kuzma Kuzmitch a tale that made him laugh, and then she ran away." "You're lying, damn you!" roared Mitya. "Aie! Aie!" shrieked the old woman, but Mitya had vanished. He ran with all his might to the house where Grushenka lived. At the moment he reached it, Grushenka was on her way to Mokroe. It was not more than a quarter of an hour after her departure. Fenya was sitting with her grandmother, the old cook, Matryona, in the kitchen when "the captain" ran in. Fenya uttered a piercing shriek on seeing him. "You scream?" roared Mitya, "where is she?" But without giving the terror-stricken Fenya time to utter a word, he fell all of a heap at her feet. "Fenya, for Christ's sake, tell me, where is she?" "I don't know. Dmitri Fyodorovitch, my dear, I don't know. You may kill me but I can't tell you." Fenya swore and protested. "You went out with her yourself not long ago--" "She came back!" "Indeed she didn't. By God I swear she didn't come back." "You're lying!" shouted Mitya. "From your terror I know where she is." He rushed away. Fenya in her fright was glad she had got off so easily. But she knew very well that it was only that he was in such haste, or she might not have fared so well. But as he ran, he surprised both Fenya and old Matryona by an unexpected action. On the table stood a brass mortar, with a pestle in it, a small brass pestle, not much more than six inches long. Mitya already had opened the door with one hand when, with the other, he snatched up the pestle, and thrust it in his side-pocket. "Oh, Lord! He's going to murder some one!" cried Fenya, flinging up her hands. Chapter IV. In The Dark Where was he running? "Where could she be except at Fyodor Pavlovitch's? She must have run straight to him from Samsonov's, that was clear now. The whole intrigue, the whole deceit was evident." ... It all rushed whirling through his mind. He did not run to Marya Kondratyevna's. "There was no need to go there ... not the slightest need ... he must raise no alarm ... they would run and tell directly.... Marya Kondratyevna was clearly in the plot, Smerdyakov too, he too, all had been bought over!" He formed another plan of action: he ran a long way round Fyodor Pavlovitch's house, crossing the lane, running down Dmitrovsky Street, then over the little bridge, and so came straight to the deserted alley at the back, which was empty and uninhabited, with, on one side the hurdle fence of a neighbor's kitchen-garden, on the other the strong high fence, that ran all round Fyodor Pavlovitch's garden. Here he chose a spot, apparently the very place, where according to the tradition, he knew Lizaveta had once climbed over it: "If she could climb over it," the thought, God knows why, occurred to him, "surely I can." He did in fact jump up, and instantly contrived to catch hold of the top of the fence. Then he vigorously pulled himself up and sat astride on it. Close by, in the garden stood the bath-house, but from the fence he could see the lighted windows of the house too. "Yes, the old man's bedroom is lighted up. She's there!" and he leapt from the fence into the garden. Though he knew Grigory was ill and very likely Smerdyakov, too, and that there was no one to hear him, he instinctively hid himself, stood still, and began to listen. But there was dead silence on all sides and, as though of design, complete stillness, not the slightest breath of wind. "And naught but the whispering silence," the line for some reason rose to his mind. "If only no one heard me jump over the fence! I think not." Standing still for a minute, he walked softly over the grass in the garden, avoiding the trees and shrubs. He walked slowly, creeping stealthily at every step, listening to his own footsteps. It took him five minutes to reach the lighted window. He remembered that just under the window there were several thick and high bushes of elder and whitebeam. The door from the house into the garden on the left-hand side, was shut; he had carefully looked on purpose to see, in passing. At last he reached the bushes and hid behind them. He held his breath. "I must wait now," he thought, "to reassure them, in case they heard my footsteps and are listening ... if only I don't cough or sneeze." He waited two minutes. His heart was beating violently, and, at moments, he could scarcely breathe. "No, this throbbing at my heart won't stop," he thought. "I can't wait any longer." He was standing behind a bush in the shadow. The light of the window fell on the front part of the bush. "How red the whitebeam berries are!" he murmured, not knowing why. Softly and noiselessly, step by step, he approached the window, and raised himself on tiptoe. All Fyodor Pavlovitch's bedroom lay open before him. It was not a large room, and was divided in two parts by a red screen, "Chinese," as Fyodor Pavlovitch used to call it. The word "Chinese" flashed into Mitya's mind, "and behind the screen, is Grushenka," thought Mitya. He began watching Fyodor Pavlovitch, who was wearing his new striped-silk dressing-gown, which Mitya had never seen, and a silk cord with tassels round the waist. A clean, dandified shirt of fine linen with gold studs peeped out under the collar of the dressing-gown. On his head Fyodor Pavlovitch had the same red bandage which Alyosha had seen. "He has got himself up," thought Mitya. His father was standing near the window, apparently lost in thought. Suddenly he jerked up his head, listened a moment, and hearing nothing went up to the table, poured out half a glass of brandy from a decanter and drank it off. Then he uttered a deep sigh, again stood still a moment, walked carelessly up to the looking-glass on the wall, with his right hand raised the red bandage on his forehead a little, and began examining his bruises and scars, which had not yet disappeared. "He's alone," thought Mitya, "in all probability he's alone." Fyodor Pavlovitch moved away from the looking-glass, turned suddenly to the window and looked out. Mitya instantly slipped away into the shadow. "She may be there behind the screen. Perhaps she's asleep by now," he thought, with a pang at his heart. Fyodor Pavlovitch moved away from the window. "He's looking for her out of the window, so she's not there. Why should he stare out into the dark? He's wild with impatience." ... Mitya slipped back at once, and fell to gazing in at the window again. The old man was sitting down at the table, apparently disappointed. At last he put his elbow on the table, and laid his right cheek against his hand. Mitya watched him eagerly. "He's alone, he's alone!" he repeated again. "If she were here, his face would be different." Strange to say, a queer, irrational vexation rose up in his heart that she was not here. "It's not that she's not here," he explained to himself, immediately, "but that I can't tell for certain whether she is or not." Mitya remembered afterwards that his mind was at that moment exceptionally clear, that he took in everything to the slightest detail, and missed no point. But a feeling of misery, the misery of uncertainty and indecision, was growing in his heart with every instant. "Is she here or not?" The angry doubt filled his heart, and suddenly, making up his mind, he put out his hand and softly knocked on the window frame. He knocked the signal the old man had agreed upon with Smerdyakov, twice slowly and then three times more quickly, the signal that meant "Grushenka is here!" The old man started, jerked up his head, and, jumping up quickly, ran to the window. Mitya slipped away into the shadow. Fyodor Pavlovitch opened the window and thrust his whole head out. "Grushenka, is it you? Is it you?" he said, in a sort of trembling half- whisper. "Where are you, my angel, where are you?" He was fearfully agitated and breathless. "He's alone." Mitya decided. "Where are you?" cried the old man again; and he thrust his head out farther, thrust it out to the shoulders, gazing in all directions, right and left. "Come here, I've a little present for you. Come, I'll show you...." "He means the three thousand," thought Mitya. "But where are you? Are you at the door? I'll open it directly." And the old man almost climbed out of the window, peering out to the right, where there was a door into the garden, trying to see into the darkness. In another second he would certainly have run out to open the door without waiting for Grushenka's answer. Mitya looked at him from the side without stirring. The old man's profile that he loathed so, his pendent Adam's apple, his hooked nose, his lips that smiled in greedy expectation, were all brightly lighted up by the slanting lamplight falling on the left from the room. A horrible fury of hatred suddenly surged up in Mitya's heart: "There he was, his rival, the man who had tormented him, had ruined his life!" It was a rush of that sudden, furious, revengeful anger of which he had spoken, as though foreseeing it, to Alyosha, four days ago in the arbor, when, in answer to Alyosha's question, "How can you say you'll kill our father?" "I don't know, I don't know," he had said then. "Perhaps I shall not kill him, perhaps I shall. I'm afraid he'll suddenly be so loathsome to me at that moment. I hate his double chin, his nose, his eyes, his shameless grin. I feel a personal repulsion. That's what I'm afraid of, that's what may be too much for me." ... This personal repulsion was growing unendurable. Mitya was beside himself, he suddenly pulled the brass pestle out of his pocket. ------------------------------------- "God was watching over me then," Mitya himself said afterwards. At that very moment Grigory waked up on his bed of sickness. Earlier in the evening he had undergone the treatment which Smerdyakov had described to Ivan. He had rubbed himself all over with vodka mixed with a secret, very strong decoction, had drunk what was left of the mixture while his wife repeated a "certain prayer" over him, after which he had gone to bed. Marfa Ignatyevna had tasted the stuff, too, and, being unused to strong drink, slept like the dead beside her husband. But Grigory waked up in the night, quite suddenly, and, after a moment's reflection, though he immediately felt a sharp pain in his back, he sat up in bed. Then he deliberated again, got up and dressed hurriedly. Perhaps his conscience was uneasy at the thought of sleeping while the house was unguarded "in such perilous times." Smerdyakov, exhausted by his fit, lay motionless in the next room. Marfa Ignatyevna did not stir. "The stuff's been too much for the woman," Grigory thought, glancing at her, and groaning, he went out on the steps. No doubt he only intended to look out from the steps, for he was hardly able to walk, the pain in his back and his right leg was intolerable. But he suddenly remembered that he had not locked the little gate into the garden that evening. He was the most punctual and precise of men, a man who adhered to an unchangeable routine, and habits that lasted for years. Limping and writhing with pain he went down the steps and towards the garden. Yes, the gate stood wide open. Mechanically he stepped into the garden. Perhaps he fancied something, perhaps caught some sound, and, glancing to the left he saw his master's window open. No one was looking out of it then. "What's it open for? It's not summer now," thought Grigory, and suddenly, at that very instant he caught a glimpse of something extraordinary before him in the garden. Forty paces in front of him a man seemed to be running in the dark, a sort of shadow was moving very fast. "Good Lord!" cried Grigory beside himself, and forgetting the pain in his back, he hurried to intercept the running figure. He took a short cut, evidently he knew the garden better; the flying figure went towards the bath-house, ran behind it and rushed to the garden fence. Grigory followed, not losing sight of him, and ran, forgetting everything. He reached the fence at the very moment the man was climbing over it. Grigory cried out, beside himself, pounced on him, and clutched his leg in his two hands. Yes, his foreboding had not deceived him. He recognized him, it was he, the "monster," the "parricide." "Parricide!" the old man shouted so that the whole neighborhood could hear, but he had not time to shout more, he fell at once, as though struck by lightning. Mitya jumped back into the garden and bent over the fallen man. In Mitya's hands was a brass pestle, and he flung it mechanically in the grass. The pestle fell two paces from Grigory, not in the grass but on the path, in a most conspicuous place. For some seconds he examined the prostrate figure before him. The old man's head was covered with blood. Mitya put out his hand and began feeling it. He remembered afterwards clearly, that he had been awfully anxious to make sure whether he had broken the old man's skull, or simply stunned him with the pestle. But the blood was flowing horribly; and in a moment Mitya's fingers were drenched with the hot stream. He remembered taking out of his pocket the clean white handkerchief with which he had provided himself for his visit to Madame Hohlakov, and putting it to the old man's head, senselessly trying to wipe the blood from his face and temples. But the handkerchief was instantly soaked with blood. "Good heavens! what am I doing it for?" thought Mitya, suddenly pulling himself together. "If I have broken his skull, how can I find out now? And what difference does it make now?" he added, hopelessly. "If I've killed him, I've killed him.... You've come to grief, old man, so there you must lie!" he said aloud. And suddenly turning to the fence, he vaulted over it into the lane and fell to running--the handkerchief soaked with blood he held, crushed up in his right fist, and as he ran he thrust it into the back pocket of his coat. He ran headlong, and the few passers-by who met him in the dark, in the streets, remembered afterwards that they had met a man running that night. He flew back again to the widow Morozov's house. Immediately after he had left it that evening, Fenya had rushed to the chief porter, Nazar Ivanovitch, and besought him, for Christ's sake, "not to let the captain in again to-day or to-morrow." Nazar Ivanovitch promised, but went upstairs to his mistress who had suddenly sent for him, and meeting his nephew, a boy of twenty, who had recently come from the country, on the way up told him to take his place, but forgot to mention "the captain." Mitya, running up to the gate, knocked. The lad instantly recognized him, for Mitya had more than once tipped him. Opening the gate at once, he let him in, and hastened to inform him with a good-humored smile that "Agrafena Alexandrovna is not at home now, you know." "Where is she then, Prohor?" asked Mitya, stopping short. "She set off this evening, some two hours ago, with Timofey, to Mokroe." "What for?" cried Mitya. "That I can't say. To see some officer. Some one invited her and horses were sent to fetch her." Mitya left him, and ran like a madman to Fenya. Chapter V. A Sudden Resolution She was sitting in the kitchen with her grandmother; they were both just going to bed. Relying on Nazar Ivanovitch, they had not locked themselves in. Mitya ran in, pounced on Fenya and seized her by the throat. "Speak at once! Where is she? With whom is she now, at Mokroe?" he roared furiously. Both the women squealed. "Aie! I'll tell you. Aie! Dmitri Fyodorovitch, darling, I'll tell you everything directly, I won't hide anything," gabbled Fenya, frightened to death; "she's gone to Mokroe, to her officer." "What officer?" roared Mitya. "To her officer, the same one she used to know, the one who threw her over five years ago," cackled Fenya, as fast as she could speak. Mitya withdrew the hands with which he was squeezing her throat. He stood facing her, pale as death, unable to utter a word, but his eyes showed that he realized it all, all, from the first word, and guessed the whole position. Poor Fenya was not in a condition at that moment to observe whether he understood or not. She remained sitting on the trunk as she had been when he ran into the room, trembling all over, holding her hands out before her as though trying to defend herself. She seemed to have grown rigid in that position. Her wide-opened, scared eyes were fixed immovably upon him. And to make matters worse, both his hands were smeared with blood. On the way, as he ran, he must have touched his forehead with them, wiping off the perspiration, so that on his forehead and his right cheek were blood-stained patches. Fenya was on the verge of hysterics. The old cook had jumped up and was staring at him like a mad woman, almost unconscious with terror. Mitya stood for a moment, then mechanically sank on to a chair next to Fenya. He sat, not reflecting but, as it were, terror-stricken, benumbed. Yet everything was clear as day: that officer, he knew about him, he knew everything perfectly, he had known it from Grushenka herself, had known that a letter had come from him a month before. So that for a month, for a whole month, this had been going on, a secret from him, till the very arrival of this new man, and he had never thought of him! But how could he, how could he not have thought of him? Why was it he had forgotten this officer, like that, forgotten him as soon as he heard of him? That was the question that faced him like some monstrous thing. And he looked at this monstrous thing with horror, growing cold with horror. But suddenly, as gently and mildly as a gentle and affectionate child, he began speaking to Fenya as though he had utterly forgotten how he had scared and hurt her just now. He fell to questioning Fenya with an extreme preciseness, astonishing in his position, and though the girl looked wildly at his blood-stained hands, she, too, with wonderful readiness and rapidity, answered every question as though eager to put the whole truth and nothing but the truth before him. Little by little, even with a sort of enjoyment, she began explaining every detail, not wanting to torment him, but, as it were, eager to be of the utmost service to him. She described the whole of that day, in great detail, the visit of Rakitin and Alyosha, how she, Fenya, had stood on the watch, how the mistress had set off, and how she had called out of the window to Alyosha to give him, Mitya, her greetings, and to tell him "to remember for ever how she had loved him for an hour." Hearing of the message, Mitya suddenly smiled, and there was a flush of color on his pale cheeks. At the same moment Fenya said to him, not a bit afraid now to be inquisitive: "Look at your hands, Dmitri Fyodorovitch. They're all over blood!" "Yes," answered Mitya mechanically. He looked carelessly at his hands and at once forgot them and Fenya's question. He sank into silence again. Twenty minutes had passed since he had run in. His first horror was over, but evidently some new fixed determination had taken possession of him. He suddenly stood up, smiling dreamily. "What has happened to you, sir?" said Fenya, pointing to his hands again. She spoke compassionately, as though she felt very near to him now in his grief. Mitya looked at his hands again. "That's blood, Fenya," he said, looking at her with a strange expression. "That's human blood, and my God! why was it shed? But ... Fenya ... there's a fence here" (he looked at her as though setting her a riddle), "a high fence, and terrible to look at. But at dawn to-morrow, when the sun rises, Mitya will leap over that fence.... You don't understand what fence, Fenya, and, never mind.... You'll hear to-morrow and understand ... and now, good-by. I won't stand in her way. I'll step aside, I know how to step aside. Live, my joy.... You loved me for an hour, remember Mityenka Karamazov so for ever.... She always used to call me Mityenka, do you remember?" And with those words he went suddenly out of the kitchen. Fenya was almost more frightened at this sudden departure than she had been when he ran in and attacked her. Just ten minutes later Dmitri went in to Pyotr Ilyitch Perhotin, the young official with whom he had pawned his pistols. It was by now half-past eight, and Pyotr Ilyitch had finished his evening tea, and had just put his coat on again to go to the "Metropolis" to play billiards. Mitya caught him coming out. Seeing him with his face all smeared with blood, the young man uttered a cry of surprise. "Good heavens! What is the matter?" "I've come for my pistols," said Mitya, "and brought you the money. And thanks very much. I'm in a hurry, Pyotr Ilyitch, please make haste." Pyotr Ilyitch grew more and more surprised; he suddenly caught sight of a bundle of bank-notes in Mitya's hand, and what was more, he had walked in holding the notes as no one walks in and no one carries money: he had them in his right hand, and held them outstretched as if to show them. Perhotin's servant-boy, who met Mitya in the passage, said afterwards that he walked into the passage in the same way, with the money outstretched in his hand, so he must have been carrying them like that even in the streets. They were all rainbow-colored hundred-rouble notes, and the fingers holding them were covered with blood. When Pyotr Ilyitch was questioned later on as to the sum of money, he said that it was difficult to judge at a glance, but that it might have been two thousand, or perhaps three, but it was a big, "fat" bundle. "Dmitri Fyodorovitch," so he testified afterwards, "seemed unlike himself, too; not drunk, but, as it were, exalted, lost to everything, but at the same time, as it were, absorbed, as though pondering and searching for something and unable to come to a decision. He was in great haste, answered abruptly and very strangely, and at moments seemed not at all dejected but quite cheerful." "But what _is_ the matter with you? What's wrong?" cried Pyotr Ilyitch, looking wildly at his guest. "How is it that you're all covered with blood? Have you had a fall? Look at yourself!" He took him by the elbow and led him to the glass. Seeing his blood-stained face, Mitya started and scowled wrathfully. "Damnation! That's the last straw," he muttered angrily, hurriedly changing the notes from his right hand to the left, and impulsively jerked the handkerchief out of his pocket. But the handkerchief turned out to be soaked with blood, too (it was the handkerchief he had used to wipe Grigory's face). There was scarcely a white spot on it, and it had not merely begun to dry, but had stiffened into a crumpled ball and could not be pulled apart. Mitya threw it angrily on the floor. "Oh, damn it!" he said. "Haven't you a rag of some sort ... to wipe my face?" "So you're only stained, not wounded? You'd better wash," said Pyotr Ilyitch. "Here's a wash-stand. I'll pour you out some water." "A wash-stand? That's all right ... but where am I to put this?" With the strangest perplexity he indicated his bundle of hundred-rouble notes, looking inquiringly at Pyotr Ilyitch as though it were for him to decide what he, Mitya, was to do with his own money. "In your pocket, or on the table here. They won't be lost." "In my pocket? Yes, in my pocket. All right.... But, I say, that's all nonsense," he cried, as though suddenly coming out of his absorption. "Look here, let's first settle that business of the pistols. Give them back to me. Here's your money ... because I am in great need of them ... and I haven't a minute, a minute to spare." And taking the topmost note from the bundle he held it out to Pyotr Ilyitch. "But I shan't have change enough. Haven't you less?" "No," said Mitya, looking again at the bundle, and as though not trusting his own words he turned over two or three of the topmost ones. "No, they're all alike," he added, and again he looked inquiringly at Pyotr Ilyitch. "How have you grown so rich?" the latter asked. "Wait, I'll send my boy to Plotnikov's, they close late--to see if they won't change it. Here, Misha!" he called into the passage. "To Plotnikov's shop--first-rate!" cried Mitya, as though struck by an idea. "Misha," he turned to the boy as he came in, "look here, run to Plotnikov's and tell them that Dmitri Fyodorovitch sends his greetings, and will be there directly.... But listen, listen, tell them to have champagne, three dozen bottles, ready before I come, and packed as it was to take to Mokroe. I took four dozen with me then," he added (suddenly addressing Pyotr Ilyitch); "they know all about it, don't you trouble, Misha," he turned again to the boy. "Stay, listen; tell them to put in cheese, Strasburg pies, smoked fish, ham, caviare, and everything, everything they've got, up to a hundred roubles, or a hundred and twenty as before.... But wait: don't let them forget dessert, sweets, pears, water-melons, two or three or four--no, one melon's enough, and chocolate, candy, toffee, fondants; in fact, everything I took to Mokroe before, three hundred roubles' worth with the champagne ... let it be just the same again. And remember, Misha, if you are called Misha--His name is Misha, isn't it?" He turned to Pyotr Ilyitch again. "Wait a minute," Protr Ilyitch intervened, listening and watching him uneasily, "you'd better go yourself and tell them. He'll muddle it." "He will, I see he will! Eh, Misha! Why, I was going to kiss you for the commission.... If you don't make a mistake, there's ten roubles for you, run along, make haste.... Champagne's the chief thing, let them bring up champagne. And brandy, too, and red and white wine, and all I had then.... They know what I had then." "But listen!" Pyotr Ilyitch interrupted with some impatience. "I say, let him simply run and change the money and tell them not to close, and you go and tell them.... Give him your note. Be off, Misha! Put your best leg forward!" Pyotr Ilyitch seemed to hurry Misha off on purpose, because the boy remained standing with his mouth and eyes wide open, apparently understanding little of Mitya's orders, gazing up with amazement and terror at his blood-stained face and the trembling bloodstained fingers that held the notes. "Well, now come and wash," said Pyotr Ilyitch sternly. "Put the money on the table or else in your pocket.... That's right, come along. But take off your coat." And beginning to help him off with his coat, he cried out again: "Look, your coat's covered with blood, too!" "That ... it's not the coat. It's only a little here on the sleeve.... And that's only here where the handkerchief lay. It must have soaked through. I must have sat on the handkerchief at Fenya's, and the blood's come through," Mitya explained at once with a childlike unconsciousness that was astounding. Pyotr Ilyitch listened, frowning. "Well, you must have been up to something; you must have been fighting with some one," he muttered. They began to wash. Pyotr Ilyitch held the jug and poured out the water. Mitya, in desperate haste, scarcely soaped his hands (they were trembling, and Pyotr Ilyitch remembered it afterwards). But the young official insisted on his soaping them thoroughly and rubbing them more. He seemed to exercise more and more sway over Mitya, as time went on. It may be noted in passing that he was a young man of sturdy character. "Look, you haven't got your nails clean. Now rub your face; here, on your temples, by your ear.... Will you go in that shirt? Where are you going? Look, all the cuff of your right sleeve is covered with blood." "Yes, it's all bloody," observed Mitya, looking at the cuff of his shirt. "Then change your shirt." "I haven't time. You see I'll ..." Mitya went on with the same confiding ingenuousness, drying his face and hands on the towel, and putting on his coat. "I'll turn it up at the wrist. It won't be seen under the coat.... You see!" "Tell me now, what game have you been up to? Have you been fighting with some one? In the tavern again, as before? Have you been beating that captain again?" Pyotr Ilyitch asked him reproachfully. "Whom have you been beating now ... or killing, perhaps?" "Nonsense!" said Mitya. "Why 'nonsense'?" "Don't worry," said Mitya, and he suddenly laughed. "I smashed an old woman in the market-place just now." "Smashed? An old woman?" "An old man!" cried Mitya, looking Pyotr Ilyitch straight in the face, laughing, and shouting at him as though he were deaf. "Confound it! An old woman, an old man.... Have you killed some one?" "We made it up. We had a row--and made it up. In a place I know of. We parted friends. A fool.... He's forgiven me.... He's sure to have forgiven me by now ... if he had got up, he wouldn't have forgiven me"--Mitya suddenly winked--"only damn him, you know, I say, Pyotr Ilyitch, damn him! Don't worry about him! I don't want to just now!" Mitya snapped out, resolutely. "Whatever do you want to go picking quarrels with every one for? ... Just as you did with that captain over some nonsense.... You've been fighting and now you're rushing off on the spree--that's you all over! Three dozen champagne--what do you want all that for?" "Bravo! Now give me the pistols. Upon my honor I've no time now. I should like to have a chat with you, my dear boy, but I haven't the time. And there's no need, it's too late for talking. Where's my money? Where have I put it?" he cried, thrusting his hands into his pockets. "You put it on the table ... yourself.... Here it is. Had you forgotten? Money's like dirt or water to you, it seems. Here are your pistols. It's an odd thing, at six o'clock you pledged them for ten roubles, and now you've got thousands. Two or three I should say." "Three, you bet," laughed Mitya, stuffing the notes into the side-pocket of his trousers. "You'll lose it like that. Have you found a gold-mine?" "The mines? The gold-mines?" Mitya shouted at the top of his voice and went off into a roar of laughter. "Would you like to go to the mines, Perhotin? There's a lady here who'll stump up three thousand for you, if only you'll go. She did it for me, she's so awfully fond of gold-mines. Do you know Madame Hohlakov?" "I don't know her, but I've heard of her and seen her. Did she really give you three thousand? Did she really?" said Pyotr Ilyitch, eyeing him dubiously. "As soon as the sun rises to-morrow, as soon as Phoebus, ever young, flies upwards, praising and glorifying God, you go to her, this Madame Hohlakov, and ask her whether she did stump up that three thousand or not. Try and find out." "I don't know on what terms you are ... since you say it so positively, I suppose she did give it to you. You've got the money in your hand, but instead of going to Siberia you're spending it all.... Where are you really off to now, eh?" "To Mokroe." "To Mokroe? But it's night!" "Once the lad had all, now the lad has naught," cried Mitya suddenly. "How 'naught'? You say that with all those thousands!" "I'm not talking about thousands. Damn thousands! I'm talking of the female character. Fickle is the heart of woman Treacherous and full of vice; I agree with Ulysses. That's what he says." "I don't understand you!" "Am I drunk?" "Not drunk, but worse." "I'm drunk in spirit, Pyotr Ilyitch, drunk in spirit! But that's enough!" "What are you doing, loading the pistol?" "I'm loading the pistol." Unfastening the pistol-case, Mitya actually opened the powder horn, and carefully sprinkled and rammed in the charge. Then he took the bullet and, before inserting it, held it in two fingers in front of the candle. "Why are you looking at the bullet?" asked Pyotr Ilyitch, watching him with uneasy curiosity. "Oh, a fancy. Why, if you meant to put that bullet in your brain, would you look at it or not?" "Why look at it?" "It's going into my brain, so it's interesting to look and see what it's like. But that's foolishness, a moment's foolishness. Now that's done," he added, putting in the bullet and driving it home with the ramrod. "Pyotr Ilyitch, my dear fellow, that's nonsense, all nonsense, and if only you knew what nonsense! Give me a little piece of paper now." "Here's some paper." "No, a clean new piece, writing-paper. That's right." And taking a pen from the table, Mitya rapidly wrote two lines, folded the paper in four, and thrust it in his waistcoat pocket. He put the pistols in the case, locked it up, and kept it in his hand. Then he looked at Pyotr Ilyitch with a slow, thoughtful smile. "Now, let's go." "Where are we going? No, wait a minute.... Are you thinking of putting that bullet in your brain, perhaps?" Pyotr Ilyitch asked uneasily. "I was fooling about the bullet! I want to live. I love life! You may be sure of that. I love golden-haired Phoebus and his warm light.... Dear Pyotr Ilyitch, do you know how to step aside?" "What do you mean by 'stepping aside'?" "Making way. Making way for a dear creature, and for one I hate. And to let the one I hate become dear--that's what making way means! And to say to them: God bless you, go your way, pass on, while I--" "While you--?" "That's enough, let's go." "Upon my word. I'll tell some one to prevent your going there," said Pyotr Ilyitch, looking at him. "What are you going to Mokroe for, now?" "There's a woman there, a woman. That's enough for you. You shut up." "Listen, though you're such a savage I've always liked you.... I feel anxious." "Thanks, old fellow. I'm a savage you say. Savages, savages! That's what I am always saying. Savages! Why, here's Misha! I was forgetting him." Misha ran in, post-haste, with a handful of notes in change, and reported that every one was in a bustle at the Plotnikovs'; "They're carrying down the bottles, and the fish, and the tea; it will all be ready directly." Mitya seized ten roubles and handed it to Pyotr Ilyitch, then tossed another ten-rouble note to Misha. "Don't dare to do such a thing!" cried Pyotr Ilyitch. "I won't have it in my house, it's a bad, demoralizing habit. Put your money away. Here, put it here, why waste it? It would come in handy to-morrow, and I dare say you'll be coming to me to borrow ten roubles again. Why do you keep putting the notes in your side-pocket? Ah, you'll lose them!" "I say, my dear fellow, let's go to Mokroe together." "What should I go for?" "I say, let's open a bottle at once, and drink to life! I want to drink, and especially to drink with you. I've never drunk with you, have I?" "Very well, we can go to the 'Metropolis.' I was just going there." "I haven't time for that. Let's drink at the Plotnikovs', in the back room. Shall I ask you a riddle?" "Ask away." Mitya took the piece of paper out of his waistcoat pocket, unfolded it and showed it. In a large, distinct hand was written: "I punish myself for my whole life, my whole life I punish!" "I will certainly speak to some one, I'll go at once," said Pyotr Ilyitch, after reading the paper. "You won't have time, dear boy, come and have a drink. March!" Plotnikov's shop was at the corner of the street, next door but one to Pyotr Ilyitch's. It was the largest grocery shop in our town, and by no means a bad one, belonging to some rich merchants. They kept everything that could be got in a Petersburg shop, grocery of all sort, wines "bottled by the brothers Eliseyev," fruits, cigars, tea, coffee, sugar, and so on. There were three shop-assistants and two errand boys always employed. Though our part of the country had grown poorer, the landowners had gone away, and trade had got worse, yet the grocery stores flourished as before, every year with increasing prosperity; there were plenty of purchasers for their goods. They were awaiting Mitya with impatience in the shop. They had vivid recollections of how he had bought, three or four weeks ago, wine and goods of all sorts to the value of several hundred roubles, paid for in cash (they would never have let him have anything on credit, of course). They remembered that then, as now, he had had a bundle of hundred-rouble notes in his hand, and had scattered them at random, without bargaining, without reflecting, or caring to reflect what use so much wine and provisions would be to him. The story was told all over the town that, driving off then with Grushenka to Mokroe, he had "spent three thousand in one night and the following day, and had come back from the spree without a penny." He had picked up a whole troop of gypsies (encamped in our neighborhood at the time), who for two days got money without stint out of him while he was drunk, and drank expensive wine without stint. People used to tell, laughing at Mitya, how he had given champagne to grimy- handed peasants, and feasted the village women and girls on sweets and Strasburg pies. Though to laugh at Mitya to his face was rather a risky proceeding, there was much laughter behind his back, especially in the tavern, at his own ingenuous public avowal that all he had got out of Grushenka by this "escapade" was "permission to kiss her foot, and that was the utmost she had allowed him." By the time Mitya and Pyotr Ilyitch reached the shop, they found a cart with three horses harnessed abreast with bells, and with Andrey, the driver, ready waiting for Mitya at the entrance. In the shop they had almost entirely finished packing one box of provisions, and were only waiting for Mitya's arrival to nail it down and put it in the cart. Pyotr Ilyitch was astounded. "Where did this cart come from in such a hurry?" he asked Mitya. "I met Andrey as I ran to you, and told him to drive straight here to the shop. There's no time to lose. Last time I drove with Timofey, but Timofey now has gone on before me with the witch. Shall we be very late, Andrey?" "They'll only get there an hour at most before us, not even that maybe. I got Timofey ready to start. I know how he'll go. Their pace won't be ours, Dmitri Fyodorovitch. How could it be? They won't get there an hour earlier!" Andrey, a lanky, red-haired, middle-aged driver, wearing a full- skirted coat, and with a kaftan on his arm, replied warmly. "Fifty roubles for vodka if we're only an hour behind them." "I warrant the time, Dmitri Fyodorovitch. Ech, they won't be half an hour before us, let alone an hour." Though Mitya bustled about seeing after things, he gave his orders strangely, as it were disconnectedly, and inconsecutively. He began a sentence and forgot the end of it. Pyotr Ilyitch found himself obliged to come to the rescue. "Four hundred roubles' worth, not less than four hundred roubles' worth, just as it was then," commanded Mitya. "Four dozen champagne, not a bottle less." "What do you want with so much? What's it for? Stay!" cried Pyotr Ilyitch. "What's this box? What's in it? Surely there isn't four hundred roubles' worth here?" The officious shopmen began explaining with oily politeness that the first box contained only half a dozen bottles of champagne, and only "the most indispensable articles," such as savories, sweets, toffee, etc. But the main part of the goods ordered would be packed and sent off, as on the previous occasion, in a special cart also with three horses traveling at full speed, so that it would arrive not more than an hour later than Dmitri Fyodorovitch himself. "Not more than an hour! Not more than an hour! And put in more toffee and fondants. The girls there are so fond of it," Mitya insisted hotly. "The fondants are all right. But what do you want with four dozen of champagne? One would be enough," said Pyotr Ilyitch, almost angry. He began bargaining, asking for a bill of the goods, and refused to be satisfied. But he only succeeded in saving a hundred roubles. In the end it was agreed that only three hundred roubles' worth should be sent. "Well, you may go to the devil!" cried Pyotr Ilyitch, on second thoughts. "What's it to do with me? Throw away your money, since it's cost you nothing." "This way, my economist, this way, don't be angry." Mitya drew him into a room at the back of the shop. "They'll give us a bottle here directly. We'll taste it. Ech, Pyotr Ilyitch, come along with me, for you're a nice fellow, the sort I like." Mitya sat down on a wicker chair, before a little table, covered with a dirty dinner-napkin. Pyotr Ilyitch sat down opposite, and the champagne soon appeared, and oysters were suggested to the gentlemen. "First-class oysters, the last lot in." "Hang the oysters. I don't eat them. And we don't need anything," cried Pyotr Ilyitch, almost angrily. "There's no time for oysters," said Mitya. "And I'm not hungry. Do you know, friend," he said suddenly, with feeling, "I never have liked all this disorder." "Who does like it? Three dozen of champagne for peasants, upon my word, that's enough to make any one angry!" "That's not what I mean. I'm talking of a higher order. There's no order in me, no higher order. But ... that's all over. There's no need to grieve about it. It's too late, damn it! My whole life has been disorder, and one must set it in order. Is that a pun, eh?" "You're raving, not making puns!" "Glory be to God in Heaven, Glory be to God in me.... "That verse came from my heart once, it's not a verse, but a tear.... I made it myself ... not while I was pulling the captain's beard, though...." "Why do you bring him in all of a sudden?" "Why do I bring him in? Foolery! All things come to an end; all things are made equal. That's the long and short of it." "You know, I keep thinking of your pistols." "That's all foolery, too! Drink, and don't be fanciful. I love life. I've loved life too much, shamefully much. Enough! Let's drink to life, dear boy, I propose the toast. Why am I pleased with myself? I'm a scoundrel, but I'm satisfied with myself. And yet I'm tortured by the thought that I'm a scoundrel, but satisfied with myself. I bless the creation. I'm ready to bless God and His creation directly, but ... I must kill one noxious insect for fear it should crawl and spoil life for others.... Let us drink to life, dear brother. What can be more precious than life? Nothing! To life, and to one queen of queens!" "Let's drink to life and to your queen, too, if you like." They drank a glass each. Although Mitya was excited and expansive, yet he was melancholy, too. It was as though some heavy, overwhelming anxiety were weighing upon him. "Misha ... here's your Misha come! Misha, come here, my boy, drink this glass to Phoebus, the golden-haired, of to-morrow morn...." "What are you giving it him for?" cried Pyotr Ilyitch, irritably. "Yes, yes, yes, let me! I want to!" "E--ech!" Misha emptied the glass, bowed, and ran out. "He'll remember it afterwards," Mitya remarked. "Woman, I love woman! What is woman? The queen of creation! My heart is sad, my heart is sad, Pyotr Ilyitch. Do you remember Hamlet? 'I am very sorry, good Horatio! Alas, poor Yorick!' Perhaps that's me, Yorick? Yes, I'm Yorick now, and a skull afterwards." Pyotr Ilyitch listened in silence. Mitya, too, was silent for a while. "What dog's that you've got here?" he asked the shopman, casually, noticing a pretty little lap-dog with dark eyes, sitting in the corner. "It belongs to Varvara Alexyevna, the mistress," answered the clerk. "She brought it and forgot it here. It must be taken back to her." "I saw one like it ... in the regiment ..." murmured Mitya dreamily, "only that one had its hind leg broken.... By the way, Pyotr Ilyitch, I wanted to ask you: have you ever stolen anything in your life?" "What a question!" "Oh, I didn't mean anything. From somebody's pocket, you know. I don't mean government money, every one steals that, and no doubt you do, too...." "You go to the devil." "I'm talking of other people's money. Stealing straight out of a pocket? Out of a purse, eh?" "I stole twenty copecks from my mother when I was nine years old. I took it off the table on the sly, and held it tight in my hand." "Well, and what happened?" "Oh, nothing. I kept it three days, then I felt ashamed, confessed, and gave it back." "And what then?" "Naturally I was whipped. But why do you ask? Have you stolen something?" "I have," said Mitya, winking slyly. "What have you stolen?" inquired Pyotr Ilyitch curiously. "I stole twenty copecks from my mother when I was nine years old, and gave it back three days after." As he said this, Mitya suddenly got up. "Dmitri Fyodorovitch, won't you come now?" called Andrey from the door of the shop. "Are you ready? We'll come!" Mitya started. "A few more last words and--Andrey, a glass of vodka at starting. Give him some brandy as well! That box" (the one with the pistols) "put under my seat. Good-by, Pyotr Ilyitch, don't remember evil against me." "But you're coming back to-morrow?" "Of course." "Will you settle the little bill now?" cried the clerk, springing forward. "Oh, yes, the bill. Of course." He pulled the bundle of notes out of his pocket again, picked out three hundred roubles, threw them on the counter, and ran hurriedly out of the shop. Every one followed him out, bowing and wishing him good luck. Andrey, coughing from the brandy he had just swallowed, jumped up on the box. But Mitya was only just taking his seat when suddenly to his surprise he saw Fenya before him. She ran up panting, clasped her hands before him with a cry, and plumped down at his feet. "Dmitri Fyodorovitch, dear good Dmitri Fyodorovitch, don't harm my mistress. And it was I told you all about it.... And don't murder him, he came first, he's hers! He'll marry Agrafena Alexandrovna now. That's why he's come back from Siberia. Dmitri Fyodorovitch, dear, don't take a fellow creature's life!" "Tut--tut--tut! That's it, is it? So you're off there to make trouble!" muttered Pyotr Ilyitch. "Now, it's all clear, as clear as daylight. Dmitri Fyodorovitch, give me your pistols at once if you mean to behave like a man," he shouted aloud to Mitya. "Do you hear, Dmitri?" "The pistols? Wait a bit, brother, I'll throw them into the pool on the road," answered Mitya. "Fenya, get up, don't kneel to me. Mitya won't hurt any one, the silly fool won't hurt any one again. But I say, Fenya," he shouted, after having taken his seat. "I hurt you just now, so forgive me and have pity on me, forgive a scoundrel.... But it doesn't matter if you don't. It's all the same now. Now then, Andrey, look alive, fly along full speed!" Andrey whipped up the horses, and the bells began ringing. "Good-by, Pyotr Ilyitch! My last tear is for you!..." "He's not drunk, but he keeps babbling like a lunatic," Pyotr Ilyitch thought as he watched him go. He had half a mind to stay and see the cart packed with the remaining wines and provisions, knowing that they would deceive and defraud Mitya. But, suddenly feeling vexed with himself, he turned away with a curse and went to the tavern to play billiards. "He's a fool, though he's a good fellow," he muttered as he went. "I've heard of that officer, Grushenka's former flame. Well, if he has turned up.... Ech, those pistols! Damn it all! I'm not his nurse! Let them do what they like! Besides, it'll all come to nothing. They're a set of brawlers, that's all. They'll drink and fight, fight and make friends again. They are not men who do anything real. What does he mean by 'I'm stepping aside, I'm punishing myself?' It'll come to nothing! He's shouted such phrases a thousand times, drunk, in the taverns. But now he's not drunk. 'Drunk in spirit'--they're fond of fine phrases, the villains. Am I his nurse? He must have been fighting, his face was all over blood. With whom? I shall find out at the 'Metropolis.' And his handkerchief was soaked in blood.... It's still lying on my floor.... Hang it!" He reached the tavern in a bad humor and at once made up a game. The game cheered him. He played a second game, and suddenly began telling one of his partners that Dmitri Karamazov had come in for some cash again--something like three thousand roubles, and had gone to Mokroe again to spend it with Grushenka.... This news roused singular interest in his listeners. They all spoke of it, not laughing, but with a strange gravity. They left off playing. "Three thousand? But where can he have got three thousand?" Questions were asked. The story of Madame Hohlakov's present was received with skepticism. "Hasn't he robbed his old father?--that's the question." "Three thousand! There's something odd about it." "He boasted aloud that he would kill his father; we all heard him, here. And it was three thousand he talked about ..." Pyotr Ilyitch listened. All at once he became short and dry in his answers. He said not a word about the blood on Mitya's face and hands, though he had meant to speak of it at first. They began a third game, and by degrees the talk about Mitya died away. But by the end of the third game, Pyotr Ilyitch felt no more desire for billiards; he laid down the cue, and without having supper as he had intended, he walked out of the tavern. When he reached the market-place he stood still in perplexity, wondering at himself. He realized that what he wanted was to go to Fyodor Pavlovitch's and find out if anything had happened there. "On account of some stupid nonsense--as it's sure to turn out--am I going to wake up the household and make a scandal? Fooh! damn it, is it my business to look after them?" In a very bad humor he went straight home, and suddenly remembered Fenya. "Damn it all! I ought to have questioned her just now," he thought with vexation, "I should have heard everything." And the desire to speak to her, and so find out, became so pressing and importunate that when he was half-way home he turned abruptly and went towards the house where Grushenka lodged. Going up to the gate he knocked. The sound of the knock in the silence of the night sobered him and made him feel annoyed. And no one answered him; every one in the house was asleep. "And I shall be making a fuss!" he thought, with a feeling of positive discomfort. But instead of going away altogether, he fell to knocking again with all his might, filling the street with clamor. "Not coming? Well, I will knock them up, I will!" he muttered at each knock, fuming at himself, but at the same time he redoubled his knocks on the gate. Chapter VI. "I Am Coming, Too!" But Dmitri Fyodorovitch was speeding along the road. It was a little more than twenty versts to Mokroe, but Andrey's three horses galloped at such a pace that the distance might be covered in an hour and a quarter. The swift motion revived Mitya. The air was fresh and cool, there were big stars shining in the sky. It was the very night, and perhaps the very hour, in which Alyosha fell on the earth, and rapturously swore to love it for ever and ever. All was confusion, confusion, in Mitya's soul, but although many things were goading his heart, at that moment his whole being was yearning for her, his queen, to whom he was flying to look on her for the last time. One thing I can say for certain; his heart did not waver for one instant. I shall perhaps not be believed when I say that this jealous lover felt not the slightest jealousy of this new rival, who seemed to have sprung out of the earth. If any other had appeared on the scene, he would have been jealous at once, and would perhaps have stained his fierce hands with blood again. But as he flew through the night, he felt no envy, no hostility even, for the man who had been her first lover.... It is true he had not yet seen him. "Here there was no room for dispute: it was her right and his; this was her first love which, after five years, she had not forgotten; so she had loved him only for those five years, and I, how do I come in? What right have I? Step aside, Mitya, and make way! What am I now? Now everything is over apart from the officer--even if he had not appeared, everything would be over ..." These words would roughly have expressed his feelings, if he had been capable of reasoning. But he could not reason at that moment. His present plan of action had arisen without reasoning. At Fenya's first words, it had sprung from feeling, and been adopted in a flash, with all its consequences. And yet, in spite of his resolution, there was confusion in his soul, an agonizing confusion: his resolution did not give him peace. There was so much behind that tortured him. And it seemed strange to him, at moments, to think that he had written his own sentence of death with pen and paper: "I punish myself," and the paper was lying there in his pocket, ready; the pistol was loaded; he had already resolved how, next morning, he would meet the first warm ray of "golden-haired Phoebus." And yet he could not be quit of the past, of all that he had left behind and that tortured him. He felt that miserably, and the thought of it sank into his heart with despair. There was one moment when he felt an impulse to stop Andrey, to jump out of the cart, to pull out his loaded pistol, and to make an end of everything without waiting for the dawn. But that moment flew by like a spark. The horses galloped on, "devouring space," and as he drew near his goal, again the thought of her, of her alone, took more and more complete possession of his soul, chasing away the fearful images that had been haunting it. Oh, how he longed to look upon her, if only for a moment, if only from a distance! "She's now with _him_," he thought, "now I shall see what she looks like with him, her first love, and that's all I want." Never had this woman, who was such a fateful influence in his life, aroused such love in his breast, such new and unknown feeling, surprising even to himself, a feeling tender to devoutness, to self-effacement before her! "I will efface myself!" he said, in a rush of almost hysterical ecstasy. They had been galloping nearly an hour. Mitya was silent, and though Andrey was, as a rule, a talkative peasant, he did not utter a word, either. He seemed afraid to talk, he only whipped up smartly his three lean, but mettlesome, bay horses. Suddenly Mitya cried out in horrible anxiety: "Andrey! What if they're asleep?" This thought fell upon him like a blow. It had not occurred to him before. "It may well be that they're gone to bed, by now, Dmitri Fyodorovitch." Mitya frowned as though in pain. Yes, indeed ... he was rushing there ... with such feelings ... while they were asleep ... she was asleep, perhaps, there too.... An angry feeling surged up in his heart. "Drive on, Andrey! Whip them up! Look alive!" he cried, beside himself. "But maybe they're not in bed!" Andrey went on after a pause. "Timofey said they were a lot of them there--" "At the station?" "Not at the posting-station, but at Plastunov's, at the inn, where they let out horses, too." "I know. So you say there are a lot of them? How's that? Who are they?" cried Mitya, greatly dismayed at this unexpected news. "Well, Timofey was saying they're all gentlefolk. Two from our town--who they are I can't say--and there are two others, strangers, maybe more besides. I didn't ask particularly. They've set to playing cards, so Timofey said." "Cards?" "So, maybe they're not in bed if they're at cards. It's most likely not more than eleven." "Quicker, Andrey! Quicker!" Mitya cried again, nervously. "May I ask you something, sir?" said Andrey, after a pause. "Only I'm afraid of angering you, sir." "What is it?" "Why, Fenya threw herself at your feet just now, and begged you not to harm her mistress, and some one else, too ... so you see, sir-- It's I am taking you there ... forgive me, sir, it's my conscience ... maybe it's stupid of me to speak of it--" Mitya suddenly seized him by the shoulders from behind. "Are you a driver?" he asked frantically. "Yes, sir." "Then you know that one has to make way. What would you say to a driver who wouldn't make way for any one, but would just drive on and crush people? No, a driver mustn't run over people. One can't run over a man. One can't spoil people's lives. And if you have spoilt a life--punish yourself.... If only you've spoilt, if only you've ruined any one's life--punish yourself and go away." These phrases burst from Mitya almost hysterically. Though Andrey was surprised at him, he kept up the conversation. "That's right, Dmitri Fyodorovitch, you're quite right, one mustn't crush or torment a man, or any kind of creature, for every creature is created by God. Take a horse, for instance, for some folks, even among us drivers, drive anyhow. Nothing will restrain them, they just force it along." "To hell?" Mitya interrupted, and went off into his abrupt, short laugh. "Andrey, simple soul," he seized him by the shoulders again, "tell me, will Dmitri Fyodorovitch Karamazov go to hell, or not, what do you think?" "I don't know, darling, it depends on you, for you are ... you see, sir, when the Son of God was nailed on the Cross and died, He went straight down to hell from the Cross, and set free all sinners that were in agony. And the devil groaned, because he thought that he would get no more sinners in hell. And God said to him, then, 'Don't groan, for you shall have all the mighty of the earth, the rulers, the chief judges, and the rich men, and shall be filled up as you have been in all the ages till I come again.' Those were His very words ..." "A peasant legend! Capital! Whip up the left, Andrey!" "So you see, sir, who it is hell's for," said Andrey, whipping up the left horse, "but you're like a little child ... that's how we look on you ... and though you're hasty-tempered, sir, yet God will forgive you for your kind heart." "And you, do you forgive me, Andrey?" "What should I forgive you for, sir? You've never done me any harm." "No, for every one, for every one, you here alone, on the road, will you forgive me for every one? Speak, simple peasant heart!" "Oh, sir! I feel afraid of driving you, your talk is so strange." But Mitya did not hear. He was frantically praying and muttering to himself. "Lord, receive me, with all my lawlessness, and do not condemn me. Let me pass by Thy judgment ... do not condemn me, for I have condemned myself, do not condemn me, for I love Thee, O Lord. I am a wretch, but I love Thee. If Thou sendest me to hell, I shall love Thee there, and from there I shall cry out that I love Thee for ever and ever.... But let me love to the end.... Here and now for just five hours ... till the first light of Thy day ... for I love the queen of my soul ... I love her and I cannot help loving her. Thou seest my whole heart.... I shall gallop up, I shall fall before her and say, 'You are right to pass on and leave me. Farewell and forget your victim ... never fret yourself about me!' " "Mokroe!" cried Andrey, pointing ahead with his whip. Through the pale darkness of the night loomed a solid black mass of buildings, flung down, as it were, in the vast plain. The village of Mokroe numbered two thousand inhabitants, but at that hour all were asleep, and only here and there a few lights still twinkled. "Drive on, Andrey, I come!" Mitya exclaimed, feverishly. "They're not asleep," said Andrey again, pointing with his whip to the Plastunovs' inn, which was at the entrance to the village. The six windows, looking on the street, were all brightly lighted up. "They're not asleep," Mitya repeated joyously. "Quicker, Andrey! Gallop! Drive up with a dash! Set the bells ringing! Let all know that I have come. I'm coming! I'm coming, too!" Andrey lashed his exhausted team into a gallop, drove with a dash and pulled up his steaming, panting horses at the high flight of steps. Mitya jumped out of the cart just as the innkeeper, on his way to bed, peeped out from the steps curious to see who had arrived. "Trifon Borissovitch, is that you?" The innkeeper bent down, looked intently, ran down the steps, and rushed up to the guest with obsequious delight. "Dmitri Fyodorovitch, your honor! Do I see you again?" Trifon Borissovitch was a thick-set, healthy peasant, of middle height, with a rather fat face. His expression was severe and uncompromising, especially with the peasants of Mokroe, but he had the power of assuming the most obsequious countenance, when he had an inkling that it was to his interest. He dressed in Russian style, with a shirt buttoning down on one side, and a full-skirted coat. He had saved a good sum of money, but was for ever dreaming of improving his position. More than half the peasants were in his clutches, every one in the neighborhood was in debt to him. From the neighboring landowners he bought and rented lands which were worked by the peasants, in payment of debts which they could never shake off. He was a widower, with four grown-up daughters. One of them was already a widow and lived in the inn with her two children, his grandchildren, and worked for him like a charwoman. Another of his daughters was married to a petty official, and in one of the rooms of the inn, on the wall could be seen, among the family photographs, a miniature photograph of this official in uniform and official epaulettes. The two younger daughters used to wear fashionable blue or green dresses, fitting tight at the back, and with trains a yard long, on Church holidays or when they went to pay visits. But next morning they would get up at dawn, as usual, sweep out the rooms with a birch-broom, empty the slops, and clean up after lodgers. In spite of the thousands of roubles he had saved, Trifon Borissovitch was very fond of emptying the pockets of a drunken guest, and remembering that not a month ago he had, in twenty-four hours, made two if not three hundred roubles out of Dmitri, when he had come on his escapade with Grushenka, he met him now with eager welcome, scenting his prey the moment Mitya drove up to the steps. "Dmitri Fyodorovitch, dear sir, we see you once more!" "Stay, Trifon Borissovitch," began Mitya, "first and foremost, where is she?" "Agrafena Alexandrovna?" The inn-keeper understood at once, looking sharply into Mitya's face. "She's here, too ..." "With whom? With whom?" "Some strangers. One is an official gentleman, a Pole, to judge from his speech. He sent the horses for her from here; and there's another with him, a friend of his, or a fellow traveler, there's no telling. They're dressed like civilians." "Well, are they feasting? Have they money?" "Poor sort of a feast! Nothing to boast of, Dmitri Fyodorovitch." "Nothing to boast of? And who are the others?" "They're two gentlemen from the town.... They've come back from Tcherny, and are putting up here. One's quite a young gentleman, a relative of Mr. Miuesov, he must be, but I've forgotten his name ... and I expect you know the other, too, a gentleman called Maximov. He's been on a pilgrimage, so he says, to the monastery in the town. He's traveling with this young relation of Mr. Miuesov." "Is that all?" "Yes." "Stay, listen, Trifon Borissovitch. Tell me the chief thing: What of her? How is she?" "Oh, she's only just come. She's sitting with them." "Is she cheerful? Is she laughing?" "No, I think she's not laughing much. She's sitting quite dull. She's combing the young gentleman's hair." "The Pole--the officer?" "He's not young, and he's not an officer, either. Not him, sir. It's the young gentleman that's Mr. Miuesov's relation ... I've forgotten his name." "Kalganov." "That's it, Kalganov!" "All right. I'll see for myself. Are they playing cards?" "They have been playing, but they've left off. They've been drinking tea, the official gentleman asked for liqueurs." "Stay, Trifon Borissovitch, stay, my good soul, I'll see for myself. Now answer one more question: are the gypsies here?" "You can't have the gypsies now, Dmitri Fyodorovitch. The authorities have sent them away. But we've Jews that play the cymbals and the fiddle in the village, so one might send for them. They'd come." "Send for them. Certainly send for them!" cried Mitya. "And you can get the girls together as you did then, Marya especially, Stepanida, too, and Arina. Two hundred roubles for a chorus!" "Oh, for a sum like that I can get all the village together, though by now they're asleep. Are the peasants here worth such kindness, Dmitri Fyodorovitch, or the girls either? To spend a sum like that on such coarseness and rudeness! What's the good of giving a peasant a cigar to smoke, the stinking ruffian! And the girls are all lousy. Besides, I'll get my daughters up for nothing, let alone a sum like that. They've only just gone to bed, I'll give them a kick and set them singing for you. You gave the peasants champagne to drink the other day, e--ech!" For all his pretended compassion for Mitya, Trifon Borissovitch had hidden half a dozen bottles of champagne on that last occasion, and had picked up a hundred-rouble note under the table, and it had remained in his clutches. "Trifon Borissovitch, I sent more than one thousand flying last time I was here. Do you remember?" "You did send it flying. I may well remember. You must have left three thousand behind you." "Well, I've come to do the same again, do you see?" And he pulled out his roll of notes, and held them up before the innkeeper's nose. "Now, listen and remember. In an hour's time the wine will arrive, savories, pies, and sweets--bring them all up at once. That box Andrey has got is to be brought up at once, too. Open it, and hand champagne immediately. And the girls, we must have the girls, Marya especially." He turned to the cart and pulled out the box of pistols. "Here, Andrey, let's settle. Here's fifteen roubles for the drive, and fifty for vodka ... for your readiness, for your love.... Remember Karamazov!" "I'm afraid, sir," faltered Andrey. "Give me five roubles extra, but more I won't take. Trifon Borissovitch, bear witness. Forgive my foolish words ..." "What are you afraid of?" asked Mitya, scanning him. "Well, go to the devil, if that's it!" he cried, flinging him five roubles. "Now, Trifon Borissovitch, take me up quietly and let me first get a look at them, so that they don't see me. Where are they? In the blue room?" Trifon Borissovitch looked apprehensively at Mitya, but at once obediently did his bidding. Leading him into the passage, he went himself into the first large room, adjoining that in which the visitors were sitting, and took the light away. Then he stealthily led Mitya in, and put him in a corner in the dark, whence he could freely watch the company without being seen. But Mitya did not look long, and, indeed, he could not see them, he saw her, his heart throbbed violently, and all was dark before his eyes. She was sitting sideways to the table in a low chair, and beside her, on the sofa, was the pretty youth, Kalganov. She was holding his hand and seemed to be laughing, while he, seeming vexed and not looking at her, was saying something in a loud voice to Maximov, who sat the other side of the table, facing Grushenka. Maximov was laughing violently at something. On the sofa sat _he_, and on a chair by the sofa there was another stranger. The one on the sofa was lolling backwards, smoking a pipe, and Mitya had an impression of a stoutish, broad-faced, short little man, who was apparently angry about something. His friend, the other stranger, struck Mitya as extraordinarily tall, but he could make out nothing more. He caught his breath. He could not bear it for a minute, he put the pistol- case on a chest, and with a throbbing heart he walked, feeling cold all over, straight into the blue room to face the company. "Aie!" shrieked Grushenka, the first to notice him. Chapter VII. The First And Rightful Lover With his long, rapid strides, Mitya walked straight up to the table. "Gentlemen," he said in a loud voice, almost shouting, yet stammering at every word, "I ... I'm all right! Don't be afraid!" he exclaimed, "I--there's nothing the matter," he turned suddenly to Grushenka, who had shrunk back in her chair towards Kalganov, and clasped his hand tightly. "I ... I'm coming, too. I'm here till morning. Gentlemen, may I stay with you till morning? Only till morning, for the last time, in this same room?" So he finished, turning to the fat little man, with the pipe, sitting on the sofa. The latter removed his pipe from his lips with dignity and observed severely: "_Panie_, we're here in private. There are other rooms." "Why, it's you, Dmitri Fyodorovitch! What do you mean?" answered Kalganov suddenly. "Sit down with us. How are you?" "Delighted to see you, dear ... and precious fellow, I always thought a lot of you." Mitya responded, joyfully and eagerly, at once holding out his hand across the table. "Aie! How tight you squeeze! You've quite broken my fingers," laughed Kalganov. "He always squeezes like that, always," Grushenka put in gayly, with a timid smile, seeming suddenly convinced from Mitya's face that he was not going to make a scene. She was watching him with intense curiosity and still some uneasiness. She was impressed by something about him, and indeed the last thing she expected of him was that he would come in and speak like this at such a moment. "Good evening," Maximov ventured blandly on the left. Mitya rushed up to him, too. "Good evening. You're here, too! How glad I am to find you here, too! Gentlemen, gentlemen, I--" (He addressed the Polish gentleman with the pipe again, evidently taking him for the most important person present.) "I flew here.... I wanted to spend my last day, my last hour in this room, in this very room ... where I, too, adored ... my queen.... Forgive me, _panie_," he cried wildly, "I flew here and vowed-- Oh, don't be afraid, it's my last night! Let's drink to our good understanding. They'll bring the wine at once.... I brought this with me." (Something made him pull out his bundle of notes.) "Allow me, _panie_! I want to have music, singing, a revel, as we had before. But the worm, the unnecessary worm, will crawl away, and there'll be no more of him. I will commemorate my day of joy on my last night." He was almost choking. There was so much, so much he wanted to say, but strange exclamations were all that came from his lips. The Pole gazed fixedly at him, at the bundle of notes in his hand; looked at Grushenka, and was in evident perplexity. "If my suverin lady is permitting--" he was beginning. "What does 'suverin' mean? 'Sovereign,' I suppose?" interrupted Grushenka. "I can't help laughing at you, the way you talk. Sit down, Mitya, what are you talking about? Don't frighten us, please. You won't frighten us, will you? If you won't, I am glad to see you ..." "Me, me frighten you?" cried Mitya, flinging up his hands. "Oh, pass me by, go your way, I won't hinder you!..." And suddenly he surprised them all, and no doubt himself as well, by flinging himself on a chair, and bursting into tears, turning his head away to the opposite wall, while his arms clasped the back of the chair tight, as though embracing it. "Come, come, what a fellow you are!" cried Grushenka reproachfully. "That's just how he comes to see me--he begins talking, and I can't make out what he means. He cried like that once before, and now he's crying again! It's shameful! Why are you crying? _As though you had anything to cry for!_" she added enigmatically, emphasizing each word with some irritability. "I ... I'm not crying.... Well, good evening!" He instantly turned round in his chair, and suddenly laughed, not his abrupt wooden laugh, but a long, quivering, inaudible nervous laugh. "Well, there you are again.... Come, cheer up, cheer up!" Grushenka said to him persuasively. "I'm very glad you've come, very glad, Mitya, do you hear, I'm very glad! I want him to stay here with us," she said peremptorily, addressing the whole company, though her words were obviously meant for the man sitting on the sofa. "I wish it, I wish it! And if he goes away I shall go, too!" she added with flashing eyes. "What my queen commands is law!" pronounced the Pole, gallantly kissing Grushenka's hand. "I beg you, _panie_, to join our company," he added politely, addressing Mitya. Mitya was jumping up with the obvious intention of delivering another tirade, but the words did not come. "Let's drink, _panie_," he blurted out instead of making a speech. Every one laughed. "Good heavens! I thought he was going to begin again!" Grushenka exclaimed nervously. "Do you hear, Mitya," she went on insistently, "don't prance about, but it's nice you've brought the champagne. I want some myself, and I can't bear liqueurs. And best of all, you've come yourself. We were fearfully dull here.... You've come for a spree again, I suppose? But put your money in your pocket. Where did you get such a lot?" Mitya had been, all this time, holding in his hand the crumpled bundle of notes on which the eyes of all, especially of the Poles, were fixed. In confusion he thrust them hurriedly into his pocket. He flushed. At that moment the innkeeper brought in an uncorked bottle of champagne, and glasses on a tray. Mitya snatched up the bottle, but he was so bewildered that he did not know what to do with it. Kalganov took it from him and poured out the champagne. "Another! Another bottle!" Mitya cried to the innkeeper, and, forgetting to clink glasses with the Pole whom he had so solemnly invited to drink to their good understanding, he drank off his glass without waiting for any one else. His whole countenance suddenly changed. The solemn and tragic expression with which he had entered vanished completely, and a look of something childlike came into his face. He seemed to have become suddenly gentle and subdued. He looked shyly and happily at every one, with a continual nervous little laugh, and the blissful expression of a dog who has done wrong, been punished, and forgiven. He seemed to have forgotten everything, and was looking round at every one with a childlike smile of delight. He looked at Grushenka, laughing continually, and bringing his chair close up to her. By degrees he had gained some idea of the two Poles, though he had formed no definite conception of them yet. The Pole on the sofa struck him by his dignified demeanor and his Polish accent; and, above all, by his pipe. "Well, what of it? It's a good thing he's smoking a pipe," he reflected. The Pole's puffy, middle-aged face, with its tiny nose and two very thin, pointed, dyed and impudent-looking mustaches, had not so far roused the faintest doubts in Mitya. He was not even particularly struck by the Pole's absurd wig made in Siberia, with love-locks foolishly combed forward over the temples. "I suppose it's all right since he wears a wig," he went on, musing blissfully. The other, younger Pole, who was staring insolently and defiantly at the company and listening to the conversation with silent contempt, still only impressed Mitya by his great height, which was in striking contrast to the Pole on the sofa. "If he stood up he'd be six foot three." The thought flitted through Mitya's mind. It occurred to him, too, that this Pole must be the friend of the other, as it were, a "bodyguard," and no doubt the big Pole was at the disposal of the little Pole with the pipe. But this all seemed to Mitya perfectly right and not to be questioned. In his mood of doglike submissiveness all feeling of rivalry had died away. Grushenka's mood and the enigmatic tone of some of her words he completely failed to grasp. All he understood, with thrilling heart, was that she was kind to him, that she had forgiven him, and made him sit by her. He was beside himself with delight, watching her sip her glass of champagne. The silence of the company seemed somehow to strike him, however, and he looked round at every one with expectant eyes. "Why are we sitting here though, gentlemen? Why don't you begin doing something?" his smiling eyes seemed to ask. "He keeps talking nonsense, and we were all laughing," Kalganov began suddenly, as though divining his thought, and pointing to Maximov. Mitya immediately stared at Kalganov and then at Maximov. "He's talking nonsense?" he laughed, his short, wooden laugh, seeming suddenly delighted at something--"ha ha!" "Yes. Would you believe it, he will have it that all our cavalry officers in the twenties married Polish women. That's awful rot, isn't it?" "Polish women?" repeated Mitya, perfectly ecstatic. Kalganov was well aware of Mitya's attitude to Grushenka, and he guessed about the Pole, too, but that did not so much interest him, perhaps did not interest him at all; what he was interested in was Maximov. He had come here with Maximov by chance, and he met the Poles here at the inn for the first time in his life. Grushenka he knew before, and had once been with some one to see her; but she had not taken to him. But here she looked at him very affectionately: before Mitya's arrival, she had been making much of him, but he seemed somehow to be unmoved by it. He was a boy, not over twenty, dressed like a dandy, with a very charming fair- skinned face, and splendid thick, fair hair. From his fair face looked out beautiful pale blue eyes, with an intelligent and sometimes even deep expression, beyond his age indeed, although the young man sometimes looked and talked quite like a child, and was not at all ashamed of it, even when he was aware of it himself. As a rule he was very willful, even capricious, though always friendly. Sometimes there was something fixed and obstinate in his expression. He would look at you and listen, seeming all the while to be persistently dreaming over something else. Often he was listless and lazy, at other times he would grow excited, sometimes, apparently, over the most trivial matters. "Only imagine, I've been taking him about with me for the last four days," he went on, indolently drawling his words, quite naturally though, without the slightest affectation. "Ever since your brother, do you remember, shoved him off the carriage and sent him flying. That made me take an interest in him at the time, and I took him into the country, but he keeps talking such rot I'm ashamed to be with him. I'm taking him back." "The gentleman has not seen Polish ladies, and says what is impossible," the Pole with the pipe observed to Maximov. He spoke Russian fairly well, much better, anyway, than he pretended. If he used Russian words, he always distorted them into a Polish form. "But I was married to a Polish lady myself," tittered Maximov. "But did you serve in the cavalry? You were talking about the cavalry. Were you a cavalry officer?" put in Kalganov at once. "Was he a cavalry officer indeed? Ha ha!" cried Mitya, listening eagerly, and turning his inquiring eyes to each as he spoke, as though there were no knowing what he might hear from each. "No, you see," Maximov turned to him. "What I mean is that those pretty Polish ladies ... when they danced the mazurka with our Uhlans ... when one of them dances a mazurka with a Uhlan she jumps on his knee like a kitten ... a little white one ... and the _pan_-father and _pan_-mother look on and allow it.... They allow it ... and next day the Uhlan comes and offers her his hand.... That's how it is ... offers her his hand, he he!" Maximov ended, tittering. "The _pan_ is a _lajdak_!" the tall Pole on the chair growled suddenly and crossed one leg over the other. Mitya's eye was caught by his huge greased boot, with its thick, dirty sole. The dress of both the Poles looked rather greasy. "Well, now it's _lajdak_! What's he scolding about?" said Grushenka, suddenly vexed. "_Pani_ Agrippina, what the gentleman saw in Poland were servant girls, and not ladies of good birth," the Pole with the pipe observed to Grushenka. "You can reckon on that," the tall Pole snapped contemptuously. "What next! Let him talk! People talk, why hinder them? It makes it cheerful," Grushenka said crossly. "I'm not hindering them, _pani_," said the Pole in the wig, with a long look at Grushenka, and relapsing into dignified silence he sucked his pipe again. "No, no. The Polish gentleman spoke the truth." Kalganov got excited again, as though it were a question of vast import. "He's never been in Poland, so how can he talk about it? I suppose you weren't married in Poland, were you?" "No, in the Province of Smolensk. Only, a Uhlan had brought her to Russia before that, my future wife, with her mamma and her aunt, and another female relation with a grown-up son. He brought her straight from Poland and gave her up to me. He was a lieutenant in our regiment, a very nice young man. At first he meant to marry her himself. But he didn't marry her, because she turned out to be lame." "So you married a lame woman?" cried Kalganov. "Yes. They both deceived me a little bit at the time, and concealed it. I thought she was hopping; she kept hopping.... I thought it was for fun." "So pleased she was going to marry you!" yelled Kalganov, in a ringing, childish voice. "Yes, so pleased. But it turned out to be quite a different cause. Afterwards, when we were married, after the wedding, that very evening, she confessed, and very touchingly asked forgiveness. 'I once jumped over a puddle when I was a child,' she said, 'and injured my leg.' He he!" Kalganov went off into the most childish laughter, almost falling on the sofa. Grushenka, too, laughed. Mitya was at the pinnacle of happiness. "Do you know, that's the truth, he's not lying now," exclaimed Kalganov, turning to Mitya; "and do you know, he's been married twice; it's his first wife he's talking about. But his second wife, do you know, ran away, and is alive now." "Is it possible?" said Mitya, turning quickly to Maximov with an expression of the utmost astonishment. "Yes. She did run away. I've had that unpleasant experience," Maximov modestly assented, "with a _monsieur_. And what was worse, she'd had all my little property transferred to her beforehand. 'You're an educated man,' she said to me. 'You can always get your living.' She settled my business with that. A venerable bishop once said to me: 'One of your wives was lame, but the other was too light-footed.' He he!" "Listen, listen!" cried Kalganov, bubbling over, "if he's telling lies--and he often is--he's only doing it to amuse us all. There's no harm in that, is there? You know, I sometimes like him. He's awfully low, but it's natural to him, eh? Don't you think so? Some people are low from self- interest, but he's simply so, from nature. Only fancy, he claims (he was arguing about it all the way yesterday) that Gogol wrote _Dead Souls_ about him. Do you remember, there's a landowner called Maximov in it, whom Nozdryov thrashed. He was charged, do you remember, 'for inflicting bodily injury with rods on the landowner Maximov in a drunken condition.' Would you believe it, he claims that he was that Maximov and that he was beaten! Now can it be so? Tchitchikov made his journey, at the very latest, at the beginning of the twenties, so that the dates don't fit. He couldn't have been thrashed then, he couldn't, could he?" It was difficult to imagine what Kalganov was excited about, but his excitement was genuine. Mitya followed his lead without protest. "Well, but if they did thrash him!" he cried, laughing. "It's not that they thrashed me exactly, but what I mean is--" put in Maximov. "What do you mean? Either they thrashed you or they didn't." "What o'clock is it, _panie_?" the Pole, with the pipe, asked his tall friend, with a bored expression. The other shrugged his shoulders in reply. Neither of them had a watch. "Why not talk? Let other people talk. Mustn't other people talk because you're bored?" Grushenka flew at him with evident intention of finding fault. Something seemed for the first time to flash upon Mitya's mind. This time the Pole answered with unmistakable irritability. "_Pani_, I didn't oppose it. I didn't say anything." "All right then. Come, tell us your story," Grushenka cried to Maximov. "Why are you all silent?" "There's nothing to tell, it's all so foolish," answered Maximov at once, with evident satisfaction, mincing a little. "Besides, all that's by way of allegory in Gogol, for he's made all the names have a meaning. Nozdryov was really called Nosov, and Kuvshinikov had quite a different name, he was called Shkvornev. Fenardi really was called Fenardi, only he wasn't an Italian but a Russian, and Mamsel Fenardi was a pretty girl with her pretty little legs in tights, and she had a little short skirt with spangles, and she kept turning round and round, only not for four hours but for four minutes only, and she bewitched every one..." "But what were you beaten for?" cried Kalganov. "For Piron!" answered Maximov. "What Piron?" cried Mitya. "The famous French writer, Piron. We were all drinking then, a big party of us, in a tavern at that very fair. They'd invited me, and first of all I began quoting epigrams. 'Is that you, Boileau? What a funny get-up!' and Boileau answers that he's going to a masquerade, that is to the baths, he he! And they took it to themselves, so I made haste to repeat another, very sarcastic, well known to all educated people: Yes, Sappho and Phaon are we! But one grief is weighing on me. You don't know your way to the sea! They were still more offended and began abusing me in the most unseemly way for it. And as ill-luck would have it, to set things right, I began telling a very cultivated anecdote about Piron, how he was not accepted into the French Academy, and to revenge himself wrote his own epitaph: Ci-git Piron qui ne fut rien, Pas meme academicien. They seized me and thrashed me." "But what for? What for?" "For my education. People can thrash a man for anything," Maximov concluded, briefly and sententiously. "Eh, that's enough! That's all stupid, I don't want to listen. I thought it would be amusing," Grushenka cut them short, suddenly. Mitya started, and at once left off laughing. The tall Pole rose upon his feet, and with the haughty air of a man, bored and out of his element, began pacing from corner to corner of the room, his hands behind his back. "Ah, he can't sit still," said Grushenka, looking at him contemptuously. Mitya began to feel anxious. He noticed besides, that the Pole on the sofa was looking at him with an irritable expression. "_Panie!_" cried Mitya, "let's drink! and the other _pan_, too! Let us drink." In a flash he had pulled three glasses towards him, and filled them with champagne. "To Poland, _panovie_, I drink to your Poland!" cried Mitya. "I shall be delighted, _panie_," said the Pole on the sofa, with dignity and affable condescension, and he took his glass. "And the other _pan_, what's his name? Drink, most illustrious, take your glass!" Mitya urged. "Pan Vrublevsky," put in the Pole on the sofa. Pan Vrublevsky came up to the table, swaying as he walked. "To Poland, _panovie!_" cried Mitya, raising his glass. "Hurrah!" All three drank. Mitya seized the bottle and again poured out three glasses. "Now to Russia, _panovie_, and let us be brothers!" "Pour out some for us," said Grushenka; "I'll drink to Russia, too!" "So will I," said Kalganov. "And I would, too ... to Russia, the old grandmother!" tittered Maximov. "All! All!" cried Mitya. "Trifon Borissovitch, some more bottles!" The other three bottles Mitya had brought with him were put on the table. Mitya filled the glasses. "To Russia! Hurrah!" he shouted again. All drank the toast except the Poles, and Grushenka tossed off her whole glass at once. The Poles did not touch theirs. "How's this, _panovie_?" cried Mitya, "won't you drink it?" Pan Vrublevsky took the glass, raised it and said with a resonant voice: "To Russia as she was before 1772." "Come, that's better!" cried the other Pole, and they both emptied their glasses at once. "You're fools, you _panovie_," broke suddenly from Mitya. "_Panie!_" shouted both the Poles, menacingly, setting on Mitya like a couple of cocks. Pan Vrublevsky was specially furious. "Can one help loving one's own country?" he shouted. "Be silent! Don't quarrel! I won't have any quarreling!" cried Grushenka imperiously, and she stamped her foot on the floor. Her face glowed, her eyes were shining. The effects of the glass she had just drunk were apparent. Mitya was terribly alarmed. "_Panovie_, forgive me! It was my fault, I'm sorry. Vrublevsky, _panie_ Vrublevsky, I'm sorry." "Hold your tongue, you, anyway! Sit down, you stupid!" Grushenka scolded with angry annoyance. Every one sat down, all were silent, looking at one another. "Gentlemen, I was the cause of it all," Mitya began again, unable to make anything of Grushenka's words. "Come, why are we sitting here? What shall we do ... to amuse ourselves again?" "Ach, it's certainly anything but amusing!" Kalganov mumbled lazily. "Let's play faro again, as we did just now," Maximov tittered suddenly. "Faro? Splendid!" cried Mitya. "If only the _panovie_--" "It's lite, _panovie_," the Pole on the sofa responded, as it were unwillingly. "That's true," assented Pan Vrublevsky. "Lite? What do you mean by 'lite'?" asked Grushenka. "Late, _pani_! 'a late hour' I mean," the Pole on the sofa explained. "It's always late with them. They can never do anything!" Grushenka almost shrieked in her anger. "They're dull themselves, so they want others to be dull. Before you came, Mitya, they were just as silent and kept turning up their noses at me." "My goddess!" cried the Pole on the sofa, "I see you're not well-disposed to me, that's why I'm gloomy. I'm ready, _panie_," added he, addressing Mitya. "Begin, _panie_," Mitya assented, pulling his notes out of his pocket, and laying two hundred-rouble notes on the table. "I want to lose a lot to you. Take your cards. Make the bank." "We'll have cards from the landlord, _panie_," said the little Pole, gravely and emphatically. "That's much the best way," chimed in Pan Vrublevsky. "From the landlord? Very good, I understand, let's get them from him. Cards!" Mitya shouted to the landlord. The landlord brought in a new, unopened pack, and informed Mitya that the girls were getting ready, and that the Jews with the cymbals would most likely be here soon; but the cart with the provisions had not yet arrived. Mitya jumped up from the table and ran into the next room to give orders, but only three girls had arrived, and Marya was not there yet. And he did not know himself what orders to give and why he had run out. He only told them to take out of the box the presents for the girls, the sweets, the toffee and the fondants. "And vodka for Andrey, vodka for Andrey!" he cried in haste. "I was rude to Andrey!" Suddenly Maximov, who had followed him out, touched him on the shoulder. "Give me five roubles," he whispered to Mitya. "I'll stake something at faro, too, he he!" "Capital! Splendid! Take ten, here!" Again he took all the notes out of his pocket and picked out one for ten roubles. "And if you lose that, come again, come again." "Very good," Maximov whispered joyfully, and he ran back again. Mitya, too, returned, apologizing for having kept them waiting. The Poles had already sat down, and opened the pack. They looked much more amiable, almost cordial. The Pole on the sofa had lighted another pipe and was preparing to throw. He wore an air of solemnity. "To your places, gentlemen," cried Pan Vrublevsky. "No, I'm not going to play any more," observed Kalganov, "I've lost fifty roubles to them just now." "The _pan_ had no luck, perhaps he'll be lucky this time," the Pole on the sofa observed in his direction. "How much in the bank? To correspond?" asked Mitya. "That's according, _panie_, maybe a hundred, maybe two hundred, as much as you will stake." "A million!" laughed Mitya. "The Pan Captain has heard of Pan Podvysotsky, perhaps?" "What Podvysotsky?" "In Warsaw there was a bank and any one comes and stakes against it. Podvysotsky comes, sees a thousand gold pieces, stakes against the bank. The banker says, '_Panie_ Podvysotsky, are you laying down the gold, or must we trust to your honor?' 'To my honor, _panie_,' says Podvysotsky. 'So much the better.' The banker throws the dice. Podvysotsky wins. 'Take it, _panie_,' says the banker, and pulling out the drawer he gives him a million. 'Take it, _panie_, this is your gain.' There was a million in the bank. 'I didn't know that,' says Podvysotsky. '_Panie_ Podvysotsky,' said the banker, 'you pledged your honor and we pledged ours.' Podvysotsky took the million." "That's not true," said Kalganov. "_Panie_ Kalganov, in gentlemanly society one doesn't say such things." "As if a Polish gambler would give away a million!" cried Mitya, but checked himself at once. "Forgive me, _panie_, it's my fault again, he would, he would give away a million, for honor, for Polish honor. You see how I talk Polish, ha ha! Here, I stake ten roubles, the knave leads." "And I put a rouble on the queen, the queen of hearts, the pretty little _panienotchka_, he he!" laughed Maximov, pulling out his queen, and, as though trying to conceal it from every one, he moved right up and crossed himself hurriedly under the table. Mitya won. The rouble won, too. "A corner!" cried Mitya. "I'll bet another rouble, a 'single' stake," Maximov muttered gleefully, hugely delighted at having won a rouble. "Lost!" shouted Mitya. "A 'double' on the seven!" The seven too was trumped. "Stop!" cried Kalganov suddenly. "Double! Double!" Mitya doubled his stakes, and each time he doubled the stake, the card he doubled was trumped by the Poles. The rouble stakes kept winning. "On the double!" shouted Mitya furiously. "You've lost two hundred, _panie_. Will you stake another hundred?" the Pole on the sofa inquired. "What? Lost two hundred already? Then another two hundred! All doubles!" And pulling his money out of his pocket, Mitya was about to fling two hundred roubles on the queen, but Kalganov covered it with his hand. "That's enough!" he shouted in his ringing voice. "What's the matter?" Mitya stared at him. "That's enough! I don't want you to play any more. Don't!" "Why?" "Because I don't. Hang it, come away. That's why. I won't let you go on playing." Mitya gazed at him in astonishment. "Give it up, Mitya. He may be right. You've lost a lot as it is," said Grushenka, with a curious note in her voice. Both the Poles rose from their seats with a deeply offended air. "Are you joking, _panie_?" said the short man, looking severely at Kalganov. "How dare you!" Pan Vrublevsky, too, growled at Kalganov. "Don't dare to shout like that," cried Grushenka. "Ah, you turkey-cocks!" Mitya looked at each of them in turn. But something in Grushenka's face suddenly struck him, and at the same instant something new flashed into his mind--a strange new thought! "_Pani_ Agrippina," the little Pole was beginning, crimson with anger, when Mitya suddenly went up to him and slapped him on the shoulder. "Most illustrious, two words with you." "What do you want?" "In the next room, I've two words to say to you, something pleasant, very pleasant. You'll be glad to hear it." The little _pan_ was taken aback and looked apprehensively at Mitya. He agreed at once, however, on condition that Pan Vrublevsky went with them. "The bodyguard? Let him come, and I want him, too. I must have him!" cried Mitya. "March, _panovie_!" "Where are you going?" asked Grushenka, anxiously. "We'll be back in one moment," answered Mitya. There was a sort of boldness, a sudden confidence shining in his eyes. His face had looked very different when he entered the room an hour before. He led the Poles, not into the large room where the chorus of girls was assembling and the table was being laid, but into the bedroom on the right, where the trunks and packages were kept, and there were two large beds, with pyramids of cotton pillows on each. There was a lighted candle on a small deal table in the corner. The small man and Mitya sat down to this table, facing each other, while the huge Vrublevsky stood beside them, his hands behind his back. The Poles looked severe but were evidently inquisitive. "What can I do for you, _panie_?" lisped the little Pole. "Well, look here, _panie_, I won't keep you long. There's money for you," he pulled out his notes. "Would you like three thousand? Take it and go your way." The Pole gazed open-eyed at Mitya, with a searching look. "Three thousand, _panie_?" He exchanged glances with Vrublevsky. "Three, _panovie_, three! Listen, _panie_, I see you're a sensible man. Take three thousand and go to the devil, and Vrublevsky with you--d'you hear? But, at once, this very minute, and for ever. You understand that, _panie_, for ever. Here's the door, you go out of it. What have you got there, a great-coat, a fur coat? I'll bring it out to you. They'll get the horses out directly, and then--good-by, _panie_!" Mitya awaited an answer with assurance. He had no doubts. An expression of extraordinary resolution passed over the Pole's face. "And the money, _panie_?" "The money, _panie_? Five hundred roubles I'll give you this moment for the journey, and as a first installment, and two thousand five hundred to- morrow, in the town--I swear on my honor, I'll get it, I'll get it at any cost!" cried Mitya. The Poles exchanged glances again. The short man's face looked more forbidding. "Seven hundred, seven hundred, not five hundred, at once, this minute, cash down!" Mitya added, feeling something wrong. "What's the matter, _panie_? Don't you trust me? I can't give you the whole three thousand straight off. If I give it, you may come back to her to-morrow.... Besides, I haven't the three thousand with me. I've got it at home in the town," faltered Mitya, his spirit sinking at every word he uttered. "Upon my word, the money's there, hidden." In an instant an extraordinary sense of personal dignity showed itself in the little man's face. "What next?" he asked ironically. "For shame!" and he spat on the floor. Pan Vrublevsky spat too. "You do that, _panie_," said Mitya, recognizing with despair that all was over, "because you hope to make more out of Grushenka? You're a couple of capons, that's what you are!" "This is a mortal insult!" The little Pole turned as red as a crab, and he went out of the room, briskly, as though unwilling to hear another word. Vrublevsky swung out after him, and Mitya followed, confused and crestfallen. He was afraid of Grushenka, afraid that the _pan_ would at once raise an outcry. And so indeed he did. The Pole walked into the room and threw himself in a theatrical attitude before Grushenka. "_Pani_ Agrippina, I have received a mortal insult!" he exclaimed. But Grushenka suddenly lost all patience, as though they had wounded her in the tenderest spot. "Speak Russian! Speak Russian!" she cried, "not another word of Polish! You used to talk Russian. You can't have forgotten it in five years." She was red with passion. "_Pani_ Agrippina--" "My name's Agrafena, Grushenka, speak Russian or I won't listen!" The Pole gasped with offended dignity, and quickly and pompously delivered himself in broken Russian: "_Pani_ Agrafena, I came here to forget the past and forgive it, to forget all that has happened till to-day--" "Forgive? Came here to forgive me?" Grushenka cut him short, jumping up from her seat. "Just so, _pani_, I'm not pusillanimous, I'm magnanimous. But I was astounded when I saw your lovers. Pan Mitya offered me three thousand, in the other room to depart. I spat in the _pan's_ face." "What? He offered you money for me?" cried Grushenka, hysterically. "Is it true, Mitya? How dare you? Am I for sale?" "_Panie, panie!_" yelled Mitya, "she's pure and shining, and I have never been her lover! That's a lie...." "How dare you defend me to him?" shrieked Grushenka. "It wasn't virtue kept me pure, and it wasn't that I was afraid of Kuzma, but that I might hold up my head when I met him, and tell him he's a scoundrel. And he did actually refuse the money?" "He took it! He took it!" cried Mitya; "only he wanted to get the whole three thousand at once, and I could only give him seven hundred straight off." "I see: he heard I had money, and came here to marry me!" "_Pani_ Agrippina!" cried the little Pole. "I'm--a knight, I'm--a nobleman, and not a _lajdak_. I came here to make you my wife and I find you a different woman, perverse and shameless." "Oh, go back where you came from! I'll tell them to turn you out and you'll be turned out," cried Grushenka, furious. "I've been a fool, a fool, to have been miserable these five years! And it wasn't for his sake, it was my anger made me miserable. And this isn't he at all! Was he like this? It might be his father! Where did you get your wig from? He was a falcon, but this is a gander. He used to laugh and sing to me.... And I've been crying for five years, damned fool, abject, shameless I was!" She sank back in her low chair and hid her face in her hands. At that instant the chorus of Mokroe began singing in the room on the left--a rollicking dance song. "A regular Sodom!" Vrublevsky roared suddenly. "Landlord, send the shameless hussies away!" The landlord, who had been for some time past inquisitively peeping in at the door, hearing shouts and guessing that his guests were quarreling, at once entered the room. "What are you shouting for? D'you want to split your throat?" he said, addressing Vrublevsky, with surprising rudeness. "Animal!" bellowed Pan Vrublevsky. "Animal? And what sort of cards were you playing with just now? I gave you a pack and you hid it. You played with marked cards! I could send you to Siberia for playing with false cards, d'you know that, for it's just the same as false banknotes...." And going up to the sofa he thrust his fingers between the sofa back and the cushion, and pulled out an unopened pack of cards. "Here's my pack unopened!" He held it up and showed it to all in the room. "From where I stood I saw him slip my pack away, and put his in place of it--you're a cheat and not a gentleman!" "And I twice saw the _pan_ change a card!" cried Kalganov. "How shameful! How shameful!" exclaimed Grushenka, clasping her hands, and blushing for genuine shame. "Good Lord, he's come to that!" "I thought so, too!" said Mitya. But before he had uttered the words, Vrublevsky, with a confused and infuriated face, shook his fist at Grushenka, shouting: "You low harlot!" Mitya flew at him at once, clutched him in both hands, lifted him in the air, and in one instant had carried him into the room on the right, from which they had just come. "I've laid him on the floor, there," he announced, returning at once, gasping with excitement. "He's struggling, the scoundrel! But he won't come back, no fear of that!..." He closed one half of the folding doors, and holding the other ajar called out to the little Pole: "Most illustrious, will you be pleased to retire as well?" "My dear Dmitri Fyodorovitch," said Trifon Borissovitch, "make them give you back the money you lost. It's as good as stolen from you." "I don't want my fifty roubles back," Kalganov declared suddenly. "I don't want my two hundred, either," cried Mitya, "I wouldn't take it for anything! Let him keep it as a consolation." "Bravo, Mitya! You're a trump, Mitya!" cried Grushenka, and there was a note of fierce anger in the exclamation. The little _pan_, crimson with fury but still mindful of his dignity, was making for the door, but he stopped short and said suddenly, addressing Grushenka: "_Pani_, if you want to come with me, come. If not, good-by." And swelling with indignation and importance he went to the door. This was a man of character: he had so good an opinion of himself that after all that had passed, he still expected that she would marry him. Mitya slammed the door after him. "Lock it," said Kalganov. But the key clicked on the other side, they had locked it from within. "That's capital!" exclaimed Grushenka relentlessly. "Serve them right!" Chapter VIII. Delirium What followed was almost an orgy, a feast to which all were welcome. Grushenka was the first to call for wine. "I want to drink. I want to be quite drunk, as we were before. Do you remember, Mitya, do you remember how we made friends here last time!" Mitya himself was almost delirious, feeling that his happiness was at hand. But Grushenka was continually sending him away from her. "Go and enjoy yourself. Tell them to dance, to make merry, 'let the stove and cottage dance'; as we had it last time," she kept exclaiming. She was tremendously excited. And Mitya hastened to obey her. The chorus were in the next room. The room in which they had been sitting till that moment was too small, and was divided in two by cotton curtains, behind which was a huge bed with a puffy feather mattress and a pyramid of cotton pillows. In the four rooms for visitors there were beds. Grushenka settled herself just at the door. Mitya set an easy chair for her. She had sat in the same place to watch the dancing and singing "the time before," when they had made merry there. All the girls who had come had been there then; the Jewish band with fiddles and zithers had come, too, and at last the long expected cart had arrived with the wines and provisions. Mitya bustled about. All sorts of people began coming into the room to look on, peasants and their women, who had been roused from sleep and attracted by the hopes of another marvelous entertainment such as they had enjoyed a month before. Mitya remembered their faces, greeting and embracing every one he knew. He uncorked bottles and poured out wine for every one who presented himself. Only the girls were very eager for the champagne. The men preferred rum, brandy, and, above all, hot punch. Mitya had chocolate made for all the girls, and ordered that three samovars should be kept boiling all night to provide tea and punch for everyone to help himself. An absurd chaotic confusion followed, but Mitya was in his natural element, and the more foolish it became, the more his spirits rose. If the peasants had asked him for money at that moment, he would have pulled out his notes and given them away right and left. This was probably why the landlord, Trifon Borissovitch, kept hovering about Mitya to protect him. He seemed to have given up all idea of going to bed that night; but he drank little, only one glass of punch, and kept a sharp look-out on Mitya's interests after his own fashion. He intervened in the nick of time, civilly and obsequiously persuading Mitya not to give away "cigars and Rhine wine," and, above all, money to the peasants as he had done before. He was very indignant, too, at the peasant girls drinking liqueur, and eating sweets. "They're a lousy lot, Dmitri Fyodorovitch," he said. "I'd give them a kick, every one of them, and they'd take it as an honor--that's all they're worth!" Mitya remembered Andrey again, and ordered punch to be sent out to him. "I was rude to him just now," he repeated with a sinking, softened voice. Kalganov did not want to drink, and at first did not care for the girls' singing; but after he had drunk a couple of glasses of champagne he became extraordinarily lively, strolling about the room, laughing and praising the music and the songs, admiring every one and everything. Maximov, blissfully drunk, never left his side. Grushenka, too, was beginning to get drunk. Pointing to Kalganov, she said to Mitya: "What a dear, charming boy he is!" And Mitya, delighted, ran to kiss Kalganov and Maximov. Oh, great were his hopes! She had said nothing yet, and seemed, indeed, purposely to refrain from speaking. But she looked at him from time to time with caressing and passionate eyes. At last she suddenly gripped his hand and drew him vigorously to her. She was sitting at the moment in the low chair by the door. "How was it you came just now, eh? Have you walked in!... I was frightened. So you wanted to give me up to him, did you? Did you really want to?" "I didn't want to spoil your happiness!" Mitya faltered blissfully. But she did not need his answer. "Well, go and enjoy yourself ..." she sent him away once more. "Don't cry, I'll call you back again." He would run away, and she listened to the singing and looked at the dancing, though her eyes followed him wherever he went. But in another quarter of an hour she would call him once more and again he would run back to her. "Come, sit beside me, tell me, how did you hear about me, and my coming here yesterday? From whom did you first hear it?" And Mitya began telling her all about it, disconnectedly, incoherently, feverishly. He spoke strangely, often frowning, and stopping abruptly. "What are you frowning at?" she asked. "Nothing.... I left a man ill there. I'd give ten years of my life for him to get well, to know he was all right!" "Well, never mind him, if he's ill. So you meant to shoot yourself to- morrow! What a silly boy! What for? I like such reckless fellows as you," she lisped, with a rather halting tongue. "So you would go any length for me, eh? Did you really mean to shoot yourself to-morrow, you stupid? No, wait a little. To-morrow I may have something to say to you.... I won't say it to-day, but to-morrow. You'd like it to be to-day? No, I don't want to to-day. Come, go along now, go and amuse yourself." Once, however, she called him, as it were, puzzled and uneasy. "Why are you sad? I see you're sad.... Yes, I see it," she added, looking intently into his eyes. "Though you keep kissing the peasants and shouting, I see something. No, be merry. I'm merry; you be merry, too.... I love somebody here. Guess who it is. Ah, look, my boy has fallen asleep, poor dear, he's drunk." She meant Kalganov. He was, in fact, drunk, and had dropped asleep for a moment, sitting on the sofa. But he was not merely drowsy from drink; he felt suddenly dejected, or, as he said, "bored." He was intensely depressed by the girls' songs, which, as the drinking went on, gradually became coarse and more reckless. And the dances were as bad. Two girls dressed up as bears, and a lively girl, called Stepanida, with a stick in her hand, acted the part of keeper, and began to "show them." "Look alive, Marya, or you'll get the stick!" The bears rolled on the ground at last in the most unseemly fashion, amid roars of laughter from the closely-packed crowd of men and women. "Well, let them! Let them!" said Grushenka sententiously, with an ecstatic expression on her face. "When they do get a day to enjoy themselves, why shouldn't folks be happy?" Kalganov looked as though he had been besmirched with dirt. "It's swinish, all this peasant foolery," he murmured, moving away; "it's the game they play when it's light all night in summer." He particularly disliked one "new" song to a jaunty dance-tune. It described how a gentleman came and tried his luck with the girls, to see whether they would love him: The master came to try the girls: Would they love him, would they not? But the girls could not love the master: He would beat me cruelly And such love won't do for me. Then a gypsy comes along and he, too, tries: The gypsy came to try the girls: Would they love him, would they not? But they couldn't love the gypsy either: He would be a thief, I fear, And would cause me many a tear. And many more men come to try their luck, among them a soldier: The soldier came to try the girls: Would they love him, would they not? But the soldier is rejected with contempt, in two indecent lines, sung with absolute frankness and producing a furore in the audience. The song ends with a merchant: The merchant came to try the girls: Would they love him, would they not? And it appears that he wins their love because: The merchant will make gold for me And his queen I'll gladly be. Kalvanov was positively indignant. "That's just a song of yesterday," he said aloud. "Who writes such things for them? They might just as well have had a railwayman or a Jew come to try his luck with the girls; they'd have carried all before them." And, almost as though it were a personal affront, he declared, on the spot, that he was bored, sat down on the sofa and immediately fell asleep. His pretty little face looked rather pale, as it fell back on the sofa cushion. "Look how pretty he is," said Grushenka, taking Mitya up to him. "I was combing his hair just now; his hair's like flax, and so thick...." And, bending over him tenderly, she kissed his forehead. Kalganov instantly opened his eyes, looked at her, stood up, and with the most anxious air inquired where was Maximov? "So that's who it is you want." Grushenka laughed. "Stay with me a minute. Mitya, run and find his Maximov." Maximov, it appeared, could not tear himself away from the girls, only running away from time to time to pour himself out a glass of liqueur. He had drunk two cups of chocolate. His face was red, and his nose was crimson; his eyes were moist and mawkishly sweet. He ran up and announced that he was going to dance the "sabotiere." "They taught me all those well-bred, aristocratic dances when I was little...." "Go, go with him, Mitya, and I'll watch from here how he dances," said Grushenka. "No, no, I'm coming to look on, too," exclaimed Kalganov, brushing aside in the most naive way Grushenka's offer to sit with him. They all went to look on. Maximov danced his dance. But it roused no great admiration in any one but Mitya. It consisted of nothing but skipping and hopping, kicking up the feet, and at every skip Maximov slapped the upturned sole of his foot. Kalganov did not like it at all, but Mitya kissed the dancer. "Thanks. You're tired perhaps? What are you looking for here? Would you like some sweets? A cigar, perhaps?" "A cigarette." "Don't you want a drink?" "I'll just have a liqueur.... Have you any chocolates?" "Yes, there's a heap of them on the table there. Choose one, my dear soul!" "I like one with vanilla ... for old people. He he!" "No, brother, we've none of that special sort." "I say," the old man bent down to whisper in Mitya's ear. "That girl there, little Marya, he he! How would it be if you were to help me make friends with her?" "So that's what you're after! No, brother, that won't do!" "I'd do no harm to any one," Maximov muttered disconsolately. "Oh, all right, all right. They only come here to dance and sing, you know, brother. But damn it all, wait a bit!... Eat and drink and be merry, meanwhile. Don't you want money?" "Later on, perhaps," smiled Maximov. "All right, all right...." Mitya's head was burning. He went outside to the wooden balcony which ran round the whole building on the inner side, overlooking the courtyard. The fresh air revived him. He stood alone in a dark corner, and suddenly clutched his head in both hands. His scattered thoughts came together; his sensations blended into a whole and threw a sudden light into his mind. A fearful and terrible light! "If I'm to shoot myself, why not now?" passed through his mind. "Why not go for the pistols, bring them here, and here, in this dark dirty corner, make an end?" Almost a minute he stood, undecided. A few hours earlier, when he had been dashing here, he was pursued by disgrace, by the theft he had committed, and that blood, that blood!... But yet it was easier for him then. Then everything was over: he had lost her, given her up. She was gone, for him--oh, then his death sentence had been easier for him; at least it had seemed necessary, inevitable, for what had he to stay on earth for? But now? Was it the same as then? Now one phantom, one terror at least was at an end: that first, rightful lover, that fateful figure had vanished, leaving no trace. The terrible phantom had turned into something so small, so comic; it had been carried into the bedroom and locked in. It would never return. She was ashamed, and from her eyes he could see now whom she loved. Now he had everything to make life happy ... but he could not go on living, he could not; oh, damnation! "O God! restore to life the man I knocked down at the fence! Let this fearful cup pass from me! Lord, thou hast wrought miracles for such sinners as me! But what, what if the old man's alive? Oh, then the shame of the other disgrace I would wipe away. I would restore the stolen money. I'd give it back; I'd get it somehow.... No trace of that shame will remain except in my heart for ever! But no, no; oh, impossible cowardly dreams! Oh, damnation!" Yet there was a ray of light and hope in his darkness. He jumped up and ran back to the room--to her, to her, his queen for ever! Was not one moment of her love worth all the rest of life, even in the agonies of disgrace? This wild question clutched at his heart. "To her, to her alone, to see her, to hear her, to think of nothing, to forget everything, if only for that night, for an hour, for a moment!" Just as he turned from the balcony into the passage, he came upon the landlord, Trifon Borissovitch. He thought he looked gloomy and worried, and fancied he had come to find him. "What is it, Trifon Borissovitch? are you looking for me?" "No, sir." The landlord seemed disconcerted. "Why should I be looking for you? Where have you been?" "Why do you look so glum? You're not angry, are you? Wait a bit, you shall soon get to bed.... What's the time?" "It'll be three o'clock. Past three, it must be." "We'll leave off soon. We'll leave off." "Don't mention it; it doesn't matter. Keep it up as long as you like...." "What's the matter with him?" Mitya wondered for an instant, and he ran back to the room where the girls were dancing. But she was not there. She was not in the blue room either; there was no one but Kalganov asleep on the sofa. Mitya peeped behind the curtain--she was there. She was sitting in the corner, on a trunk. Bent forward, with her head and arms on the bed close by, she was crying bitterly, doing her utmost to stifle her sobs that she might not be heard. Seeing Mitya, she beckoned him to her, and when he ran to her, she grasped his hand tightly. "Mitya, Mitya, I loved him, you know. How I have loved him these five years, all that time! Did I love him or only my own anger? No, him, him! It's a lie that it was my anger I loved and not him. Mitya, I was only seventeen then; he was so kind to me, so merry; he used to sing to me.... Or so it seemed to a silly girl like me.... And now, O Lord, it's not the same man. Even his face is not the same; he's different altogether. I shouldn't have known him. I drove here with Timofey, and all the way I was thinking how I should meet him, what I should say to him, how we should look at one another. My soul was faint, and all of a sudden it was just as though he had emptied a pail of dirty water over me. He talked to me like a schoolmaster, all so grave and learned; he met me so solemnly that I was struck dumb. I couldn't get a word in. At first I thought he was ashamed to talk before his great big Pole. I sat staring at him and wondering why I couldn't say a word to him now. It must have been his wife that ruined him; you know he threw me up to get married. She must have changed him like that. Mitya, how shameful it is! Oh, Mitya, I'm ashamed, I'm ashamed for all my life. Curse it, curse it, curse those five years!" And again she burst into tears, but clung tight to Mitya's hand and did not let it go. "Mitya, darling, stay, don't go away. I want to say one word to you," she whispered, and suddenly raised her face to him. "Listen, tell me who it is I love? I love one man here. Who is that man? That's what you must tell me." A smile lighted up her face that was swollen with weeping, and her eyes shone in the half darkness. "A falcon flew in, and my heart sank. 'Fool! that's the man you love!' That was what my heart whispered to me at once. You came in and all grew bright. What's he afraid of? I wondered. For you were frightened; you couldn't speak. It's not them he's afraid of--could you be frightened of any one? It's me he's afraid of, I thought, only me. So Fenya told you, you little stupid, how I called to Alyosha out of the window that I'd loved Mityenka for one hour, and that I was going now to love ... another. Mitya, Mitya, how could I be such a fool as to think I could love any one after you? Do you forgive me, Mitya? Do you forgive me or not? Do you love me? Do you love me?" She jumped up and held him with both hands on his shoulders. Mitya, dumb with rapture, gazed into her eyes, at her face, at her smile, and suddenly clasped her tightly in his arms and kissed her passionately. "You will forgive me for having tormented you? It was through spite I tormented you all. It was for spite I drove the old man out of his mind.... Do you remember how you drank at my house one day and broke the wine-glass? I remembered that and I broke a glass to-day and drank 'to my vile heart.' Mitya, my falcon, why don't you kiss me? He kissed me once, and now he draws back and looks and listens. Why listen to me? Kiss me, kiss me hard, that's right. If you love, well, then, love! I'll be your slave now, your slave for the rest of my life. It's sweet to be a slave. Kiss me! Beat me, ill-treat me, do what you will with me.... And I do deserve to suffer. Stay, wait, afterwards, I won't have that...." she suddenly thrust him away. "Go along, Mitya, I'll come and have some wine, I want to be drunk, I'm going to get drunk and dance; I must, I must!" She tore herself away from him and disappeared behind the curtain. Mitya followed like a drunken man. "Yes, come what may--whatever may happen now, for one minute I'd give the whole world," he thought. Grushenka did, in fact, toss off a whole glass of champagne at one gulp, and became at once very tipsy. She sat down in the same chair as before, with a blissful smile on her face. Her cheeks were glowing, her lips were burning, her flashing eyes were moist; there was passionate appeal in her eyes. Even Kalganov felt a stir at the heart and went up to her. "Did you feel how I kissed you when you were asleep just now?" she said thickly. "I'm drunk now, that's what it is.... And aren't you drunk? And why isn't Mitya drinking? Why don't you drink, Mitya? I'm drunk, and you don't drink...." "I am drunk! I'm drunk as it is ... drunk with you ... and now I'll be drunk with wine, too." He drank off another glass, and--he thought it strange himself--that glass made him completely drunk. He was suddenly drunk, although till that moment he had been quite sober, he remembered that. From that moment everything whirled about him, as though he were delirious. He walked, laughed, talked to everybody, without knowing what he was doing. Only one persistent burning sensation made itself felt continually, "like a red-hot coal in his heart," he said afterwards. He went up to her, sat beside her, gazed at her, listened to her.... She became very talkative, kept calling every one to her, and beckoned to different girls out of the chorus. When the girl came up, she either kissed her, or made the sign of the cross over her. In another minute she might have cried. She was greatly amused by the "little old man," as she called Maximov. He ran up every minute to kiss her hands, "each little finger," and finally he danced another dance to an old song, which he sang himself. He danced with special vigor to the refrain: The little pig says--umph! umph! umph! The little calf says--moo, moo, moo, The little duck says--quack, quack, quack, The little goose says--ga, ga, ga. The hen goes strutting through the porch; Troo-roo-roo-roo-roo, she'll say, Troo-roo-roo-roo-roo, she'll say! "Give him something, Mitya," said Grushenka. "Give him a present, he's poor, you know. Ah, the poor, the insulted!... Do you know, Mitya, I shall go into a nunnery. No, I really shall one day, Alyosha said something to me to-day that I shall remember all my life.... Yes.... But to-day let us dance. To-morrow to the nunnery, but to-day we'll dance. I want to play to-day, good people, and what of it? God will forgive us. If I were God, I'd forgive every one: 'My dear sinners, from this day forth I forgive you.' I'm going to beg forgiveness: 'Forgive me, good people, a silly wench.' I'm a beast, that's what I am. But I want to pray. I gave a little onion. Wicked as I've been, I want to pray. Mitya, let them dance, don't stop them. Every one in the world is good. Every one--even the worst of them. The world's a nice place. Though we're bad the world's all right. We're good and bad, good and bad.... Come, tell me, I've something to ask you: come here every one, and I'll ask you: Why am I so good? You know I am good. I'm very good.... Come, why am I so good?" So Grushenka babbled on, getting more and more drunk. At last she announced that she was going to dance, too. She got up from her chair, staggering. "Mitya, don't give me any more wine--if I ask you, don't give it to me. Wine doesn't give peace. Everything's going round, the stove, and everything. I want to dance. Let every one see how I dance ... let them see how beautifully I dance...." She really meant it. She pulled a white cambric handkerchief out of her pocket, and took it by one corner in her right hand, to wave it in the dance. Mitya ran to and fro, the girls were quiet, and got ready to break into a dancing song at the first signal. Maximov, hearing that Grushenka wanted to dance, squealed with delight, and ran skipping about in front of her, humming: With legs so slim and sides so trim And its little tail curled tight. But Grushenka waved her handkerchief at him and drove him away. "Sh-h! Mitya, why don't they come? Let every one come ... to look on. Call them in, too, that were locked in.... Why did you lock them in? Tell them I'm going to dance. Let them look on, too...." Mitya walked with a drunken swagger to the locked door, and began knocking to the Poles with his fist. "Hi, you ... Podvysotskys! Come, she's going to dance. She calls you." "_Lajdak!_" one of the Poles shouted in reply. "You're a _lajdak_ yourself! You're a little scoundrel, that's what you are." "Leave off laughing at Poland," said Kalganov sententiously. He too was drunk. "Be quiet, boy! If I call him a scoundrel, it doesn't mean that I called all Poland so. One _lajdak_ doesn't make a Poland. Be quiet, my pretty boy, eat a sweetmeat." "Ach, what fellows! As though they were not men. Why won't they make friends?" said Grushenka, and went forward to dance. The chorus broke into "Ah, my porch, my new porch!" Grushenka flung back her head, half opened her lips, smiled, waved her handkerchief, and suddenly, with a violent lurch, stood still in the middle of the room, looking bewildered. "I'm weak...." she said in an exhausted voice. "Forgive me.... I'm weak, I can't.... I'm sorry." She bowed to the chorus, and then began bowing in all directions. "I'm sorry.... Forgive me...." "The lady's been drinking. The pretty lady has been drinking," voices were heard saying. "The lady's drunk too much," Maximov explained to the girls, giggling. "Mitya, lead me away ... take me," said Grushenka helplessly. Mitya pounced on her, snatched her up in his arms, and carried the precious burden through the curtains. "Well, now I'll go," thought Kalganov, and walking out of the blue room, he closed the two halves of the door after him. But the orgy in the larger room went on and grew louder and louder. Mitya laid Grushenka on the bed and kissed her on the lips. "Don't touch me...." she faltered, in an imploring voice. "Don't touch me, till I'm yours.... I've told you I'm yours, but don't touch me ... spare me.... With them here, with them close, you mustn't. He's here. It's nasty here...." "I'll obey you! I won't think of it ... I worship you!" muttered Mitya. "Yes, it's nasty here, it's abominable." And still holding her in his arms, he sank on his knees by the bedside. "I know, though you're a brute, you're generous," Grushenka articulated with difficulty. "It must be honorable ... it shall be honorable for the future ... and let us be honest, let us be good, not brutes, but good ... take me away, take me far away, do you hear? I don't want it to be here, but far, far away...." "Oh, yes, yes, it must be!" said Mitya, pressing her in his arms. "I'll take you and we'll fly away.... Oh, I'd give my whole life for one year only to know about that blood!" "What blood?" asked Grushenka, bewildered. "Nothing," muttered Mitya, through his teeth. "Grusha, you wanted to be honest, but I'm a thief. But I've stolen money from Katya.... Disgrace, a disgrace!" "From Katya, from that young lady? No, you didn't steal it. Give it her back, take it from me.... Why make a fuss? Now everything of mine is yours. What does money matter? We shall waste it anyway.... Folks like us are bound to waste money. But we'd better go and work the land. I want to dig the earth with my own hands. We must work, do you hear? Alyosha said so. I won't be your mistress, I'll be faithful to you, I'll be your slave, I'll work for you. We'll go to the young lady and bow down to her together, so that she may forgive us, and then we'll go away. And if she won't forgive us, we'll go, anyway. Take her her money and love me.... Don't love her.... Don't love her any more. If you love her, I shall strangle her.... I'll put out both her eyes with a needle...." "I love you. I love only you. I'll love you in Siberia...." "Why Siberia? Never mind, Siberia, if you like. I don't care ... we'll work ... there's snow in Siberia.... I love driving in the snow ... and must have bells.... Do you hear, there's a bell ringing? Where is that bell ringing? There are people coming.... Now it's stopped." She closed her eyes, exhausted, and suddenly fell asleep for an instant. There had certainly been the sound of a bell in the distance, but the ringing had ceased. Mitya let his head sink on her breast. He did not notice that the bell had ceased ringing, nor did he notice that the songs had ceased, and that instead of singing and drunken clamor there was absolute stillness in the house. Grushenka opened her eyes. "What's the matter? Was I asleep? Yes ... a bell ... I've been asleep and dreamt I was driving over the snow with bells, and I dozed. I was with some one I loved, with you. And far, far away. I was holding you and kissing you, nestling close to you. I was cold, and the snow glistened.... You know how the snow glistens at night when the moon shines. It was as though I was not on earth. I woke up, and my dear one is close to me. How sweet that is!..." "Close to you," murmured Mitya, kissing her dress, her bosom, her hands. And suddenly he had a strange fancy: it seemed to him that she was looking straight before her, not at him, not into his face, but over his head, with an intent, almost uncanny fixity. An expression of wonder, almost of alarm, came suddenly into her face. "Mitya, who is that looking at us?" she whispered. Mitya turned, and saw that some one had, in fact, parted the curtains and seemed to be watching them. And not one person alone, it seemed. He jumped up and walked quickly to the intruder. "Here, come to us, come here," said a voice, speaking not loudly, but firmly and peremptorily. Mitya passed to the other side of the curtain and stood stock still. The room was filled with people, but not those who had been there before. An instantaneous shiver ran down his back, and he shuddered. He recognized all those people instantly. That tall, stout old man in the overcoat and forage-cap with a cockade--was the police captain, Mihail Makarovitch. And that "consumptive-looking" trim dandy, "who always has such polished boots"--that was the deputy prosecutor. "He has a chronometer worth four hundred roubles; he showed it to me." And that small young man in spectacles.... Mitya forgot his surname though he knew him, had seen him: he was the "investigating lawyer," from the "school of jurisprudence," who had only lately come to the town. And this man--the inspector of police, Mavriky Mavrikyevitch, a man he knew well. And those fellows with the brass plates on, why are they here? And those other two ... peasants.... And there at the door Kalganov with Trifon Borissovitch.... "Gentlemen! What's this for, gentlemen?" began Mitya, but suddenly, as though beside himself, not knowing what he was doing, he cried aloud, at the top of his voice: "I un--der--stand!" The young man in spectacles moved forward suddenly, and stepping up to Mitya, began with dignity, though hurriedly: "We have to make ... in brief, I beg you to come this way, this way to the sofa.... It is absolutely imperative that you should give an explanation." "The old man!" cried Mitya frantically. "The old man and his blood!... I understand." And he sank, almost fell, on a chair close by, as though he had been mown down by a scythe. "You understand? He understands it! Monster and parricide! Your father's blood cries out against you!" the old captain of police roared suddenly, stepping up to Mitya. He was beside himself, crimson in the face and quivering all over. "This is impossible!" cried the small young man. "Mihail Makarovitch, Mihail Makarovitch, this won't do!... I beg you'll allow me to speak. I should never have expected such behavior from you...." "This is delirium, gentlemen, raving delirium," cried the captain of police; "look at him: drunk, at this time of night, in the company of a disreputable woman, with the blood of his father on his hands.... It's delirium!..." "I beg you most earnestly, dear Mihail Makarovitch, to restrain your feelings," the prosecutor said in a rapid whisper to the old police captain, "or I shall be forced to resort to--" But the little lawyer did not allow him to finish. He turned to Mitya, and delivered himself in a loud, firm, dignified voice: "Ex-Lieutenant Karamazov, it is my duty to inform you that you are charged with the murder of your father, Fyodor Pavlovitch Karamazov, perpetrated this night...." He said something more, and the prosecutor, too, put in something, but though Mitya heard them he did not understand them. He stared at them all with wild eyes.

Book VIII

https://web.archive.org/web/20201219142226/https://www.cliffsnotes.com/literature/b/the-brothers-karamazov/summary-and-analysis/part-3-book-viii

Dmitri feels that there is still a possibility that Grushenka may accept him as her husband, but his problem is that if she does accept him, he cannot rightfully carry her away until he repays the money he owes Katerina Ivanovna. In a desperate effort to find a solution, he contrives a fantastic scheme. He goes to old Samsonov -- Grushenka's previous protector -- and offers him the rights to some property that he believes the law courts might take away from Fyodor and give to him if the old merchant will immediately give him 3,000 rubles. The merchant, of course, refuses and plays a trick on Dmitri: he sends him off to the country to see a merchant named Lyagavy, who is bargaining with Fyodor for this very property. Dmitri pawns his watch, hires transportation to the neighboring town, and finds the merchant. Unfortunately, the man is thoroughly drunk. Dmitri tries to sober him up but is unable to, so he waits until the next day. The merchant remains in a stupor, so Dmitri returns to town, hoping to borrow money from Madame Hohlakov. Madame Hohlakov, however, tries to convince him that he should go off to the gold mines if he wants money; she refuses to lend him anything. Dmitri next goes to claim Grushenka but finds that she is not at home. The servant is no help; she pretends that she does not know where Grushenka has gone. Dmitri is outraged. He picks up a brass pestle and dashes to his father's house. Then he sneaks into the garden and peers through a lighted window. He is sure that Grushenka has finally come to the old man. He is disappointed, however; he sees only his father pacing the floor. But to make certain that Grushenka is not there, Dmitri taps the secret signal. The old man opens the window and Dmitri is greatly relieved. Grushenka is not with his father! Meanwhile, Grigory, the old servant, awakens and goes into the garden for a breath of air. He sees Dmitri leaving the garden and tries to stop him, but Dmitri, confused and distraught, fights off his attacker and finally strikes him on the head with the pestle. The servant crumples to the ground, and Dmitri stops for a moment to see if the man is dead. He tries to stop the puddle of blood; then, in a panic, he tosses the pestle away and flees. He returns to Grushenka's house and forces the servants to reveal where Grushenka has gone. The answer is agonizing: she has gone to rejoin her first lover. Dmitri knows now that he can no longer claim the girl. He must step aside and leave her to her happiness. But he passionately wants one last look at Grushenka. After that, he will kill himself; his future holds nothing without Grushenka. He goes to retrieve pistols from Perhotin, a minor official who lent Dmitri money and kept the pistols as security. Perhotin is amazed to see Dmitri, who is now carrying a large bundle of money and blotched with blood. He goes to a nearby store with young Karamazov and remains while Dmitri buys 300 rubles worth of food and wine and makes arrangements to go where Grushenka is rumored to be staying. After Perhotin watches Dmitri leave, he decides to do some detective work. Dmitri is in luck: Grushenka is indeed staying where he was directed. He rushes to her rooms and greatly shocks Grushenka, but she recovers and welcomes him. Until now, the celebration has been gloomy and restrained. Dmitri's wine helps liven the spirits, and soon Grushenka and her officer friend and Dmitri are all playing cards together. All does not go well, however. The Polish officer begins to cheat and tosses out disgusting, cynical remarks. Grushenka recoils. She realizes that she can never love such a man. Dmitri senses Grushenka's pain, and when the officer finally turns his insults on her, Dmitri forces him into another room and locks him inside. Then a real celebration ensues, and Grushenka knows that she can love only Dmitri. Dmitri is not quite so lucky. He is troubled because he has struck Grigory, perhaps killed him; he also owes money to Katerina Ivanovna. He talks with Grushenka of their future together, but they are interrupted. A group of officers arrive, charge Dmitri with the murder of his father, and place him under arrest.

Until now, the novel has moved with a sure, slow deliberateness as Dostoevsky depicts the intellectual conflicts in Ivan, the philosophy of Zossima, and the mystic affirmation of life by Alyosha. Now, however, this section, devoted to Dmitri, rushes along with breathtaking speed as it records Dmitri's frantic efforts to save both his life and his love. Dostoevsky is a master at depicting the torment of despondency within a character who has no money and desperately needs it in order to salvage some remnant of his honor. Dmitri has spent most of the money that Katerina Ivanovna has lent him, and, although we know that he has the rest concealed on him, he still feels that he cannot elope with Grushenka until the entire sum is repaid. He must secure the money so that he can begin a new life with Grushenka and still retain his integrity. If he were to use Katerina's money to elope with Grushenka, he feels that this would be his absolute lowest, most degrading act. Looking forward, when he decides to step aside and allow Grushenka to return to her first love, one should realize that by this time he has decided to end his life. This resolution should be kept in mind when Dmitri shows few qualms about usurping the money; it is not that he considers it any less dishonorable, but, because he intends to take his life, he will not have to face the dishonor. Dostoevsky does not present an entirely admirable character in Dmitri. He continually lets the reader know that Dmitri's financial predicament is due to his irresponsibility with money. Consequently, his frantic search for someone who will lend him money and his absurd proposals reveal his lack of acumen. He is also unable to realize that the old merchant, Samsonov, is making fun of him and sending him on a wild goose chase. It takes two days for Dmitri to come to his senses, but even then he tries to convince Madame Hohlakov that she should lend him money. Were he more rational, he would know that the lady detests him. These scenes of begging, then, show to what degree of desperation Dmitri will go in his need for money. This alone casts suspicion upon him concerning his father's murder. Remember, too, that Dostoevsky arranges his plot in such a way that it is natural and logical for the reader to assume on first reading that Dmitri is the murderer. Every detail in this chapter attests to the incriminating evidence that will be accumulated against Dmitri. Furthermore, even Dmitri's thoughts cast suspicion upon him. As he goes to see Madame Hohlakov, for example, he thinks "his last hope . . . if this broke down, nothing else was left him in the world but to rob and murder some one for the three thousand." Such evidence, coupled with his distraught emotions, allows the reader to assume that Dmitri is indeed guilty of his father's murder. Ironically, one small lie contributes most of all to Dmitri's arrest. Fenya, Grushenka's servant, lies to him; she says that she does not know of Grushenka's whereabouts, thereby forcing Dmitri to go to his father's to search for her. Had the servant told the truth, Dmitri would not have been present at the scene of the murder; nor would he have been covered with Grigory's blood. Dmitri's resolve to commit suicide is quite believable. On the road to Mokroe to meet Grushenka, he fully intends to see her and then kill himself. Indeed, the mere fact that he is now spending the rest of Katerina Ivanovna's money and the fact that he has left old Grigory to face possible death from his wounds suggest that Dmitri no longer has any concern about the future. During the ride, he knows that he cannot stand in Grushenka's way, but he wants to see her once more. He is in agony; he even asks the peasant driver, as one might ask a priest, to forgive him all the sins of his life. Incidentally, with this last act, he echoes one of Zossima's ideas concerning the repudiation of master-servant distinction and the responsibility of all men for one another. Dmitri fully intends to kill himself, and his prayer, most of all, reveals the anguish in his soul. "Lord," he pleads, "receive me with all my lawlessness and do not condemn me. Let me pass Thy judgment -- do not condemn me for I have condemned myself . . . for I love Thee, O Lord. I am a wretch, but I love Thee. If Thou sendest me to hell, I shall love Thee there and from there I shall cry out that I love Thee for ever and ever." In this prayer is Dmitri's most redeeming value; it holds the key to Dmitri's character -- that which Zossima recognized. Dmitri is one of the "folk" of whom the elder spoke. He is one of those who may sin, but who still love God. That love, said Zossima, leads to salvation; such deep love the elder recognized early in his relationship with Dmitri. Henceforth, young Karamazov calls upon this love and its strength as he begins the slow journey toward regeneration and redemption.

gradesaver

all_chapterized_books/2166-chapters/chapters_15_to_16.txt

finished_summaries/gradesaver/King Solomon's Mines/section_8_part_0.txt

King Solomon's Mines.chapters 15-16

chapters 15-16

{"name": "Chapters 15 and 16", "url": "https://web.archive.org/web/20200804024551/https://www.gradesaver.com/king-solomons-mines/study-guide/summary-chapters-15-and-16", "summary": "Following Sir Henry's defeat of Twala, both he and Captain Good are carried, exhausted and spent, into Twala's hut. Quatermain notes his own discomfort, particularly the residual effects of his earlier blow to the head, but reflects on the men's good fortune at being alive to feel pain rather than dead on the field of battle. Foulata, the young Kukuana girl whom Sir Henry and Good rescued from becoming a sacrifice, brings herbs to aid in the men's recovery. Captain Good plies his skills as a medic to stitch both Sir Henry's and his own wounds. That night, Sir Henry sleeps upon the couch of his now-dead adversary, Twala. Quatermain attempts to sleep, but cannot due to his own exhaustion and the sound of Kukuana women wailing for their lost husbands and sons. His only sleep comes in fitful bursts, full of battle-borne anxiety startling him into wakefulness time after time. The next day, Good's condition worsens and he begins to spit blood. Quatermain decides that he had suffered an internal injury from the lone Kukuana's spear-strikes the previous day. Infadoos visits the men and stands in particular awe of Sir Henry due to his amazing acts of battle prowess in the fight against Twala. In fact, Sir Henry's mighty deed becomes legendary among the Kukuanas, who eventually come to call any amazing feat of strength or deadly blow \"Incubu's blow.\" Quatermain ponders aloud to Ignosi that the new king had \"swum to the throne in blood.\" Ignosi concurs, but mitigates the statement with the belief that the Kukuana people require massive bloodshed from time to time in their history in order to stabilize the society. Looking upon the crowned Ignosi, Quatermain reflects on his first impression of the man when he seemed a lone Zulu warrior of proud bearing seeking to join the party's search for diamonds and Sir Henry's brother. Quatermain is moved to hail Ignosi as king, to which Ignosi humbly replies that he is king by the grace of the three white men. Quatermain asks Ignosi what he plans to do with the witch Gagool. Ignosi intends to kill her so that her evil will not spread again, but Quatermain is forced to point out that she possessed valuable knowledge which will be very difficult to accumulate again. He reminds Ignosi that Gagool alone knows the secrets of the \"Three Witches\" mountains and the diamonds which rest there. Ignosi agrees to think on the matter. Quatermain then goes to visit Good, who has been moved to the white men's original hut along with Quatermain and Sir Henry. Good is feverish and delirious, but has picked up a devoted follower in Foulata. In fact, the Kukuana girl gives sole credit for her rescue to Good and seeks to preserve his life as he preserved hers. While Foulata nurses Good back to health, Ignosi commands that the huts, which are three hundred yards away from Good's resting place, be vacated to maintain peace for the recuperating hero. Foulata remains with Good for three days and nights, tending him in his delirium. When Quatermain comes to see Good, he believes Good to have died, but is reassured by a sigh from Good that he yet lives. He notes that Foulata's fingers clasp Good's, and continue to do so for many hours to come. Eventually, Good comes around and is informed by Sir Henry that Foulata sat motionless beside him for eighteen hours to comfort him in his illness. Good is moved to thank her for her devotion, to which Foulata responds that she was only returning the mercy Good had shown her. Quatermain takes a moment to meditate on the easily-infatuated nature of sailors and believes that Good's affection for Foulata will be short-lived. A few days later, Ignosi holds council and honors the remaining Greys by parading them before the village and granting them lavish gifts. Sir Henry, Good, and Quatermain are also honored by Ignosi's declaration that they be greeted with the royal salute and respected equally with the king so long as they were in Kukuanaland. Ignosi also repeats his mandate that no man's blood would again be shed without fair trial. After the ceremony, the white men remind Ignosi of their desire to find the diamonds of King Solomon's Mines. Ignosi has decided to let Gagool choose her fate: aid the men with her knowledge and live, or refuse to help and die slowly and painfully. When these options are presented to her, Gagool attempts arrogance in declaring her knowledge superior and her fear of death nonexistent. But when Ignosi prods Gagool with his spear, she changes her attitude and agrees to help. However, she reminds the men that at another time a woman named Gagool showed a white man the way to the \"Silent Ones,\" and he met an evil fate. She hints that perhaps she was that same Gagool, and that these men's fate will be no better. She finishes her rant by declaring the journey will be a \"merry one\" as they will be able to see the bodies of the fallen on their way. Three days out from Loo, the party consisting of Quatermain, Good, Sir Henry, Foulata, Infadoos, Gagool, and some guards and attendants makes camp at the foot of the \"Three Witches\" -three mountain peaks rising up in a triangle from a single wide mountain base. Seeing Solomon's Road stretching before them for five miles more until ending at the furthest of the three peaks, the party presses on for an hour and a half before Gagool's litter-bearers ask the white men to move more slowly that they may keep up. Gagool continues to taunt the men that evil will befall them when they enter the place they seek. Before reaching the third peak, the group comes across a wide hole in the ground, nearly half a mile around and three hundred feet deep. Quatermain identifies this as Solomon's Mine, having seen similar diamond mines at Kimberly. Solomon's road divides around the mine to reach the far peak, so the group continues onward, curious to see what the three towering objects they can discern near that peak might be. As they draw nearer, they see that the three objects are three massive statues, two males and a female, which are likely the Kukuanas' \"Silent Ones.\" The female, set between the two males, is nude and beautiful, with the emblem of the crescent moon arcing up from either side of her head. The flanking male figures were different from one another, the right-hand figure having the face \"of a devil\" and the left-hand figure possessing a countenance reflecting \"the calm of inhuman cruelty.\" After some discussion the three white men conclude that these statues may in fact represent Ashtoreth, Chimosh, and Milcom, three divinities favored by the people to who Solomon's faith went astray later in his reign. Sir Henry bolsters their argument by identifying Zidonian Ashtoreth with the Phoenician Astarte and Greek Aphrodite, who were represented by the horns of the half moon. The men then decide to push on into the \"Place of Death\" rather than wait any longer, but prudently take some food with them as they do not know how long they will be there. Gagool rises from her litter to lead the men into the \"Place of Death.\" Foulata balks at entering the burial chamber at first, but decides to follow Good wherever he may lead. As they enter the dark chambers, bats fly past them and hit their faces. Then they enter a huge cave, larger than any structure built by man. ice-like pillars--actually massive white stalactites--extend from the ceiling to the floor, adding to the cathedral-like quality of the cavern. Some of the stalactites take the vague form of beasts and the walls are covered in \"fan-like ivory tracings\" from the dripping water. Gagool hurries the party to the far end of the cave and through another passageway. From there they enter the \"Place of Death.\" Upon entering, Quatermain is at first only able to see a vast table, at the head of which sits a huge white figure, and which is surrounded by several man-sized white figures. Then he and the rest of the party discern the huge figure to be Death, scythe and all, leaning forward from its seat to hold the scythe over the table. Quatermain nearly runs out of the cavern, but is restrained by Sir Henry. Gagool shows the men the table, upon which sits Twala's decapitated body, his head in his lap. Then the men notice that the water is dripping from the Death-figure's scythe upon Twala, inexorably covering his body in mineral deposits similar to the stalactite columns in the larger chamber. It then dawns on the men that the various human-sized figures around the room are former kings, each one turned into a stalactite-statue over time. Quatermain later ponders the ghastly scene in a more objective light and concludes that the huge figure of Death was sculpted many centuries ago by some Old World sculptor who came here with the peoples working in King Solomon's mines. The detail on the sculpture--made entirely out of a single massive stalactite--is perfect and suggests the same sculptor for the \"Silent Ones\" without. Quatermain believes it was the presence of this sculpture which led the Kukuanas to make this a place to bury their royal dead.", "analysis": "The necessity of bloodshed, particularly in the case of \"savage\" cultures, is described by Ignosi: \"The Kukuana people can only be kept cool by letting the blood flow sometimes...After this the land would be quiet for a while\" . This statement is a response to Quatermain's own amazement at how bloody the path to kingship was for Ignosi. The contrasting views: that there should be other solutions to political disputes beyond violence, and that some nations need violence in order to remain stable, demonstrate again the European attitude toward African philosophies of life and their own. A civilized people would have no need for a cycle of violence to keep the peace, therefore the Kukuanas, for all their virtues, are still savages. Ignosi himself seems inured to bloodshed. He would have Gagool executed, and does not understand the importance of keeping the knowledge the old woman has accumulated available to future generations. Quatermain must argue that her information is the best way to get to the diamond mines because Ignosi has no concept of keeping a history of ideas available to his people. Again, the civilized European tendency to seek and protect knowledge is contrasted to the primitive ignorance of the Kukuanas. Quatermain also expresses his concern over interracial relationships regarding Captain Good's serious injury and Foulata's nursing him back to health: \"I did not like Miss Foulata's soft glances, for I knew the fatal amorous propensitie3s of sailors in general, and Good in particular\" . Although Quatermain puts the burden of ignominious behavior on Good as a Naval man, it is clear that Quatermain's default view is that whites and blacks should not intermarry. Nonetheless, Quatermain seems genuinely concerned about Foulata's feelings. It is interesting to note that Haggard is one of the first author's to include interracial marriage in his works. Twala is dead, but the true evil in Kukuanaland--Gagool--yet lives. In typical adventure yarn fashion , Haggard has created his climax early in the novel. Ignosi has reclaimed his lost throne; the usurper has been destroyed. All that remains now is to clean up the remaining fallout and complete the white men's quest for diamonds and for Neville. However, Gagool is still a potential threat, despite her seeming acquiescence to Ignosi's demands. From this point on in the novel, the dangers are more personal to the men and less based on notions of honor than they are on desire for wealth and the need to survive. Aside from Gagoo's alleged longevity, this scene is the most supernatural Haggard has included in his novel. The men's attempts to rationalize and comprehend the three statues outside the Place of Death, along with Quatermain's later reflection on the origin of the figure of Death itself, show the European mindset: if one can understand something's origins or workings, then that object holds no mystery. Of course, Quatermain's first reaction to the Death statute--fleeing in terror--shows the fragility of this mindset. Note again, however, that the Kukuanas are not responsible for the creation of these statues. Phoenician sculptors or others from Solomon's day are given credit for the artifice. The assumption is that the Kukuanas are too primitive to create lasting art , and so remain in awe of the achievements of the past. However, even this explanation leaves the question of why the early sculptor chose the figure of Death and a table prior to the Kukuanas' using the place as a royal burial chamber unanswered. Twala has arrived before the white men; he again \"welcomes\" them into his presence, this time as a king of the dead. The mineral-encrusted former kings surround the table, seemingly forming a royal court for Death, but in the present instance also petrified in a stance of obeisance toward Twala. Even here, Gagool's chosen king has his throne. Of course, he holds his once-crowned head in his hands--a testimony to Sir Henry's method of dispatching the Kukuana ruler. The idea of the dripping water creating stalactites out of the dead kings offers a physical--and primitive--view of immortality for the Kukuanas. These bodies are not buried or cremated--they are forever preserved in rock for all of time. However, only Gagool visits the Place of Death repeatedly, so their afterlife is limited to Gagool's accounts. The old wise woman seems to commune with the dead kings, dashing around and whispering to them in view of the white men. Certainly she has learned many secrets from the past--but whether this is through paying attention to details while the kings lived or through some form of necromancy here in the Place of Death is left uncertain."}

After the fight was ended, Sir Henry and Good were carried into Twala's hut, where I joined them. They were both utterly exhausted by exertion and loss of blood, and, indeed, my own condition was little better. I am very wiry, and can stand more fatigue than most men, probably on account of my light weight and long training; but that night I was quite done up, and, as is always the case with me when exhausted, that old wound which the lion gave me began to pain. Also my head was aching violently from the blow I had received in the morning, when I was knocked senseless. Altogether, a more miserable trio than we were that evening it would have been difficult to discover; and our only comfort lay in the reflection that we were exceedingly fortunate to be there to feel miserable, instead of being stretched dead upon the plain, as so many thousands of brave men were that night, who had risen well and strong in the morning. Somehow, with the assistance of the beautiful Foulata, who, since we had been the means of saving her life, had constituted herself our handmaiden, and especially Good's, we managed to get off the chain shirts, which had certainly saved the lives of two of us that day. As I expected, we found that the flesh underneath was terribly contused, for though the steel links had kept the weapons from entering, they had not prevented them from bruising. Both Sir Henry and Good were a mass of contusions, and I was by no means free. As a remedy Foulata brought us some pounded green leaves, with an aromatic odour, which, when applied as a plaster, gave us considerable relief. But though the bruises were painful, they did not give us such anxiety as Sir Henry's and Good's wounds. Good had a hole right through the fleshy part of his "beautiful white leg," from which he had lost a great deal of blood; and Sir Henry, with other hurts, had a deep cut over the jaw, inflicted by Twala's battle-axe. Luckily Good is a very decent surgeon, and so soon as his small box of medicines was forthcoming, having thoroughly cleansed the wounds, he managed to stitch up first Sir Henry's and then his own pretty satisfactorily, considering the imperfect light given by the primitive Kukuana lamp in the hut. Afterwards he plentifully smeared the injured places with some antiseptic ointment, of which there was a pot in the little box, and we covered them with the remains of a pocket-handkerchief which we possessed. Meanwhile Foulata had prepared us some strong broth, for we were too weary to eat. This we swallowed, and then threw ourselves down on the piles of magnificent karrosses, or fur rugs, which were scattered about the dead king's great hut. By a very strange instance of the irony of fate, it was on Twala's own couch, and wrapped in Twala's own particular karross, that Sir Henry, the man who had slain him, slept that night. I say slept; but after that day's work, sleep was indeed difficult. To begin with, in very truth the air was full "Of farewells to the dying And mournings for the dead." From every direction came the sound of the wailing of women whose husbands, sons, and brothers had perished in the battle. No wonder that they wailed, for over twelve thousand men, or nearly a fifth of the Kukuana army, had been destroyed in that awful struggle. It was heart-rending to lie and listen to their cries for those who never would return; and it made me understand the full horror of the work done that day to further man's ambition. Towards midnight, however, the ceaseless crying of the women grew less frequent, till at length the silence was only broken at intervals of a few minutes by a long piercing howl that came from a hut in our immediate rear, which, as I afterwards discovered, proceeded from Gagool "keening" over the dead king Twala. After that I got a little fitful sleep, only to wake from time to time with a start, thinking that I was once more an actor in the terrible events of the last twenty-four hours. Now I seemed to see that warrior whom my hand had sent to his last account charging at me on the mountain-top; now I was once more in that glorious ring of Greys, which made its immortal stand against all Twala's regiments upon the little mound; and now again I saw Twala's plumed and gory head roll past my feet with gnashing teeth and glaring eye. At last, somehow or other, the night passed away; but when dawn broke I found that my companions had slept no better than myself. Good, indeed, was in a high fever, and very soon afterwards began to grow light-headed, and also, to my alarm, to spit blood, the result, no doubt, of some internal injury, inflicted during the desperate efforts made by the Kukuana warrior on the previous day to force his big spear through the chain armour. Sir Henry, however, seemed pretty fresh, notwithstanding his wound on the face, which made eating difficult and laughter an impossibility, though he was so sore and stiff that he could scarcely stir. About eight o'clock we had a visit from Infadoos, who appeared but little the worse--tough old warrior that he was--for his exertions in the battle, although he informed us that he had been up all night. He was delighted to see us, but much grieved at Good's condition, and shook our hands cordially. I noticed, however, that he addressed Sir Henry with a kind of reverence, as though he were something more than man; and, indeed, as we afterwards found out, the great Englishman was looked on throughout Kukuanaland as a supernatural being. No man, the soldiers said, could have fought as he fought or, at the end of a day of such toil and bloodshed, could have slain Twala, who, in addition to being the king, was supposed to be the strongest warrior in the country, in single combat, shearing through his bull-neck at a stroke. Indeed, that stroke became proverbial in Kukuanaland, and any extraordinary blow or feat of strength was henceforth known as "Incubu's blow." Infadoos told us also that all Twala's regiments had submitted to Ignosi, and that like submissions were beginning to arrive from chiefs in the outlying country. Twala's death at the hands of Sir Henry had put an end to all further chance of disturbance; for Scragga had been his only legitimate son, so there was no rival claimant to the throne left alive. I remarked that Ignosi had swum to power through blood. The old chief shrugged his shoulders. "Yes," he answered; "but the Kukuana people can only be kept cool by letting their blood flow sometimes. Many are killed, indeed, but the women are left, and others must soon grow up to take the places of the fallen. After this the land would be quiet for a while." Afterwards, in the course of the morning, we had a short visit from Ignosi, on whose brows the royal diadem was now bound. As I contemplated him advancing with kingly dignity, an obsequious guard following his steps, I could not help recalling to my mind the tall Zulu who had presented himself to us at Durban some few months back, asking to be taken into our service, and reflecting on the strange revolutions of the wheel of fortune. "Hail, O king!" I said, rising. "Yes, Macumazahn. King at last, by the might of your three right hands," was the ready answer. All was, he said, going well; and he hoped to arrange a great feast in two weeks' time in order to show himself to the people. I asked him what he had settled to do with Gagool. "She is the evil genius of the land," he answered, "and I shall kill her, and all the witch doctors with her! She has lived so long that none can remember when she was not very old, and she it is who has always trained the witch-hunters, and made the land wicked in the sight of the heavens above." "Yet she knows much," I replied; "it is easier to destroy knowledge, Ignosi, than to gather it." "That is so," he said thoughtfully. "She, and she only, knows the secret of the 'Three Witches,' yonder, whither the great road runs, where the kings are buried, and the Silent Ones sit." "Yes, and the diamonds are. Forget not thy promise, Ignosi; thou must lead us to the mines, even if thou hast to spare Gagool alive to show the way." "I will not forget, Macumazahn, and I will think on what thou sayest." After Ignosi's visit I went to see Good, and found him quite delirious. The fever set up by his wound seemed to have taken a firm hold of his system, and to be complicated with an internal injury. For four or five days his condition was most critical; indeed, I believe firmly that had it not been for Foulata's indefatigable nursing he must have died. Women are women, all the world over, whatever their colour. Yet somehow it seemed curious to watch this dusky beauty bending night and day over the fevered man's couch, and performing all the merciful errands of a sick-room swiftly, gently, and with as fine an instinct as that of a trained hospital nurse. For the first night or two I tried to help her, and so did Sir Henry as soon as his stiffness allowed him to move, but Foulata bore our interference with impatience, and finally insisted upon our leaving him to her, saying that our movements made him restless, which I think was true. Day and night she watched him and tended him, giving him his only medicine, a native cooling drink made of milk, in which was infused juice from the bulb of a species of tulip, and keeping the flies from settling on him. I can see the whole picture now as it appeared night after night by the light of our primitive lamp; Good tossing to and fro, his features emaciated, his eyes shining large and luminous, and jabbering nonsense by the yard; and seated on the ground by his side, her back resting against the wall of the hut, the soft-eyed, shapely Kukuana beauty, her face, weary as it was with her long vigil, animated by a look of infinite compassion--or was it something more than compassion? For two days we thought that he must die, and crept about with heavy hearts. Only Foulata would not believe it. "He will live," she said. For three hundred yards or more around Twala's chief hut, where the sufferer lay, there was silence; for by the king's order all who lived in the habitations behind it, except Sir Henry and myself, had been removed, lest any noise should come to the sick man's ears. One night, it was the fifth of Good's illness, as was my habit, I went across to see how he was doing before turning in for a few hours. I entered the hut carefully. The lamp placed upon the floor showed the figure of Good tossing no more, but lying quite still. So it had come at last! In the bitterness of my heart I gave something like a sob. "Hush--h--h!" came from the patch of dark shadow behind Good's head. Then, creeping closer, I saw that he was not dead, but sleeping soundly, with Foulata's taper fingers clasped tightly in his poor white hand. The crisis had passed, and he would live. He slept like that for eighteen hours; and I scarcely like to say it, for fear I should not be believed, but during the entire period did this devoted girl sit by him, fearing that if she moved and drew away her hand it would wake him. What she must have suffered from cramp and weariness, to say nothing of want of food, nobody will ever know; but it is the fact that, when at last he woke, she had to be carried away--her limbs were so stiff that she could not move them. After the turn had once been taken, Good's recovery was rapid and complete. It was not till he was nearly well that Sir Henry told him of all he owed to Foulata; and when he came to the story of how she sat by his side for eighteen hours, fearing lest by moving she should wake him, the honest sailor's eyes filled with tears. He turned and went straight to the hut where Foulata was preparing the mid-day meal, for we were back in our old quarters now, taking me with him to interpret in case he could not make his meaning clear to her, though I am bound to say that she understood him marvellously as a rule, considering how extremely limited was his foreign vocabulary. "Tell her," said Good, "that I owe her my life, and that I will never forget her kindness to my dying day." I interpreted, and under her dark skin she actually seemed to blush. Turning to him with one of those swift and graceful motions that in her always reminded me of the flight of a wild bird, Foulata answered softly, glancing at him with her large brown eyes-- "Nay, my lord; my lord forgets! Did he not save _my_ life, and am I not my lord's handmaiden?" It will be observed that the young lady appeared entirely to have forgotten the share which Sir Henry and myself had taken in her preservation from Twala's clutches. But that is the way of women! I remember my dear wife was just the same. Well, I retired from that little interview sad at heart. I did not like Miss Foulata's soft glances, for I knew the fatal amorous propensities of sailors in general, and of Good in particular. There are two things in the world, as I have found out, which cannot be prevented: you cannot keep a Zulu from fighting, or a sailor from falling in love upon the slightest provocation! It was a few days after this last occurrence that Ignosi held his great "indaba," or council, and was formally recognised as king by the "indunas," or head men, of Kukuanaland. The spectacle was a most imposing one, including as it did a grand review of troops. On this day the remaining fragments of the Greys were formally paraded, and in the face of the army thanked for their splendid conduct in the battle. To each man the king made a large present of cattle, promoting them one and all to the rank of officers in the new corps of Greys which was in process of formation. An order was also promulgated throughout the length and breadth of Kukuanaland that, whilst we honoured the country by our presence, we three were to be greeted with the royal salute, and to be treated with the same ceremony and respect that was by custom accorded to the king. Also the power of life and death was publicly conferred upon us. Ignosi, too, in the presence of his people, reaffirmed the promises which he had made, to the effect that no man's blood should be shed without trial, and that witch-hunting should cease in the land. When the ceremony was over we waited upon Ignosi, and informed him that we were now anxious to investigate the mystery of the mines to which Solomon's Road ran, asking him if he had discovered anything about them. "My friends," he answered, "I have discovered this. It is there that the three great figures sit, who here are called the 'Silent Ones,' and to whom Twala would have offered the girl Foulata as a sacrifice. It is there, too, in a great cave deep in the mountain, that the kings of the land are buried; there ye shall find Twala's body, sitting with those who went before him. There, also, is a deep pit, which, at some time, long-dead men dug out, mayhap for the stones ye speak of, such as I have heard men in Natal tell of at Kimberley. There, too, in the Place of Death is a secret chamber, known to none but the king and Gagool. But Twala, who knew it, is dead, and I know it not, nor know I what is in it. Yet there is a legend in the land that once, many generations gone, a white man crossed the mountains, and was led by a woman to the secret chamber and shown the wealth hidden in it. But before he could take it she betrayed him, and he was driven by the king of that day back to the mountains, and since then no man has entered the place." "The story is surely true, Ignosi, for on the mountains we found the white man," I said. "Yes, we found him. And now I have promised you that if ye can come to that chamber, and the stones are there--" "The gem upon thy forehead proves that they are there," I put in, pointing to the great diamond I had taken from Twala's dead brows. "Mayhap; if they are there," he said, "ye shall have as many as ye can take hence--if indeed ye would leave me, my brothers." "First we must find the chamber," said I. "There is but one who can show it to thee--Gagool." "And if she will not?" "Then she must die," said Ignosi sternly. "I have saved her alive but for this. Stay, she shall choose," and calling to a messenger he ordered Gagool to be brought before him. In a few minutes she came, hurried along by two guards, whom she was cursing as she walked. "Leave her," said the king to the guards. So soon as their support was withdrawn, the withered old bundle--for she looked more like a bundle than anything else, out of which her two bright and wicked eyes gleamed like those of a snake--sank in a heap on to the floor. "What will ye with me, Ignosi?" she piped. "Ye dare not touch me. If ye touch me I will slay you as ye sit. Beware of my magic." "Thy magic could not save Twala, old she-wolf, and it cannot hurt me," was the answer. "Listen; I will this of thee, that thou reveal to us the chamber where are the shining stones." "Ha! ha!" she piped, "none know its secret but I, and I will never tell thee. The white devils shall go hence empty-handed." "Thou shalt tell me. I will make thee tell me." "How, O king? Thou art great, but can thy power wring the truth from a woman?" "It is difficult, yet will I do so." "How, O king?" "Nay, thus; if thou tellest not thou shalt slowly die." "Die!" she shrieked in terror and fury; "ye dare not touch me--man, ye know not who I am. How old think ye am I? I knew your fathers, and your fathers' fathers' fathers. When the country was young I was here; when the country grows old I shall still be here. I cannot die unless I be killed by chance, for none dare slay me." "Yet will I slay thee. See, Gagool, mother of evil, thou art so old that thou canst no longer love thy life. What can life be to such a hag as thou, who hast no shape, nor form, nor hair, nor teeth--hast naught, save wickedness and evil eyes? It will be mercy to make an end of thee, Gagool." "Thou fool," shrieked the old fiend, "thou accursed fool, deemest thou that life is sweet only to the young? It is not so, and naught thou knowest of the heart of man to think it. To the young, indeed, death is sometimes welcome, for the young can feel. They love and suffer, and it wrings them to see their beloved pass to the land of shadows. But the old feel not, they love not, and, _ha! ha!_ they laugh to see another go out into the dark; _ha! ha!_ they laugh to see the evil that is done under the stars. All they love is life, the warm, warm sun, and the sweet, sweet air. They are afraid of the cold, afraid of the cold and the dark, _ha! ha! ha!_" and the old hag writhed in ghastly merriment on the ground. "Cease thine evil talk and answer me," said Ignosi angrily. "Wilt thou show the place where the stones are, or wilt thou not? If thou wilt not thou diest, even now," and he seized a spear and held it over her. "I will not show it; thou darest not kill me, darest not! He who slays me will be accursed for ever." Slowly Ignosi brought down the spear till it pricked the prostrate heap of rags. With a wild yell Gagool sprang to her feet, then fell again and rolled upon the floor. "Nay, I will show thee. Only let me live, let me sit in the sun and have a bit of meat to suck, and I will show thee." "It is well. I thought that I should find a way to reason with thee. To-morrow shalt thou go with Infadoos and my white brothers to the place, and beware how thou failest, for if thou showest it not, then thou shalt slowly die. I have spoken." "I will not fail, Ignosi. I always keep my word--_ha! ha! ha!_ Once before a woman showed the chamber to a white man, and behold! evil befell him," and here her wicked eyes glinted. "Her name was Gagool also. Perchance I was that woman." "Thou liest," I said, "that was ten generations gone." "Mayhap, mayhap; when one lives long one forgets. Perhaps it was my mother's mother who told me; surely her name was Gagool also. But mark, ye will find in the place where the bright things are a bag of hide full of stones. The man filled that bag, but he never took it away. Evil befell him, I say, evil befell him! Perhaps it was my mother's mother who told me. It will be a merry journey--we can see the bodies of those who died in the battle as we go. Their eyes will be gone by now, and their ribs will be hollow. _Ha! ha! ha!_" It was already dark on the third day after the scene described in the previous chapter when we camped in some huts at the foot of the "Three Witches," as the triangle of mountains is called to which Solomon's Great Road runs. Our party consisted of our three selves and Foulata, who waited on us--especially on Good--Infadoos, Gagool, who was borne along in a litter, inside which she could be heard muttering and cursing all day long, and a party of guards and attendants. The mountains, or rather the three peaks of the mountain, for the mass was evidently the result of a solitary upheaval, were, as I have said, in the form of a triangle, of which the base was towards us, one peak being on our right, one on our left, and one straight in front of us. Never shall I forget the sight afforded by those three towering peaks in the early sunlight of the following morning. High, high above us, up into the blue air, soared their twisted snow-wreaths. Beneath the snow-line the peaks were purple with heaths, and so were the wild moors that ran up the slopes towards them. Straight before us the white ribbon of Solomon's Great Road stretched away uphill to the foot of the centre peak, about five miles from us, and there stopped. It was its terminus. I had better leave the feelings of intense excitement with which we set out on our march that morning to the imagination of those who read this history. At last we were drawing near to the wonderful mines that had been the cause of the miserable death of the old Portuguese Dom three centuries ago, of my poor friend, his ill-starred descendant, and also, as we feared, of George Curtis, Sir Henry's brother. Were we destined, after all that we had gone through, to fare any better? Evil befell them, as that old fiend Gagool said; would it also befall us? Somehow, as we were marching up that last stretch of beautiful road, I could not help feeling a little superstitious about the matter, and so I think did Good and Sir Henry. For an hour and a half or more we tramped on up the heather-fringed way, going so fast in our excitement that the bearers of Gagool's hammock could scarcely keep pace with us, and its occupant piped out to us to stop. "Walk more slowly, white men," she said, projecting her hideous shrivelled countenance between the grass curtains, and fixing her gleaming eyes upon us; "why will ye run to meet the evil that shall befall you, ye seekers after treasure?" and she laughed that horrible laugh which always sent a cold shiver down my back, and for a while quite took the enthusiasm out of us. However, on we went, till we saw before us, and between ourselves and the peak, a vast circular hole with sloping sides, three hundred feet or more in depth, and quite half a mile round. "Can't you guess what this is?" I said to Sir Henry and Good, who were staring in astonishment at the awful pit before us. They shook their heads. "Then it is clear that you have never seen the diamond diggings at Kimberley. You may depend on it that this is Solomon's Diamond Mine. Look there," I said, pointing to the strata of stiff blue clay which were yet to be seen among the grass and bushes that clothed the sides of the pit, "the formation is the same. I'll be bound that if we went down there we should find 'pipes' of soapy brecciated rock. Look, too," and I pointed to a series of worn flat slabs of stone that were placed on a gentle slope below the level of a watercourse which in some past age had been cut out of the solid rock; "if those are not tables once used to wash the 'stuff,' I'm a Dutchman." At the edge of this vast hole, which was none other than the pit marked on the old Dom's map, the Great Road branched into two and circumvented it. In many places, by the way, this surrounding road was built entirely out of blocks of stone, apparently with the object of supporting the edges of the pit and preventing falls of reef. Along this path we pressed, driven by curiosity to see what were the three towering objects which we could discern from the hither side of the great gulf. As we drew near we perceived that they were Colossi of some sort or another, and rightly conjectured that before us sat the three "Silent Ones" that are held in such awe by the Kukuana people. But it was not until we were quite close to them that we recognised the full majesty of these "Silent Ones." There, upon huge pedestals of dark rock, sculptured with rude emblems of the Phallic worship, separated from each other by a distance of forty paces, and looking down the road which crossed some sixty miles of plain to Loo, were three colossal seated forms--two male and one female--each measuring about thirty feet from the crown of its head to the pedestal. The female form, which was nude, was of great though severe beauty, but unfortunately the features had been injured by centuries of exposure to the weather. Rising from either side of her head were the points of a crescent. The two male Colossi, on the contrary, were draped, and presented a terrifying cast of features, especially the one to our right, which had the face of a devil. That to our left was serene in countenance, but the calm upon it seemed dreadful. It was the calm of that inhuman cruelty, Sir Henry remarked, which the ancients attributed to beings potent for good, who could yet watch the sufferings of humanity, if not without rejoicing, at least without sorrow. These three statues form a most awe-inspiring trinity, as they sit there in their solitude, and gaze out across the plain for ever. Contemplating these "Silent Ones," as the Kukuanas call them, an intense curiosity again seized us to know whose were the hands which had shaped them, who it was that had dug the pit and made the road. Whilst I was gazing and wondering, suddenly it occurred to me--being familiar with the Old Testament--that Solomon went astray after strange gods, the names of three of whom I remembered--"Ashtoreth, the goddess of the Zidonians, Chemosh, the god of the Moabites, and Milcom, the god of the children of Ammon"--and I suggested to my companions that the figures before us might represent these false and exploded divinities. "Hum," said Sir Henry, who is a scholar, having taken a high degree in classics at college, "there may be something in that; Ashtoreth of the Hebrews was the Astarte of the Phoenicians, who were the great traders of Solomon's time. Astarte, who afterwards became the Aphrodite of the Greeks, was represented with horns like the half-moon, and there on the brow of the female figure are distinct horns. Perhaps these Colossi were designed by some Phoenician official who managed the mines. Who can say?"[1] Before we had finished examining these extraordinary relics of remote antiquity, Infadoos came up, and having saluted the "Silent Ones" by lifting his spear, asked us if we intended entering the "Place of Death" at once, or if we would wait till after we had taken food at mid-day. If we were ready to go at once, Gagool had announced her willingness to guide us. As it was not later than eleven o'clock--driven to it by a burning curiosity--we announced our intention of proceeding instantly, and I suggested that, in case we should be detained in the cave, we should take some food with us. Accordingly Gagool's litter was brought up, and that lady herself assisted out of it. Meanwhile Foulata, at my request, stored some "biltong," or dried game-flesh, together with a couple of gourds of water, in a reed basket with a hinged cover. Straight in front of us, at a distance of some fifty paces from the backs of the Colossi, rose a sheer wall of rock, eighty feet or more in height, that gradually sloped upwards till it formed the base of the lofty snow-wreathed peak, which soared into the air three thousand feet above us. As soon as she was clear of her hammock, Gagool cast one evil grin upon us, and then, leaning on a stick, hobbled off towards the face of this wall. We followed her till we came to a narrow portal solidly arched that looked like the opening of a gallery of a mine. Here Gagool was waiting for us, still with that evil grin upon her horrid face. "Now, white men from the Stars," she piped; "great warriors, Incubu, Bougwan, and Macumazahn the wise, are ye ready? Behold, I am here to do the bidding of my lord the king, and to show you the store of bright stones. _Ha! ha! ha!_" "We are ready," I said. "Good, good! Make strong your hearts to bear what ye shall see. Comest thou too, Infadoos, thou who didst betray thy master?" Infadoos frowned as he answered-- "Nay, I come not; it is not for me to enter there. But thou, Gagool, curb thy tongue, and beware how thou dealest with my lords. At thy hands will I require them, and if a hair of them be hurt, Gagool, be'st thou fifty times a witch, thou shalt die. Hearest thou?" "I hear Infadoos; I know thee, thou didst ever love big words; when thou wast a babe I remember thou didst threaten thine own mother. That was but the other day. But, fear not, fear not, I live only to do the bidding of the king. I have done the bidding of many kings, Infadoos, till in the end they did mine. _Ha! ha!_ I go to look upon their faces once more, and Twala's also! Come on, come on, here is the lamp," and she drew a large gourd full of oil, and fitted with a rush wick, from under her fur cloak. "Art thou coming, Foulata?" asked Good in his villainous Kitchen Kukuana, in which he had been improving himself under that young lady's tuition. "I fear, my lord," the girl answered timidly. "Then give me the basket." "Nay, my lord, whither thou goest there I go also." "The deuce you will!" thought I to myself; "that may be rather awkward if we ever get out of this." Without further ado Gagool plunged into the passage, which was wide enough to admit of two walking abreast, and quite dark. We followed the sound of her voice as she piped to us to come on, in some fear and trembling, which was not allayed by the flutter of a sudden rush of wings. "Hullo! what's that?" halloed Good; "somebody hit me in the face." "Bats," said I; "on you go." When, so far as we could judge, we had gone some fifty paces, we perceived that the passage was growing faintly light. Another minute, and we were in perhaps the most wonderful place that the eyes of living man have beheld. Let the reader picture to himself the hall of the vastest cathedral he ever stood in, windowless indeed, but dimly lighted from above, presumably by shafts connected with the outer air and driven in the roof, which arched away a hundred feet above our heads, and he will get some idea of the size of the enormous cave in which we found ourselves, with the difference that this cathedral designed by nature was loftier and wider than any built by man. But its stupendous size was the least of the wonders of the place, for running in rows adown its length were gigantic pillars of what looked like ice, but were, in reality, huge stalactites. It is impossible for me to convey any idea of the overpowering beauty and grandeur of these pillars of white spar, some of which were not less than twenty feet in diameter at the base, and sprang up in lofty and yet delicate beauty sheer to the distant roof. Others again were in process of formation. On the rock floor there was in these cases what looked, Sir Henry said, exactly like a broken column in an old Grecian temple, whilst high above, depending from the roof, the point of a huge icicle could be dimly seen. Even as we gazed we could hear the process going on, for presently with a tiny splash a drop of water would fall from the far-off icicle on to the column below. On some columns the drops only fell once in two or three minutes, and in these cases it would be an interesting calculation to discover how long, at that rate of dripping, it would take to form a pillar, say eighty feet by ten in diameter. That the process, in at least one instance, was incalculably slow, the following example will suffice to show. Cut on one of these pillars we discovered the crude likeness of a mummy, by the head of which sat what appeared to be the figure of an Egyptian god, doubtless the handiwork of some old-world labourer in the mine. This work of art was executed at the natural height at which an idle fellow, be he Phoenician workman or British cad, is in the habit of trying to immortalise himself at the expense of nature's masterpieces, namely, about five feet from the ground. Yet at the time that we saw it, which _must_ have been nearly three thousand years after the date of the execution of the carving, the column was only eight feet high, and was still in process of formation, which gives a rate of growth of a foot to a thousand years, or an inch and a fraction to a century. This we knew because, as we were standing by it, we heard a drop of water fall. Sometimes the stalagmites took strange forms, presumably where the dropping of the water had not always been on the same spot. Thus, one huge mass, which must have weighed a hundred tons or so, was in the shape of a pulpit, beautifully fretted over outside with a design that looked like lace. Others resembled strange beasts, and on the sides of the cave were fanlike ivory tracings, such as the frost leaves upon a pane. Out of the vast main aisle there opened here and there smaller caves, exactly, Sir Henry said, as chapels open out of great cathedrals. Some were large, but one or two--and this is a wonderful instance of how nature carries out her handiwork by the same unvarying laws, utterly irrespective of size--were tiny. One little nook, for instance, was no larger than an unusually big doll's house, and yet it might have been a model for the whole place, for the water dropped, tiny icicles hung, and spar columns were forming in just the same way. We had not, however, enough time to examine this beautiful cavern so thoroughly as we should have liked to do, since unfortunately, Gagool seemed to be indifferent as to stalactites, and only anxious to get her business over. This annoyed me the more, as I was particularly anxious to discover, if possible, by what system the light was admitted into the cave, and whether it was by the hand of man or by that of nature that this was done; also if the place had been used in any way in ancient times, as seemed probable. However, we consoled ourselves with the idea that we would investigate it thoroughly on our way back, and followed on at the heels of our uncanny guide. On she led us, straight to the top of the vast and silent cave, where we found another doorway, not arched as the first was, but square at the top, something like the doorways of Egyptian temples. "Are ye prepared to enter the Place of Death, white men?" asked Gagool, evidently with a view to making us feel uncomfortable. "Lead on, Macduff," said Good solemnly, trying to look as though he was not at all alarmed, as indeed we all did except Foulata, who caught Good by the arm for protection. "This is getting rather ghastly," said Sir Henry, peeping into the dark passageway. "Come on, Quatermain--_seniores priores_. We mustn't keep the old lady waiting!" and he politely made way for me to lead the van, for which inwardly I did not bless him. _Tap, tap,_ went old Gagool's stick down the passage, as she trotted along, chuckling hideously; and still overcome by some unaccountable presentiment of evil, I hung back. "Come, get on, old fellow," said Good, "or we shall lose our fair guide." Thus adjured, I started down the passage, and after about twenty paces found myself in a gloomy apartment some forty feet long, by thirty broad, and thirty high, which in some past age evidently had been hollowed, by hand-labour, out of the mountain. This apartment was not nearly so well lighted as the vast stalactite ante-cave, and at the first glance all I could discern was a massive stone table running down its length, with a colossal white figure at its head, and life-sized white figures all round it. Next I discovered a brown thing, seated on the table in the centre, and in another moment my eyes grew accustomed to the light, and I saw what all these things were, and was tailing out of the place as hard as my legs could carry me. I am not a nervous man in a general way, and very little troubled with superstitions, of which I have lived to see the folly; but I am free to own that this sight quite upset me, and had it not been that Sir Henry caught me by the collar and held me, I do honestly believe that in another five minutes I should have been outside the stalactite cave, and that a promise of all the diamonds in Kimberley would not have induced me to enter it again. But he held me tight, so I stopped because I could not help myself. Next second, however, _his_ eyes became accustomed to the light, and he let go of me, and began to mop the perspiration off his forehead. As for Good, he swore feebly, while Foulata threw her arms round his neck and shrieked. Only Gagool chuckled loud and long. It _was_ a ghastly sight. There at the end of the long stone table, holding in his skeleton fingers a great white spear, sat _Death_ himself, shaped in the form of a colossal human skeleton, fifteen feet or more in height. High above his head he held the spear, as though in the act to strike; one bony hand rested on the stone table before him, in the position a man assumes on rising from his seat, whilst his frame was bent forward so that the vertebrae of the neck and the grinning, gleaming skull projected towards us, and fixed its hollow eye-places upon us, the jaws a little open, as though it were about to speak. "Great heavens!" said I faintly, at last, "what can it be?" "And what are _those things_?" asked Good, pointing to the white company round the table. "And what on earth is _that thing_?" said Sir Henry, pointing to the brown creature seated on the table. "_Hee! hee! hee!_" laughed Gagool. "To those who enter the Hall of the Dead, evil comes. _Hee! hee! hee! ha! ha!_" "Come, Incubu, brave in battle, come and see him thou slewest;" and the old creature caught Curtis' coat in her skinny fingers, and led him away towards the table. We followed. Presently she stopped and pointed at the brown object seated on the table. Sir Henry looked, and started back with an exclamation; and no wonder, for there, quite naked, the head which Curtis' battle-axe had shorn from the body resting on its knees, was the gaunt corpse of Twala, the last king of the Kukuanas. Yes, there, the head perched upon the knees, it sat in all its ugliness, the vertebrae projecting a full inch above the level of the shrunken flesh of the neck, for all the world like a black double of Hamilton Tighe.[2] Over the surface of the corpse there was gathered a thin glassy film, that made its appearance yet more appalling, for which we were, at the moment, quite unable to account, till presently we observed that from the roof of the chamber the water fell steadily, _drip! drop! drip!_ on to the neck of the corpse, whence it ran down over the entire surface, and finally escaped into the rock through a tiny hole in the table. Then I guessed what the film was--_Twala's body was being transformed into a stalactite._ A look at the white forms seated on the stone bench which ran round that ghastly board confirmed this view. They were human bodies indeed, or rather they had been human; now they were _stalactites_. This was the way in which the Kukuana people had from time immemorial preserved their royal dead. They petrified them. What the exact system might be, if there was any, beyond the placing of them for a long period of years under the drip, I never discovered, but there they sat, iced over and preserved for ever by the siliceous fluid. Anything more awe-inspiring than the spectacle of this long line of departed royalties (there were twenty-seven of them, the last being Ignosi's father), wrapped, each of them, in a shroud of ice-like spar, through which the features could be dimly discovered, and seated round that inhospitable board, with Death himself for a host, it is impossible to imagine. That the practice of thus preserving their kings must have been an ancient one is evident from the number, which, allowing for an average reign of fifteen years, supposing that every king who reigned was placed here--an improbable thing, as some are sure to have perished in battle far from home--would fix the date of its commencement at four and a quarter centuries back. But the colossal Death, who sits at the head of the board, is far older than that, and, unless I am much mistaken, owes his origin to the same artist who designed the three Colossi. He is hewn out of a single stalactite, and, looked at as a work of art, is most admirably conceived and executed. Good, who understands such things, declared that, so far as he could see, the anatomical design of the skeleton is perfect down to the smallest bones. My own idea is, that this terrific object was a freak of fancy on the part of some old-world sculptor, and that its presence had suggested to the Kukuanas the idea of placing their royal dead under its awful presidency. Or perhaps it was set there to frighten away any marauders who might have designs upon the treasure chamber beyond. I cannot say. All I can do is to describe it as it is, and the reader must form his own conclusion. Such, at any rate, was the White Death and such were the White Dead! [1] Compare Milton, "Paradise Lost," Book i.:-- "With these in troop Came Ashtoreth, whom the Phoenicians called Astarte, Queen of Heaven, with crescent horns; To whose bright image nightly by the moon Sidonian virgins paid their vows and songs." [2] "Now haste ye, my handmaidens, haste and see How he sits there and glowers with his head on his knee."

Chapters 15 and 16

https://web.archive.org/web/20200804024551/https://www.gradesaver.com/king-solomons-mines/study-guide/summary-chapters-15-and-16

Following Sir Henry's defeat of Twala, both he and Captain Good are carried, exhausted and spent, into Twala's hut. Quatermain notes his own discomfort, particularly the residual effects of his earlier blow to the head, but reflects on the men's good fortune at being alive to feel pain rather than dead on the field of battle. Foulata, the young Kukuana girl whom Sir Henry and Good rescued from becoming a sacrifice, brings herbs to aid in the men's recovery. Captain Good plies his skills as a medic to stitch both Sir Henry's and his own wounds. That night, Sir Henry sleeps upon the couch of his now-dead adversary, Twala. Quatermain attempts to sleep, but cannot due to his own exhaustion and the sound of Kukuana women wailing for their lost husbands and sons. His only sleep comes in fitful bursts, full of battle-borne anxiety startling him into wakefulness time after time. The next day, Good's condition worsens and he begins to spit blood. Quatermain decides that he had suffered an internal injury from the lone Kukuana's spear-strikes the previous day. Infadoos visits the men and stands in particular awe of Sir Henry due to his amazing acts of battle prowess in the fight against Twala. In fact, Sir Henry's mighty deed becomes legendary among the Kukuanas, who eventually come to call any amazing feat of strength or deadly blow "Incubu's blow." Quatermain ponders aloud to Ignosi that the new king had "swum to the throne in blood." Ignosi concurs, but mitigates the statement with the belief that the Kukuana people require massive bloodshed from time to time in their history in order to stabilize the society. Looking upon the crowned Ignosi, Quatermain reflects on his first impression of the man when he seemed a lone Zulu warrior of proud bearing seeking to join the party's search for diamonds and Sir Henry's brother. Quatermain is moved to hail Ignosi as king, to which Ignosi humbly replies that he is king by the grace of the three white men. Quatermain asks Ignosi what he plans to do with the witch Gagool. Ignosi intends to kill her so that her evil will not spread again, but Quatermain is forced to point out that she possessed valuable knowledge which will be very difficult to accumulate again. He reminds Ignosi that Gagool alone knows the secrets of the "Three Witches" mountains and the diamonds which rest there. Ignosi agrees to think on the matter. Quatermain then goes to visit Good, who has been moved to the white men's original hut along with Quatermain and Sir Henry. Good is feverish and delirious, but has picked up a devoted follower in Foulata. In fact, the Kukuana girl gives sole credit for her rescue to Good and seeks to preserve his life as he preserved hers. While Foulata nurses Good back to health, Ignosi commands that the huts, which are three hundred yards away from Good's resting place, be vacated to maintain peace for the recuperating hero. Foulata remains with Good for three days and nights, tending him in his delirium. When Quatermain comes to see Good, he believes Good to have died, but is reassured by a sigh from Good that he yet lives. He notes that Foulata's fingers clasp Good's, and continue to do so for many hours to come. Eventually, Good comes around and is informed by Sir Henry that Foulata sat motionless beside him for eighteen hours to comfort him in his illness. Good is moved to thank her for her devotion, to which Foulata responds that she was only returning the mercy Good had shown her. Quatermain takes a moment to meditate on the easily-infatuated nature of sailors and believes that Good's affection for Foulata will be short-lived. A few days later, Ignosi holds council and honors the remaining Greys by parading them before the village and granting them lavish gifts. Sir Henry, Good, and Quatermain are also honored by Ignosi's declaration that they be greeted with the royal salute and respected equally with the king so long as they were in Kukuanaland. Ignosi also repeats his mandate that no man's blood would again be shed without fair trial. After the ceremony, the white men remind Ignosi of their desire to find the diamonds of King Solomon's Mines. Ignosi has decided to let Gagool choose her fate: aid the men with her knowledge and live, or refuse to help and die slowly and painfully. When these options are presented to her, Gagool attempts arrogance in declaring her knowledge superior and her fear of death nonexistent. But when Ignosi prods Gagool with his spear, she changes her attitude and agrees to help. However, she reminds the men that at another time a woman named Gagool showed a white man the way to the "Silent Ones," and he met an evil fate. She hints that perhaps she was that same Gagool, and that these men's fate will be no better. She finishes her rant by declaring the journey will be a "merry one" as they will be able to see the bodies of the fallen on their way. Three days out from Loo, the party consisting of Quatermain, Good, Sir Henry, Foulata, Infadoos, Gagool, and some guards and attendants makes camp at the foot of the "Three Witches" -three mountain peaks rising up in a triangle from a single wide mountain base. Seeing Solomon's Road stretching before them for five miles more until ending at the furthest of the three peaks, the party presses on for an hour and a half before Gagool's litter-bearers ask the white men to move more slowly that they may keep up. Gagool continues to taunt the men that evil will befall them when they enter the place they seek. Before reaching the third peak, the group comes across a wide hole in the ground, nearly half a mile around and three hundred feet deep. Quatermain identifies this as Solomon's Mine, having seen similar diamond mines at Kimberly. Solomon's road divides around the mine to reach the far peak, so the group continues onward, curious to see what the three towering objects they can discern near that peak might be. As they draw nearer, they see that the three objects are three massive statues, two males and a female, which are likely the Kukuanas' "Silent Ones." The female, set between the two males, is nude and beautiful, with the emblem of the crescent moon arcing up from either side of her head. The flanking male figures were different from one another, the right-hand figure having the face "of a devil" and the left-hand figure possessing a countenance reflecting "the calm of inhuman cruelty." After some discussion the three white men conclude that these statues may in fact represent Ashtoreth, Chimosh, and Milcom, three divinities favored by the people to who Solomon's faith went astray later in his reign. Sir Henry bolsters their argument by identifying Zidonian Ashtoreth with the Phoenician Astarte and Greek Aphrodite, who were represented by the horns of the half moon. The men then decide to push on into the "Place of Death" rather than wait any longer, but prudently take some food with them as they do not know how long they will be there. Gagool rises from her litter to lead the men into the "Place of Death." Foulata balks at entering the burial chamber at first, but decides to follow Good wherever he may lead. As they enter the dark chambers, bats fly past them and hit their faces. Then they enter a huge cave, larger than any structure built by man. ice-like pillars--actually massive white stalactites--extend from the ceiling to the floor, adding to the cathedral-like quality of the cavern. Some of the stalactites take the vague form of beasts and the walls are covered in "fan-like ivory tracings" from the dripping water. Gagool hurries the party to the far end of the cave and through another passageway. From there they enter the "Place of Death." Upon entering, Quatermain is at first only able to see a vast table, at the head of which sits a huge white figure, and which is surrounded by several man-sized white figures. Then he and the rest of the party discern the huge figure to be Death, scythe and all, leaning forward from its seat to hold the scythe over the table. Quatermain nearly runs out of the cavern, but is restrained by Sir Henry. Gagool shows the men the table, upon which sits Twala's decapitated body, his head in his lap. Then the men notice that the water is dripping from the Death-figure's scythe upon Twala, inexorably covering his body in mineral deposits similar to the stalactite columns in the larger chamber. It then dawns on the men that the various human-sized figures around the room are former kings, each one turned into a stalactite-statue over time. Quatermain later ponders the ghastly scene in a more objective light and concludes that the huge figure of Death was sculpted many centuries ago by some Old World sculptor who came here with the peoples working in King Solomon's mines. The detail on the sculpture--made entirely out of a single massive stalactite--is perfect and suggests the same sculptor for the "Silent Ones" without. Quatermain believes it was the presence of this sculpture which led the Kukuanas to make this a place to bury their royal dead.

The necessity of bloodshed, particularly in the case of "savage" cultures, is described by Ignosi: "The Kukuana people can only be kept cool by letting the blood flow sometimes...After this the land would be quiet for a while" . This statement is a response to Quatermain's own amazement at how bloody the path to kingship was for Ignosi. The contrasting views: that there should be other solutions to political disputes beyond violence, and that some nations need violence in order to remain stable, demonstrate again the European attitude toward African philosophies of life and their own. A civilized people would have no need for a cycle of violence to keep the peace, therefore the Kukuanas, for all their virtues, are still savages. Ignosi himself seems inured to bloodshed. He would have Gagool executed, and does not understand the importance of keeping the knowledge the old woman has accumulated available to future generations. Quatermain must argue that her information is the best way to get to the diamond mines because Ignosi has no concept of keeping a history of ideas available to his people. Again, the civilized European tendency to seek and protect knowledge is contrasted to the primitive ignorance of the Kukuanas. Quatermain also expresses his concern over interracial relationships regarding Captain Good's serious injury and Foulata's nursing him back to health: "I did not like Miss Foulata's soft glances, for I knew the fatal amorous propensitie3s of sailors in general, and Good in particular" . Although Quatermain puts the burden of ignominious behavior on Good as a Naval man, it is clear that Quatermain's default view is that whites and blacks should not intermarry. Nonetheless, Quatermain seems genuinely concerned about Foulata's feelings. It is interesting to note that Haggard is one of the first author's to include interracial marriage in his works. Twala is dead, but the true evil in Kukuanaland--Gagool--yet lives. In typical adventure yarn fashion , Haggard has created his climax early in the novel. Ignosi has reclaimed his lost throne; the usurper has been destroyed. All that remains now is to clean up the remaining fallout and complete the white men's quest for diamonds and for Neville. However, Gagool is still a potential threat, despite her seeming acquiescence to Ignosi's demands. From this point on in the novel, the dangers are more personal to the men and less based on notions of honor than they are on desire for wealth and the need to survive. Aside from Gagoo's alleged longevity, this scene is the most supernatural Haggard has included in his novel. The men's attempts to rationalize and comprehend the three statues outside the Place of Death, along with Quatermain's later reflection on the origin of the figure of Death itself, show the European mindset: if one can understand something's origins or workings, then that object holds no mystery. Of course, Quatermain's first reaction to the Death statute--fleeing in terror--shows the fragility of this mindset. Note again, however, that the Kukuanas are not responsible for the creation of these statues. Phoenician sculptors or others from Solomon's day are given credit for the artifice. The assumption is that the Kukuanas are too primitive to create lasting art , and so remain in awe of the achievements of the past. However, even this explanation leaves the question of why the early sculptor chose the figure of Death and a table prior to the Kukuanas' using the place as a royal burial chamber unanswered. Twala has arrived before the white men; he again "welcomes" them into his presence, this time as a king of the dead. The mineral-encrusted former kings surround the table, seemingly forming a royal court for Death, but in the present instance also petrified in a stance of obeisance toward Twala. Even here, Gagool's chosen king has his throne. Of course, he holds his once-crowned head in his hands--a testimony to Sir Henry's method of dispatching the Kukuana ruler. The idea of the dripping water creating stalactites out of the dead kings offers a physical--and primitive--view of immortality for the Kukuanas. These bodies are not buried or cremated--they are forever preserved in rock for all of time. However, only Gagool visits the Place of Death repeatedly, so their afterlife is limited to Gagool's accounts. The old wise woman seems to commune with the dead kings, dashing around and whispering to them in view of the white men. Certainly she has learned many secrets from the past--but whether this is through paying attention to details while the kings lived or through some form of necromancy here in the Place of Death is left uncertain.

pinkmonkey

all_chapterized_books/110-chapters/chapters_23_to_24.txt

finished_summaries/pinkmonkey/Tess of the D'Urbervilles/section_9_part_0.txt

Tess of the D'Urbervilles.chapters 23-24

chapters 23 - 24

{"name": "Chapters 23 - 24", "url": "https://web.archive.org/web/20180820050202/http://www.pinkmonkey.com/booknotes/monkeynotes/pmTessD33.asp", "summary": "Tess has been on the farm for two months before she goes on her first outing. Tess and her co-workers dress in their best clothes and set out for Mellstock Church. On the way, they find the route is flooded due to heavy rains the day before. Angel, who is out in the field, sees their difficulty and comes to their rescue. He carries each of them across the water. When Tess's turn comes, Angel's ardent admiration for her is revealed again. He tells her he has carried \"three Leahs to get one Rachel,\" a clear Biblical reference to her beauty. He also takes as long as possible in carrying Tess across. Seeing his obvious attraction to her, the other maids conclude that they do not stand a chance with Angel against Tess. Pained by all this, Tess tells them that if Angel ever proposes to her, she will refuse him. Later Tess is relieved to hear from the other milkmaids that Angel's parents have chosen a girl for him to marry. However, Angel surprises her by his confession of his sincere love for her.", "analysis": "Notes In this chapter, Hardy compares and contrasts Tess with the other milkmaids. Like them, she feels at home in the country, enjoys her work, takes pleasure in small things, and seems to take an interest in men. But Hardy also stresses how she is different from the others. She is more beautiful, more refined, and more educated than the others. She stands out from the crowd, and that is why Angel has grown attached to her. After their excursion, the milkmaids are all talk about Angel and his kindness in carrying them through the water. They all cherish the beautiful moments in his company and openly admit they love him. They also realize that Angel prefers Tess to them and express no jealousy. Tess, however, makes it clear that she is not hindering them in their pursuit of Angel. She even tells them that if Angel asks for her hand in marriage, she will refuse. Knowing nothing about her past, the other three milkmaids are shocked by her revelation. They, however, know their efforts with Angel are to no avail and lament their unsuitability for this handsome man. CHAPTER 24 Summary In this chapter, Angel professes his true love to Tess. On a hot July afternoon, as he works beside Tess milking cows, he is overcome with emotion for her. He leaves his milking and takes her in his arms. At first she responds, but then reigns in her emotions and withdraws from him. He is surprised at her distress over his affection and assures Tess that he loves her. Tears form in Tess's eyes as she realizes that her past stands in the way of love. Angel is unable to fathom the reason for Tess's crying, but knows that he has caused the sadness. He begs for forgiveness. Notes The warm summer weather again provokes passion in this chapter. Angel is no longer able to keep silent about his love for Tess. While they are milking the cows together, he is overcome with emotion, embraces her, and confesses his love. Angel's unveiled love makes things difficult for Tess. Before meeting Angel, Tess has accepted the situation that fate has given her; she knows she can never marry because of her past. At Talbothay's farm, Angel is attracted to her for her beauty, intelligence, and seeming purity. She has tried to discourage him, pointing out the virtues of the other milkmaids to him and trying to avoid his company. Despite her efforts, Angel and Tess have fallen in love with each other. When he first embraces her, Tess, revealing her true feelings, responds to his warmth; but she quickly remembers her predicament and draws away from him. As he confesses his love, she sheds tears caused by her emotions, her confusion, and her disappointment. Because of her past, Tess cannot be at peace. Fate still has the upper hand."}

The hot weather of July had crept upon them unawares, and the atmosphere of the flat vale hung heavy as an opiate over the dairy-folk, the cows, and the trees. Hot steaming rains fell frequently, making the grass where the cows fed yet more rank, and hindering the late hay-making in the other meads. It was Sunday morning; the milking was done; the outdoor milkers had gone home. Tess and the other three were dressing themselves rapidly, the whole bevy having agreed to go together to Mellstock Church, which lay some three or four miles distant from the dairy-house. She had now been two months at Talbothays, and this was her first excursion. All the preceding afternoon and night heavy thunderstorms had hissed down upon the meads, and washed some of the hay into the river; but this morning the sun shone out all the more brilliantly for the deluge, and the air was balmy and clear. The crooked lane leading from their own parish to Mellstock ran along the lowest levels in a portion of its length, and when the girls reached the most depressed spot they found that the result of the rain had been to flood the lane over-shoe to a distance of some fifty yards. This would have been no serious hindrance on a week-day; they would have clicked through it in their high pattens and boots quite unconcerned; but on this day of vanity, this Sun's-day, when flesh went forth to coquet with flesh while hypocritically affecting business with spiritual things; on this occasion for wearing their white stockings and thin shoes, and their pink, white, and lilac gowns, on which every mud spot would be visible, the pool was an awkward impediment. They could hear the church-bell calling--as yet nearly a mile off. "Who would have expected such a rise in the river in summer-time!" said Marian, from the top of the roadside bank on which they had climbed, and were maintaining a precarious footing in the hope of creeping along its slope till they were past the pool. "We can't get there anyhow, without walking right through it, or else going round the Turnpike way; and that would make us so very late!" said Retty, pausing hopelessly. "And I do colour up so hot, walking into church late, and all the people staring round," said Marian, "that I hardly cool down again till we get into the That-it-may-please-Thees." While they stood clinging to the bank they heard a splashing round the bend of the road, and presently appeared Angel Clare, advancing along the lane towards them through the water. Four hearts gave a big throb simultaneously. His aspect was probably as un-Sabbatarian a one as a dogmatic parson's son often presented; his attire being his dairy clothes, long wading boots, a cabbage-leaf inside his hat to keep his head cool, with a thistle-spud to finish him off. "He's not going to church," said Marian. "No--I wish he was!" murmured Tess. Angel, in fact, rightly or wrongly (to adopt the safe phrase of evasive controversialists), preferred sermons in stones to sermons in churches and chapels on fine summer days. This morning, moreover, he had gone out to see if the damage to the hay by the flood was considerable or not. On his walk he observed the girls from a long distance, though they had been so occupied with their difficulties of passage as not to notice him. He knew that the water had risen at that spot, and that it would quite check their progress. So he had hastened on, with a dim idea of how he could help them--one of them in particular. The rosy-cheeked, bright-eyed quartet looked so charming in their light summer attire, clinging to the roadside bank like pigeons on a roof-slope, that he stopped a moment to regard them before coming close. Their gauzy skirts had brushed up from the grass innumerable flies and butterflies which, unable to escape, remained caged in the transparent tissue as in an aviary. Angel's eye at last fell upon Tess, the hindmost of the four; she, being full of suppressed laughter at their dilemma, could not help meeting his glance radiantly. He came beneath them in the water, which did not rise over his long boots; and stood looking at the entrapped flies and butterflies. "Are you trying to get to church?" he said to Marian, who was in front, including the next two in his remark, but avoiding Tess. "Yes, sir; and 'tis getting late; and my colour do come up so--" "I'll carry you through the pool--every Jill of you." The whole four flushed as if one heart beat through them. "I think you can't, sir," said Marian. "It is the only way for you to get past. Stand still. Nonsense--you are not too heavy! I'd carry you all four together. Now, Marian, attend," he continued, "and put your arms round my shoulders, so. Now! Hold on. That's well done." Marian had lowered herself upon his arm and shoulder as directed, and Angel strode off with her, his slim figure, as viewed from behind, looking like the mere stem to the great nosegay suggested by hers. They disappeared round the curve of the road, and only his sousing footsteps and the top ribbon of Marian's bonnet told where they were. In a few minutes he reappeared. Izz Huett was the next in order upon the bank. "Here he comes," she murmured, and they could hear that her lips were dry with emotion. "And I have to put my arms round his neck and look into his face as Marian did." "There's nothing in that," said Tess quickly. "There's a time for everything," continued Izz, unheeding. "A time to embrace, and a time to refrain from embracing; the first is now going to be mine." "Fie--it is Scripture, Izz!" "Yes," said Izz, "I've always a' ear at church for pretty verses." Angel Clare, to whom three-quarters of this performance was a commonplace act of kindness, now approached Izz. She quietly and dreamily lowered herself into his arms, and Angel methodically marched off with her. When he was heard returning for the third time Retty's throbbing heart could be almost seen to shake her. He went up to the red-haired girl, and while he was seizing her he glanced at Tess. His lips could not have pronounced more plainly, "It will soon be you and I." Her comprehension appeared in her face; she could not help it. There was an understanding between them. Poor little Retty, though by far the lightest weight, was the most troublesome of Clare's burdens. Marian had been like a sack of meal, a dead weight of plumpness under which he has literally staggered. Izz had ridden sensibly and calmly. Retty was a bunch of hysterics. However, he got through with the disquieted creature, deposited her, and returned. Tess could see over the hedge the distant three in a group, standing as he had placed them on the next rising ground. It was now her turn. She was embarrassed to discover that excitement at the proximity of Mr Clare's breath and eyes, which she had contemned in her companions, was intensified in herself; and as if fearful of betraying her secret, she paltered with him at the last moment. "I may be able to clim' along the bank perhaps--I can clim' better than they. You must be so tired, Mr Clare!" "No, no, Tess," said he quickly. And almost before she was aware, she was seated in his arms and resting against his shoulder. "Three Leahs to get one Rachel," he whispered. "They are better women than I," she replied, magnanimously sticking to her resolve. "Not to me," said Angel. He saw her grow warm at this; and they went some steps in silence. "I hope I am not too heavy?" she said timidly. "O no. You should lift Marian! Such a lump. You are like an undulating billow warmed by the sun. And all this fluff of muslin about you is the froth." "It is very pretty--if I seem like that to you." "Do you know that I have undergone three-quarters of this labour entirely for the sake of the fourth quarter?" "No." "I did not expect such an event to-day." "Nor I... The water came up so sudden." That the rise in the water was what she understood him to refer to, the state of breathing belied. Clare stood still and inclinced his face towards hers. "O Tessy!" he exclaimed. The girl's cheeks burned to the breeze, and she could not look into his eyes for her emotion. It reminded Angel that he was somewhat unfairly taking advantage of an accidental position; and he went no further with it. No definite words of love had crossed their lips as yet, and suspension at this point was desirable now. However, he walked slowly, to make the remainder of the distance as long as possible; but at last they came to the bend, and the rest of their progress was in full view of the other three. The dry land was reached, and he set her down. Her friends were looking with round thoughtful eyes at her and him, and she could see that they had been talking of her. He hastily bade them farewell, and splashed back along the stretch of submerged road. The four moved on together as before, till Marian broke the silence by saying-- "No--in all truth; we have no chance against her!" She looked joylessly at Tess. "What do you mean?" asked the latter. "He likes 'ee best--the very best! We could see it as he brought 'ee. He would have kissed 'ee, if you had encouraged him to do it, ever so little." "No, no," said she. The gaiety with which they had set out had somehow vanished; and yet there was no enmity or malice between them. They were generous young souls; they had been reared in the lonely country nooks where fatalism is a strong sentiment, and they did not blame her. Such supplanting was to be. Tess's heart ached. There was no concealing from herself the fact that she loved Angel Clare, perhaps all the more passionately from knowing that the others had also lost their hearts to him. There is contagion in this sentiment, especially among women. And yet that same hungry nature had fought against this, but too feebly, and the natural result had followed. "I will never stand in your way, nor in the way of either of you!" she declared to Retty that night in the bedroom (her tears running down). "I can't help this, my dear! I don't think marrying is in his mind at all; but if he were ever to ask me I should refuse him, as I should refuse any man." "Oh! would you? Why?" said wondering Retty. "It cannot be! But I will be plain. Putting myself quite on one side, I don't think he will choose either of you." "I have never expected it--thought of it!" moaned Retty. "But O! I wish I was dead!" The poor child, torn by a feeling which she hardly understood, turned to the other two girls who came upstairs just then. "We be friends with her again," she said to them. "She thinks no more of his choosing her than we do." So the reserve went off, and they were confiding and warm. "I don't seem to care what I do now," said Marian, whose mood was turned to its lowest bass. "I was going to marry a dairyman at Stickleford, who's asked me twice; but--my soul--I would put an end to myself rather'n be his wife now! Why don't ye speak, Izz?" "To confess, then," murmured Izz, "I made sure to-day that he was going to kiss me as he held me; and I lay still against his breast, hoping and hoping, and never moved at all. But he did not. I don't like biding here at Talbothays any longer! I shall go hwome." The air of the sleeping-chamber seemed to palpitate with the hopeless passion of the girls. They writhed feverishly under the oppressiveness of an emotion thrust on them by cruel Nature's law--an emotion which they had neither expected nor desired. The incident of the day had fanned the flame that was burning the inside of their hearts out, and the torture was almost more than they could endure. The differences which distinguished them as individuals were abstracted by this passion, and each was but portion of one organism called sex. There was so much frankness and so little jealousy because there was no hope. Each one was a girl of fair common sense, and she did not delude herself with any vain conceits, or deny her love, or give herself airs, in the idea of outshining the others. The full recognition of the futility of their infatuation, from a social point of view; its purposeless beginning; its self-bounded outlook; its lack of everything to justify its existence in the eye of civilization (while lacking nothing in the eye of Nature); the one fact that it did exist, ecstasizing them to a killing joy--all this imparted to them a resignation, a dignity, which a practical and sordid expectation of winning him as a husband would have destroyed. They tossed and turned on their little beds, and the cheese-wring dripped monotonously downstairs. "B' you awake, Tess?" whispered one, half-an-hour later. It was Izz Huett's voice. Tess replied in the affirmative, whereupon also Retty and Marian suddenly flung the bedclothes off them, and sighed-- "So be we!" "I wonder what she is like--the lady they say his family have looked out for him!" "I wonder," said Izz. "Some lady looked out for him?" gasped Tess, starting. "I have never heard o' that!" "O yes--'tis whispered; a young lady of his own rank, chosen by his family; a Doctor of Divinity's daughter near his father's parish of Emminster; he don't much care for her, they say. But he is sure to marry her." They had heard so very little of this; yet it was enough to build up wretched dolorous dreams upon, there in the shade of the night. They pictured all the details of his being won round to consent, of the wedding preparations, of the bride's happiness, of her dress and veil, of her blissful home with him, when oblivion would have fallen upon themselves as far as he and their love were concerned. Thus they talked, and ached, and wept till sleep charmed their sorrow away. After this disclosure Tess nourished no further foolish thought that there lurked any grave and deliberate import in Clare's attentions to her. It was a passing summer love of her face, for love's own temporary sake--nothing more. And the thorny crown of this sad conception was that she whom he really did prefer in a cursory way to the rest, she who knew herself to be more impassioned in nature, cleverer, more beautiful than they, was in the eyes of propriety far less worthy of him than the homelier ones whom he ignored. Amid the oozing fatness and warm ferments of the Froom Vale, at a season when the rush of juices could almost be heard below the hiss of fertilization, it was impossible that the most fanciful love should not grow passionate. The ready bosoms existing there were impregnated by their surroundings. July passed over their heads, and the Thermidorean weather which came in its wake seemed an effort on the part of Nature to match the state of hearts at Talbothays Dairy. The air of the place, so fresh in the spring and early summer, was stagnant and enervating now. Its heavy scents weighed upon them, and at mid-day the landscape seemed lying in a swoon. Ethiopic scorchings browned the upper slopes of the pastures, but there was still bright green herbage here where the watercourses purled. And as Clare was oppressed by the outward heats, so was he burdened inwardly by waxing fervour of passion for the soft and silent Tess. The rains having passed, the uplands were dry. The wheels of the dairyman's spring-cart, as he sped home from market, licked up the pulverized surface of the highway, and were followed by white ribands of dust, as if they had set a thin powder-train on fire. The cows jumped wildly over the five-barred barton-gate, maddened by the gad-fly; Dairyman Crick kept his shirt-sleeves permanently rolled up from Monday to Saturday; open windows had no effect in ventilation without open doors, and in the dairy-garden the blackbirds and thrushes crept about under the currant-bushes, rather in the manner of quadrupeds than of winged creatures. The flies in the kitchen were lazy, teasing, and familiar, crawling about in the unwonted places, on the floors, into drawers, and over the backs of the milkmaids' hands. Conversations were concerning sunstroke; while butter-making, and still more butter-keeping, was a despair. They milked entirely in the meads for coolness and convenience, without driving in the cows. During the day the animals obsequiously followed the shadow of the smallest tree as it moved round the stem with the diurnal roll; and when the milkers came they could hardly stand still for the flies. On one of these afternoons four or five unmilked cows chanced to stand apart from the general herd, behind the corner of a hedge, among them being Dumpling and Old Pretty, who loved Tess's hands above those of any other maid. When she rose from her stool under a finished cow, Angel Clare, who had been observing her for some time, asked her if she would take the aforesaid creatures next. She silently assented, and with her stool at arm's length, and the pail against her knee, went round to where they stood. Soon the sound of Old Pretty's milk fizzing into the pail came through the hedge, and then Angel felt inclined to go round the corner also, to finish off a hard-yielding milcher who had strayed there, he being now as capable of this as the dairyman himself. All the men, and some of the women, when milking, dug their foreheads into the cows and gazed into the pail. But a few--mainly the younger ones--rested their heads sideways. This was Tess Durbeyfield's habit, her temple pressing the milcher's flank, her eyes fixed on the far end of the meadow with the quiet of one lost in meditation. She was milking Old Pretty thus, and the sun chancing to be on the milking-side, it shone flat upon her pink-gowned form and her white curtain-bonnet, and upon her profile, rendering it keen as a cameo cut from the dun background of the cow. She did not know that Clare had followed her round, and that he sat under his cow watching her. The stillness of her head and features was remarkable: she might have been in a trance, her eyes open, yet unseeing. Nothing in the picture moved but Old Pretty's tail and Tess's pink hands, the latter so gently as to be a rhythmic pulsation only, as if they were obeying a reflex stimulus, like a beating heart. How very lovable her face was to him. Yet there was nothing ethereal about it; all was real vitality, real warmth, real incarnation. And it was in her mouth that this culminated. Eyes almost as deep and speaking he had seen before, and cheeks perhaps as fair; brows as arched, a chin and throat almost as shapely; her mouth he had seen nothing to equal on the face of the earth. To a young man with the least fire in him that little upward lift in the middle of her red top lip was distracting, infatuating, maddening. He had never before seen a woman's lips and teeth which forced upon his mind with such persistent iteration the old Elizabethan simile of roses filled with snow. Perfect, he, as a lover, might have called them off-hand. But no--they were not perfect. And it was the touch of the imperfect upon the would-be perfect that gave the sweetness, because it was that which gave the humanity. Clare had studied the curves of those lips so many times that he could reproduce them mentally with ease: and now, as they again confronted him, clothed with colour and life, they sent an _aura_ over his flesh, a breeze through his nerves, which well nigh produced a qualm; and actually produced, by some mysterious physiological process, a prosaic sneeze. She then became conscious that he was observing her; but she would not show it by any change of position, though the curious dream-like fixity disappeared, and a close eye might easily have discerned that the rosiness of her face deepened, and then faded till only a tinge of it was left. The influence that had passed into Clare like an excitation from the sky did not die down. Resolutions, reticences, prudences, fears, fell back like a defeated battalion. He jumped up from his seat, and, leaving his pail to be kicked over if the milcher had such a mind, went quickly towards the desire of his eyes, and, kneeling down beside her, clasped her in his arms. Tess was taken completely by surprise, and she yielded to his embrace with unreflecting inevitableness. Having seen that it was really her lover who had advanced, and no one else, her lips parted, and she sank upon him in her momentary joy, with something very like an ecstatic cry. He had been on the point of kissing that too tempting mouth, but he checked himself, for tender conscience' sake. "Forgive me, Tess dear!" he whispered. "I ought to have asked. I--did not know what I was doing. I do not mean it as a liberty. I am devoted to you, Tessy, dearest, in all sincerity!" Old Pretty by this time had looked round, puzzled; and seeing two people crouching under her where, by immemorial custom, there should have been only one, lifted her hind leg crossly. "She is angry--she doesn't know what we mean--she'll kick over the milk!" exclaimed Tess, gently striving to free herself, her eyes concerned with the quadruped's actions, her heart more deeply concerned with herself and Clare. She slipped up from her seat, and they stood together, his arm still encircling her. Tess's eyes, fixed on distance, began to fill. "Why do you cry, my darling?" he said. "O--I don't know!" she murmured. As she saw and felt more clearly the position she was in she became agitated and tried to withdraw. "Well, I have betrayed my feeling, Tess, at last," said he, with a curious sigh of desperation, signifying unconsciously that his heart had outrun his judgement. "That I--love you dearly and truly I need not say. But I--it shall go no further now--it distresses you--I am as surprised as you are. You will not think I have presumed upon your defencelessness--been too quick and unreflecting, will you?" "N'--I can't tell." He had allowed her to free herself; and in a minute or two the milking of each was resumed. Nobody had beheld the gravitation of the two into one; and when the dairyman came round by that screened nook a few minutes later, there was not a sign to reveal that the markedly sundered pair were more to each other than mere acquaintance. Yet in the interval since Crick's last view of them something had occurred which changed the pivot of the universe for their two natures; something which, had he known its quality, the dairyman would have despised, as a practical man; yet which was based upon a more stubborn and resistless tendency than a whole heap of so-called practicalities. A veil had been whisked aside; the tract of each one's outlook was to have a new horizon thenceforward--for a short time or for a long. END OF PHASE THE THIRD Phase the Fourth: The Consequence

Chapters 23 - 24

https://web.archive.org/web/20180820050202/http://www.pinkmonkey.com/booknotes/monkeynotes/pmTessD33.asp

Tess has been on the farm for two months before she goes on her first outing. Tess and her co-workers dress in their best clothes and set out for Mellstock Church. On the way, they find the route is flooded due to heavy rains the day before. Angel, who is out in the field, sees their difficulty and comes to their rescue. He carries each of them across the water. When Tess's turn comes, Angel's ardent admiration for her is revealed again. He tells her he has carried "three Leahs to get one Rachel," a clear Biblical reference to her beauty. He also takes as long as possible in carrying Tess across. Seeing his obvious attraction to her, the other maids conclude that they do not stand a chance with Angel against Tess. Pained by all this, Tess tells them that if Angel ever proposes to her, she will refuse him. Later Tess is relieved to hear from the other milkmaids that Angel's parents have chosen a girl for him to marry. However, Angel surprises her by his confession of his sincere love for her.

Notes In this chapter, Hardy compares and contrasts Tess with the other milkmaids. Like them, she feels at home in the country, enjoys her work, takes pleasure in small things, and seems to take an interest in men. But Hardy also stresses how she is different from the others. She is more beautiful, more refined, and more educated than the others. She stands out from the crowd, and that is why Angel has grown attached to her. After their excursion, the milkmaids are all talk about Angel and his kindness in carrying them through the water. They all cherish the beautiful moments in his company and openly admit they love him. They also realize that Angel prefers Tess to them and express no jealousy. Tess, however, makes it clear that she is not hindering them in their pursuit of Angel. She even tells them that if Angel asks for her hand in marriage, she will refuse. Knowing nothing about her past, the other three milkmaids are shocked by her revelation. They, however, know their efforts with Angel are to no avail and lament their unsuitability for this handsome man. CHAPTER 24 Summary In this chapter, Angel professes his true love to Tess. On a hot July afternoon, as he works beside Tess milking cows, he is overcome with emotion for her. He leaves his milking and takes her in his arms. At first she responds, but then reigns in her emotions and withdraws from him. He is surprised at her distress over his affection and assures Tess that he loves her. Tears form in Tess's eyes as she realizes that her past stands in the way of love. Angel is unable to fathom the reason for Tess's crying, but knows that he has caused the sadness. He begs for forgiveness. Notes The warm summer weather again provokes passion in this chapter. Angel is no longer able to keep silent about his love for Tess. While they are milking the cows together, he is overcome with emotion, embraces her, and confesses his love. Angel's unveiled love makes things difficult for Tess. Before meeting Angel, Tess has accepted the situation that fate has given her; she knows she can never marry because of her past. At Talbothay's farm, Angel is attracted to her for her beauty, intelligence, and seeming purity. She has tried to discourage him, pointing out the virtues of the other milkmaids to him and trying to avoid his company. Despite her efforts, Angel and Tess have fallen in love with each other. When he first embraces her, Tess, revealing her true feelings, responds to his warmth; but she quickly remembers her predicament and draws away from him. As he confesses his love, she sheds tears caused by her emotions, her confusion, and her disappointment. Because of her past, Tess cannot be at peace. Fate still has the upper hand.

gradesaver

all_chapterized_books/12915-chapters/act_4.txt

finished_summaries/gradesaver/The White Devil/section_3_part_0.txt

The White Devil.act 4.scene 1-scene 3

act 4

{"name": "Act 4", "url": "https://web.archive.org/web/20180409073731/http://www.gradesaver.com/the-white-devil/study-guide/summary-act-4", "summary": "Act 4 opens in Rome, where Monticelso asks Francisco what he plans to do about Isabella's untimely death by poison. Francisco explains that he wants to avoid war with Brachiano, since that would cause suffering to his land and people. Instead, he intends to leave revenge to a higher power. Monticelso admits that he has a book which contains the names of all the criminals in the city, and offers to show it to Francisco so they can find an ally. When Monticelso leaves to retrieve it, Francisco admits to the audience that he will seek revenge, but that it will be slow and patient. Monticelso returns with his \"black book,\" and lists the types of criminals detailed in it, including: informants, pimps, pirates, female cross-dressing pimps, moneylenders, and crooked lawyers. He then leaves Francisco with the book, who, in an aside, accuses Monticelso of using the book for corrupt purposes. Nonetheless, he resolves to find and hire a murderer, and imagines Isabella's face to keep himself motivated. Isabella's ghost appears to Francisco, which he interprets as a result of his active imagination and his melancholy. Francisco briefly interrogates the ghost, but ultimately decides such a pursuit is folly. Isabella's ghost leaves, and Francisco returns to planning. He arrives at a plan, which involves pretending to be in love with Vittoria. He writes a letter to her, and then orders a servant to deliver it to either Vittoria or the matron of the house of convertites, provided the hand-off is done before Brachiano's men. Francisco then remarks to himself that he will only trust that Brachiano is dead when he is able to play a game with his head. Since he cannot appeal to the gods in heaven to achieve this purpose, he will now appeal to the gods of hell. Scene 2 At the house of convertities, Flamineo bargains with the Matron in an attempt to secure visiting rights for Brachiano. When Francisco's servant arrives with the letter, Flamineo offers to deliver it to his sister, and the servant acquiesces. Brachiano enters, and insists upon reading the letter to his beloved. Flamineo reads the love letter aloud, along with insulting commentary. Brachiano believes Francisco's ruse, and thinks that Vittoria has been untrue. He angrily searches for that \"whore,\" seeking to destroy her. Flamineo is taken aback at the insult to his sister, and when Brachiano threatens him, Flamineo reminds him of his culpability in Camillo's murder. The two insult each other, and Brachiano again demeans Flamineo as a low-class pimp who is unwise to challenge his superior. Vittoria then enters, and Brachiano confronts her about the letter. Vittoria denies having any other lovers, and she claims the letter is a deceit intended to separate them. Brachiano doesn't believe her, and in an action mimicking his divorce from Isabella, he grabs Vittoria's hand and proclaims them separate. Angry and insulted, Vittoria insists she will now live to make the whole world regret smearing her name. She promises Brachiano that God will punish him for Isabella's murder, and then falls weeping on her bed. Her attitude shocks Brachiano, who remembers his love for her. He tries to comfort and woo her, but she resists, and curses Flamineo for having helped him. Flamineo argues for her to forgive Brachiano, comparing her to a young hare that cannot run for very long , and so must eventually crouch in submission. He then advises Brachiano to fondle and kiss her, which he does. Vittoria gives in, and Brachiano pledges to never again accuse her of being a whore. He further resolves to smuggle her from the house of convertites to Padua, which he insists will be an easy escape since all of Rome is in turmoil due to the Pope's recent death. He promises to bring Flamineo, Marcello, and Cornelia with them, and to make Vittoria a duchess in Padua. Flamineo interrupts him, however, to tell a fable of a crocodile who had a toothache caused by a worm stuck in its teeth. A little bird helped the crocodile by removing the worm, but the crocodile, afraid the bird might advertise the fact that the crocodile didn't pay for the service, tried to eat the bird. The bird, however, pecked at the crocodile's mouth until it opened its jaws and the bird could fly away. Brachiano interprets the fable to mean that Flamineo wants to be rewarded for his services, but Flamineo explains that the crocodile represents Vittoria and the worm represents her tarnished reputation. Brachiano is represented by the bird, for he has helped her improve her reputation. Flamineo cautions Vittoria to avoid ingratitude to Brachiano, and to forgive him for his insults. Aside, Flamineo justifies his changeable role of knave, madman, and wiseman, by explaining \"knaves do grow great by being great men's apes,\" i.e. by pretending to be great men. Scene 3 Lodovico, Gasparo, and six Ambassadors enter. Francisco enters through a different door, and asks Lodovico to guard the room where the cardinals are discussing whom to elect as Pope. The ambassadors, \"knights of several orders,\" pass across the stage wearing beautiful costumes after having pleaded with the cardinals on behalf of their various countries. Lodovico checks all of the meals going into the cardinal's conclave for bribery or solicitation letters, explaining to the ambassadors that, until they elect a Pope, no one is allowed to petition them. Francisco proposes a bet with Lodovico over how long the cardinals will take, but before they can finalize the bet, the Cardinal of Arragon appears on the terrace with the announcement. Arragon speaks in Latin, explaining that Monticelso has been elected the next Pope, and he has chosen Paul IV as his name. At that moment, a servant enters to alert Francisco that Vittoria has fled the city with Brachiano and Giovanni. Francisco orders the servant to apprehend the Matron, but then explains privately to Lodovico and the audience that he has planned precisely for such an escape, since it will give him opportunity to enact his revenge on Brachiano away from Rome. Monticelso enters in his papal robes and, after hearing the news from Francisco, excommunicates Vittoria and Brachiano. Everyone on stage exits except for Francisco and Lodovico, who discuss their plan to murder Brachiano. Francisco leaves as Monticelso re-enters. The new Pope asks Lodovico why Francisco worked so hard to arrange his pardon, and accuses the former of working for Francisco in some illicit capacity. Lodovico claims he has been brought to help break a stubborn horse, but Monticelso refuses to believe it. Lodovico then reveals, in a binding confession, that he loved Isabella, and has promised Francisco that he will avenge her death by murdering Brachiano. Monticelso curses him, warning him that he will fall into ruin if he persists in such evil. Monticelso exits, and Lodovico admits his confusion over the Pope's reaction, since he has such reason to hate Brachiano. Francisco enters with a thousand ducats from Monticelso as a gift, and Lodovico realizes that Monticelso has to hide his motives because of his new position.", "analysis": "Monticelso provides one of the most damning examples of Webster's theme of the difference between appearance and intention. This is clear even before Monticelso is named Pope. He brings Francisco his \"black book,\" well aware that he is facilitating murder, even as he continually advises Francisco against revenge. His disgust for murder is doubly harsh once he is named Pope, even though he continues to fund and aid the purpose. Lodovico describes this contrast through the metaphor of a blushing bride. Like a \"virgin\" bride, Monticelso must appear innocent and chaste, but both he and the bride harbor improper desires behind their facades. Because he is affiliated with the Church, his hypocrisy serves as Webster's indictment not just of humanity but of the institution of the Catholic Church. Though Francisco is committed to murder, his motives are more complicated. The scene with Isabella's ghost reveal his split sentiments. He initially asks the ghost how it was killed, but then dismisses it as a result of too much bile in his system. He alludes to the concept of the four humors, which is the pseudo-scientific idea that moods are ruled by a balance of four bodily fluids, or humors: black bile, yellow bile, blood, and phlegm. If someone had an imbalance of humors, their personalities would shift towards that of the humors . When Francisco successfully rejects Isabella's ghost as merely a physical symptom, The White Devil departs from the traditional revenge tragedy structure. In other revenge tragedies, like Shakespeare's Hamlet, ghosts are taken very seriously, and usually utter illuminating truths. Francisco doesn't care about what Isabella's ghost has to say, and the reader is forced to question Francisco's motives for the revenge. Does he really care about his sister's death, or is he doing this for other reasons? Is he trying to please a supernatural sense of justice, or is he merely inspired by his own earthly feelings? Misogyny continues to perpetuate in this Act, most of all through Brachiano and Flamineo's behavior towards Vittoria. Though she has suffered much for their relationship, Brachiano is quick to accuse her of betraying him. So deep is the fear of cuckoldry that he immediately lashes out from anger and fear. On top of his exit from her trial, we see that even this deep love is less important that his social superiority as a man. In terms of traditional revenge tragedy, Brachiano would function as the tragic hero, but by this point in the play, it is difficult if not impossible to allow him such a noble title. Flamineo sees his sister less as woman than as tool towards his betterment, but his fable reveals that he will use the attitudes towards women to his advantage. Knowing she is capable of causing great harm while still essentially powerless, he does everything he can to ameliorate the situation. He does not want to empower or punish her, but merely to keep her in her place so that less trouble is caused. Yet his fable is quite ambiguous in its meaning, which reveals both his superior wit and his awareness that a situation's superficial appearance does not contain its entire meaning. Instead, even in a calm and basic power dynamic, there are many possibilities for power to shift. The bird might be smaller, but it has great power. Finally, it is worth considering the historical nature of the play, which Webster used to give the play more gravity. Act 4 ends with the election of a new Pope, which was historically accurate to the time of Vittoria's controversial trial and escape. Because the event conforms to reality, the ironic use of the murderer Lodovico as guard against outside corruption is doubly effective as an attack on the church and its power-hungry hypocrites. As with everything else in the play, this most sanctified of processes is not quite what it seems, and gives us every reason to doubt its goodness."}

ACT IV SCENE I Enter Francisco and Monticelso Mont. Come, come, my lord, untie your folded thoughts, And let them dangle loose, as a bride's hair. Fran. Far be it from my thoughts To seek revenge. Mont. What, are you turn'd all marble? Fran. Shall I defy him, and impose a war, Most burthensome on my poor subjects' necks, Which at my will I have not power to end? You know, for all the murders, rapes, and thefts, Committed in the horrid lust of war, He that unjustly caus'd it first proceed, Shall find it in his grave, and in his seed. Mont. That 's not the course I 'd wish you; pray observe me. We see that undermining more prevails Than doth the cannon. Bear your wrongs conceal'd, And, patient as the tortoise, let this camel Stalk o'er your back unbruis'd: sleep with the lion, And let this brood of secure foolish mice Play with your nostrils, till the time be ripe For th' bloody audit, and the fatal gripe: Aim like a cunning fowler, close one eye, That you the better may your game espy. Fran. Free me, my innocence, from treacherous acts! I know there 's thunder yonder; and I 'll stand, Like a safe valley, which low bends the knee To some aspiring mountain: since I know Treason, like spiders weaving nets for flies, By her foul work is found, and in it dies. To pass away these thoughts, my honour'd lord, It is reported you possess a book, Wherein you have quoted, by intelligence, The names of all notorious offenders Lurking about the city. Mont. Sir, I do; And some there are which call it my black-book. Well may the title hold; for though it teach not The art of conjuring, yet in it lurk The names of many devils. Fran. Pray let 's see it. Mont. I 'll fetch it to your lordship. [Exit. Fran. Monticelso, I will not trust thee, but in all my plots I 'll rest as jealous as a town besieg'd. Thou canst not reach what I intend to act: Your flax soon kindles, soon is out again, But gold slow heats, and long will hot remain. Enter Monticelso, with the book Mont. 'Tis here, my lord. Fran. First, your intelligencers, pray let 's see. Mont. Their number rises strangely; And some of them You 'd take for honest men. Next are panders. These are your pirates; and these following leaves For base rogues, that undo young gentlemen, By taking up commodities; for politic bankrupts; For fellows that are bawds to their own wives, Only to put off horses, and slight jewels, Clocks, defac'd plate, and such commodities, At birth of their first children. Fran. Are there such? Mont. These are for impudent bawds, That go in men's apparel; for usurers That share with scriveners for their good reportage: For lawyers that will antedate their writs: And some divines you might find folded there, But that I slip them o'er for conscience' sake. Here is a general catalogue of knaves: A man might study all the prisons o'er, Yet never attain this knowledge. Fran. Murderers? Fold down the leaf, I pray; Good my lord, let me borrow this strange doctrine. Mont. Pray, use 't, my lord. Fran. I do assure your lordship, You are a worthy member of the State, And have done infinite good in your discovery Of these offenders. Mont. Somewhat, sir. Fran. O God! Better than tribute of wolves paid in England; 'Twill hang their skins o' th' hedge. Mont. I must make bold To leave your lordship. Fran. Dearly, sir, I thank you: If any ask for me at court, report You have left me in the company of knaves. [Exit Monticelso. I gather now by this, some cunning fellow That 's my lord's officer, and that lately skipp'd From a clerk's desk up to a justice' chair, Hath made this knavish summons, and intends, As th' rebels wont were to sell heads, So to make prize of these. And thus it happens: Your poor rogues pay for 't, which have not the means To present bribe in fist; the rest o' th' band Are razed out of the knaves' record; or else My lord he winks at them with easy will; His man grows rich, the knaves are the knaves still. But to the use I 'll make of it; it shall serve To point me out a list of murderers, Agents for my villany. Did I want Ten leash of courtesans, it would furnish me; Nay, laundress three armies. That in so little paper Should lie th' undoing of so many men! 'Tis not so big as twenty declarations. See the corrupted use some make of books: Divinity, wrested by some factious blood, Draws swords, swells battles, and o'erthrows all good. To fashion my revenge more seriously, Let me remember my dear sister's face: Call for her picture? no, I 'll close mine eyes, And in a melancholic thought I 'll frame [Enter Isabella's Ghost. Her figure 'fore me. Now I ha' 't--how strong Imagination works! how she can frame Things which are not! methinks she stands afore me, And by the quick idea of my mind, Were my skill pregnant, I could draw her picture. Thought, as a subtle juggler, makes us deem Things supernatural, which have cause Common as sickness. 'Tis my melancholy. How cam'st thou by thy death?--how idle am I To question mine own idleness!--did ever Man dream awake till now?--remove this object; Out of my brain with 't: what have I to do With tombs, or death-beds, funerals, or tears, That have to meditate upon revenge? [Exit Ghost. So, now 'tis ended, like an old wife's story. Statesmen think often they see stranger sights Than madmen. Come, to this weighty business. My tragedy must have some idle mirth in 't, Else it will never pass. I am in love, In love with Corombona; and my suit Thus halts to her in verse.-- [He writes. I have done it rarely: Oh, the fate of princes! I am so us'd to frequent flattery, That, being alone, I now flatter myself: But it will serve; 'tis seal'd. [Enter servant.] Bear this To the House of Convertites, and watch your leisure To give it to the hands of Corombona, Or to the Matron, when some followers Of Brachiano may be by. Away! [Exit Servant. He that deals all by strength, his wit is shallow; When a man's head goes through, each limb will follow. The engine for my business, bold Count Lodowick; 'Tis gold must such an instrument procure, With empty fist no man doth falcons lure. Brachiano, I am now fit for thy encounter: Like the wild Irish, I 'll ne'er think thee dead Till I can play at football with thy head, Flectere si nequeo superos, Acheronta movebo. [Exit. SCENE II Enter the Matron, and Flamineo Matron. Should it be known the duke hath such recourse To your imprison'd sister, I were like T' incur much damage by it. Flam. Not a scruple. The Pope lies on his death-bed, and their heads Are troubled now with other business Than guarding of a lady. Enter Servant Servant. Yonder 's Flamineo in conference With the Matrona.--Let me speak with you: I would entreat you to deliver for me This letter to the fair Vittoria. Matron. I shall, sir. Enter Brachiano Servant. With all care and secrecy; Hereafter you shall know me, and receive Thanks for this courtesy. [Exit. Flam. How now? what 's that? Matron. A letter. Flam. To my sister? I 'll see 't deliver'd. Brach. What 's that you read, Flamineo? Flam. Look. Brach. Ha! 'To the most unfortunate, his best respected Vittoria'. Who was the messenger? Flam. I know not. Brach. No! who sent it? Flam. Ud's foot! you speak as if a man Should know what fowl is coffin'd in a bak'd meat Afore you cut it up. Brach. I 'll open 't, were 't her heart. What 's here subscrib'd! Florence! this juggling is gross and palpable. I have found out the conveyance. Read it, read it. Flam. [Reads the letter.] "Your tears I 'll turn to triumphs, be but mine; Your prop is fallen: I pity, that a vine Which princes heretofore have long'd to gather, Wanting supporters, now should fade and wither." Wine, i' faith, my lord, with lees would serve his turn. "Your sad imprisonment I 'll soon uncharm, And with a princely uncontrolled arm Lead you to Florence, where my love and care Shall hang your wishes in my silver hair." A halter on his strange equivocation! "Nor for my years return me the sad willow; Who prefer blossoms before fruit that 's mellow?" Rotten, on my knowledge, with lying too long i' th' bedstraw. "And all the lines of age this line convinces; The gods never wax old, no more do princes." A pox on 't, tear it; let 's have no more atheists, for God's sake. Brach. Ud's death! I 'll cut her into atomies, And let th' irregular north wind sweep her up, And blow her int' his nostrils: where 's this whore? Flam. What? what do you call her? Brach. Oh, I could be mad! Prevent the curs'd disease she 'll bring me to, And tear my hair off. Where 's this changeable stuff? Flam. O'er head and ears in water, I assure you; She is not for your wearing. Brach. In, you pander! Flam. What, me, my lord? am I your dog? Brach. A bloodhound: do you brave, do you stand me? Flam. Stand you! let those that have diseases run; I need no plasters. Brach. Would you be kick'd? Flam. Would you have your neck broke? I tell you, duke, I am not in Russia; My shins must be kept whole. Brach. Do you know me? Flam. Oh, my lord, methodically! As in this world there are degrees of evils, So in this world there are degrees of devils. You 're a great duke, I your poor secretary. I do look now for a Spanish fig, or an Italian sallet, daily. Brach. Pander, ply your convoy, and leave your prating. Flam. All your kindness to me, is like that miserable courtesy of Polyphemus to Ulysses; you reserve me to be devoured last: you would dig turfs out of my grave to feed your larks; that would be music to you. Come, I 'll lead you to her. Brach. Do you face me? Flam. Oh, sir, I would not go before a politic enemy with my back towards him, though there were behind me a whirlpool. Enter Vittoria to Brachiano and Flamineo Brach. Can you read, mistress? look upon that letter: There are no characters, nor hieroglyphics. You need no comment; I am grown your receiver. God's precious! you shall be a brave great lady, A stately and advanced whore. Vit. Say, sir? Brach. Come, come, let 's see your cabinet, discover Your treasury of love-letters. Death and furies! I 'll see them all. Vit. Sir, upon my soul, I have not any. Whence was this directed? Brach. Confusion on your politic ignorance! You are reclaim'd, are you? I 'll give you the bells, And let you fly to the devil. Flam. Ware hawk, my lord. Vit. Florence! this is some treacherous plot, my lord; To me he ne'er was lovely, I protest, So much as in my sleep. Brach. Right! there are plots. Your beauty! Oh, ten thousand curses on 't! How long have I beheld the devil in crystal! Thou hast led me, like an heathen sacrifice, With music, and with fatal yokes of flowers, To my eternal ruin. Woman to man Is either a god, or a wolf. Vit. My lord---- Brach. Away! We 'll be as differing as two adamants, The one shall shun the other. What! dost weep? Procure but ten of thy dissembling trade, Ye 'd furnish all the Irish funerals With howling past wild Irish. Flam. Fie, my lord! Brach. That hand, that cursed hand, which I have wearied With doting kisses!--Oh, my sweetest duchess, How lovely art thou now!--My loose thoughts Scatter like quicksilver: I was bewitch'd; For all the world speaks ill of thee. Vit. No matter; I 'll live so now, I 'll make that world recant, And change her speeches. You did name your duchess. Brach. Whose death God pardon! Vit. Whose death God revenge On thee, most godless duke! Flam. Now for ten whirlwinds. Vit. What have I gain'd by thee, but infamy? Thou hast stain'd the spotless honour of my house, And frighted thence noble society: Like those, which sick o' th' palsy, and retain Ill-scenting foxes 'bout them, are still shunn'd By those of choicer nostrils. What do you call this house? Is this your palace? did not the judge style it A house of penitent whores? who sent me to it? To this incontinent college? is 't not you? Is 't not your high preferment? go, go, brag How many ladies you have undone, like me. Fare you well, sir; let me hear no more of you! I had a limb corrupted to an ulcer, But I have cut it off; and now I 'll go Weeping to heaven on crutches. For your gifts, I will return them all, and I do wish That I could make you full executor To all my sins. O that I could toss myself Into a grave as quickly! for all thou art worth I 'll not shed one tear more--I 'll burst first. [She throws herself upon a bed. Brach. I have drunk Lethe: Vittoria! My dearest happiness! Vittoria! What do you ail, my love? why do you weep? Vit. Yes, I now weep poniards, do you see? Brach. Are not those matchless eyes mine? Vit. I had rather They were not matches. Brach. Is not this lip mine? Vit. Yes; thus to bite it off, rather than give it thee. Flam. Turn to my lord, good sister. Vit. Hence, you pander! Flam. Pander! am I the author of your sin? Vit. Yes; he 's a base thief that a thief lets in. Flam. We 're blown up, my lord---- Brach. Wilt thou hear me? Once to be jealous of thee, is t' express That I will love thee everlastingly, And never more be jealous. Vit. O thou fool, Whose greatness hath by much o'ergrown thy wit! What dar'st thou do, that I not dare to suffer, Excepting to be still thy whore? for that, In the sea's bottom sooner thou shalt make A bonfire. Flam. Oh, no oaths, for God's sake! Brach. Will you hear me? Vit. Never. Flam. What a damn'd imposthume is a woman's will! Can nothing break it? [Aside.] Fie, fie, my lord, Women are caught as you take tortoises, She must be turn'd on her back. Sister, by this hand I am on your side.--Come, come, you have wrong'd her; What a strange credulous man were you, my lord, To think the Duke of Florence would love her! Will any mercer take another's ware When once 'tis tows'd and sullied? And yet, sister, How scurvily this forwardness becomes you! Young leverets stand not long, and women's anger Should, like their flight, procure a little sport; A full cry for a quarter of an hour, And then be put to th' dead quat. Brach. Shall these eyes, Which have so long time dwelt upon your face, Be now put out? Flam. No cruel landlady i' th' world, Which lends forth groats to broom-men, and takes use For them, would do 't. Hand her, my lord, and kiss her: be not like A ferret, to let go your hold with blowing. Brach. Let us renew right hands. Vit. Hence! Brach. Never shall rage, or the forgetful wine, Make me commit like fault. Flam. Now you are i' th' way on 't, follow 't hard. Brach. Be thou at peace with me, let all the world Threaten the cannon. Flam. Mark his penitence; Best natures do commit the grosses faults, When they 're given o'er to jealousy, as best wine, Dying, makes strongest vinegar. I 'll tell you: The sea 's more rough and raging than calm rivers, But not so sweet, nor wholesome. A quiet woman Is a still water under a great bridge; A man may shoot her safely. Vit. O ye dissembling men! Flam. We suck'd that, sister, From women's breasts, in our first infancy. Vit. To add misery to misery! Brach. Sweetest! Vit. Am I not low enough? Ay, ay, your good heart gathers like a snowball, Now your affection 's cold. Flam. Ud's foot, it shall melt To a heart again, or all the wine in Rome Shall run o' th' lees for 't. Vit. Your dog or hawk should be rewarded better Than I have been. I 'll speak not one word more. Flam. Stop her mouth With a sweet kiss, my lord. So, Now the tide 's turn'd, the vessel 's come about. He 's a sweet armful. Oh, we curl-hair'd men Are still most kind to women! This is well. Brach. That you should chide thus! Flam. Oh, sir, your little chimneys Do ever cast most smoke! I sweat for you. Couple together with as deep a silence, As did the Grecians in their wooden horse. My lord, supply your promises with deeds; You know that painted meat no hunger feeds. Brach. Stay, ungrateful Rome---- Flam. Rome! it deserve to be call'd Barbary, For our villainous usage. Brach. Soft; the same project which the Duke of Florence, (Whether in love or gallery I know not) Laid down for her escape, will I pursue. Flam. And no time fitter than this night, my lord. The Pope being dead, and all the cardinals enter'd The conclave, for th' electing a new Pope; The city in a great confusion; We may attire her in a page's suit, Lay her post-horse, take shipping, and amain For Padua. Brach. I 'll instantly steal forth the Prince Giovanni, And make for Padua. You two with your old mother, And young Marcello that attends on Florence, If you can work him to it, follow me: I will advance you all; for you, Vittoria, Think of a duchess' title. Flam. Lo you, sister! Stay, my lord; I 'll tell you a tale. The crocodile, which lives in the River Nilus, hath a worm breeds i' th' teeth of 't, which puts it to extreme anguish: a little bird, no bigger than a wren, is barber-surgeon to this crocodile; flies into the jaws of 't, picks out the worm, and brings present remedy. The fish, glad of ease, but ungrateful to her that did it, that the bird may not talk largely of her abroad for non-payment, closeth her chaps, intending to swallow her, and so put her to perpetual silence. But nature, loathing such ingratitude, hath armed this bird with a quill or prick on the head, top o' th' which wounds the crocodile i' th' mouth, forceth her open her bloody prison, and away flies the pretty tooth-picker from her cruel patient. Brach. Your application is, I have not rewarded The service you have done me. Flam. No, my lord. You, sister, are the crocodile: you are blemish'd in your fame, my lord cures it; and though the comparison hold not in every particle, yet observe, remember, what good the bird with the prick i' th' head hath done you, and scorn ingratitude. It may appear to some ridiculous Thus to talk knave and madman, and sometimes Come in with a dried sentence, stuffed with sage: But this allows my varying of shapes; Knaves do grow great by being great men's apes. SCENE III Enter Francisco, Lodovico, Gasparo, and six Ambassadors Fran. So, my lord, I commend your diligence. Guard well the conclave; and, as the order is, Let none have conference with the cardinals. Lodo. I shall, my lord. Room for the ambassadors. Gas. They 're wondrous brave to-day: why do they wear These several habits? Lodo. Oh, sir, they 're knights Of several orders: That lord i' th' black cloak, with the silver cross, Is Knight of Rhodes; the next, Knight of St. Michael; That, of the Golden Fleece; the Frenchman, there, Knight of the Holy Ghost; my Lord of Savoy, Knight of th' Annunciation; the Englishman Is Knight of th' honour'd Garter, dedicated Unto their saint, St. George. I could describe to you Their several institutions, with the laws Annexed to their orders; but that time Permits not such discovery. Fran. Where 's Count Lodowick? Lodo. Here, my lord. Fran. 'Tis o' th' point of dinner time; Marshal the cardinals' service. Lodo. Sir, I shall. [Enter Servants, with several dishes covered. Stand, let me search your dish. Who 's this for? Servant. For my Lord Cardinal Monticelso. Lodo. Whose this? Servant. For my Lord Cardinal of Bourbon. Fr. Ambass. Why doth he search the dishes? to observe What meat is dressed? Eng. Ambass. No, sir, but to prevent Lest any letters should be convey'd in, To bribe or to solicit the advancement Of any cardinal. When first they enter, 'Tis lawful for the ambassadors of princes To enter with them, and to make their suit For any man their prince affecteth best; But after, till a general election, No man may speak with them. Lodo. You that attend on the lord cardinals, Open the window, and receive their viands. Card. [Within.] You must return the service: the lord cardinals Are busied 'bout electing of the Pope; They have given o'er scrutiny, and are fallen To admiration. Lodo. Away, away. Fran. I 'll lay a thousand ducats you hear news Of a Pope presently. Hark; sure he 's elected: Behold, my Lord of Arragon appears On the church battlements. [A Cardinal on the terrace. Arragon. Denuntio vobis gaudium magnum: Reverendissimus Cardinalis Lorenzo de Monticelso electus est in sedem apostolicam, et elegit sibi nomen Paulum Quartum. Omnes. Vivat Sanctus Pater Paulus Quartus! Servant. Vittoria, my lord---- Fran. Well, what of her? Servant. Is fled the city---- Fran. Ha! Servant. With Duke Brachiano. Fran. Fled! where 's the Prince Giovanni? Servant. Gone with his father. Fran. Let the Matrona of the Convertites Be apprehended. Fled? O damnable! How fortunate are my wishes! why, 'twas this I only labour'd: I did send the letter T' instruct him what to do. Thy fame, fond duke, I first have poison'd; directed thee the way To marry a whore; what can be worse? This follows: The hand must act to drown the passionate tongue, I scorn to wear a sword and prate of wrong. Enter Monticelso in State Mont. Concedimus vobis Apostolicam benedictionem, et remissionem peccatorum. My lord reports Vittoria Corombona Is stol'n from forth the House of Convertites By Brachiano, and they 're fled the city. Now, though this be the first day of our seat, We cannot better please the Divine Power, Than to sequester from the Holy Church These cursed persons. Make it therefore known, We do denounce excommunication Against them both: all that are theirs in Rome We likewise banish. Set on. [Exeunt all but Francisco and Lodovico. Fran. Come, dear Lodovico; You have ta'en the sacrament to prosecute Th' intended murder? Lodo. With all constancy. But, sir, I wonder you 'll engage yourself In person, being a great prince. Fran. Divert me not. Most of his court are of my faction, And some are of my council. Noble friend, Our danger shall be like in this design: Give leave part of the glory may be mine. [Exit Francisco. Enter Monticelso Mont. Why did the Duke of Florence with such care Labour your pardon? say. Lodo. Italian beggars will resolve you that, Who, begging of alms, bid those they beg of, Do good for their own sakes; or 't may be, He spreads his bounty with a sowing hand, Like kings, who many times give out of measure, Not for desert so much, as for their pleasure. Mont. I know you 're cunning. Come, what devil was that That you were raising? Lodo. Devil, my lord? Mont. I ask you, How doth the duke employ you, that his bonnet Fell with such compliment unto his knee, When he departed from you? Lodo. Why, my lord, He told me of a resty Barbary horse Which he would fain have brought to the career, The sault, and the ring galliard: now, my lord, I have a rare French rider. Mont. Take your heed, Lest the jade break your neck. Do you put me off With your wild horse-tricks? Sirrah, you do lie. Oh, thou 'rt a foul black cloud, and thou dost threat A violent storm! Lodo. Storms are i' th' air, my lord; I am too low to storm. Mont. Wretched creature! I know that thou art fashion'd for all ill, Like dogs, that once get blood, they 'll ever kill. About some murder, was 't not? Lodo. I 'll not tell you: And yet I care not greatly if I do; Marry, with this preparation. Holy father, I come not to you as an intelligencer, But as a penitent sinner: what I utter Is in confession merely; which, you know, Must never be reveal'd. Mont. You have o'erta'en me. Lodo. Sir, I do love Brachiano's duchess dearly, Or rather I pursued her with hot lust, Though she ne'er knew on 't. She was poison'd; Upon my soul she was: for which I have sworn T' avenge her murder. Mont. To the Duke of Florence? Lodo. To him I have. Mont. Miserable creature! If thou persist in this, 'tis damnable. Dost thou imagine, thou canst slide on blood, And not be tainted with a shameful fall? Or, like the black and melancholic yew-tree, Dost think to root thyself in dead men's graves, And yet to prosper? Instruction to thee Comes like sweet showers to o'er-harden'd ground; They wet, but pierce not deep. And so I leave thee, With all the furies hanging 'bout thy neck, Till by thy penitence thou remove this evil, In conjuring from thy breast that cruel devil. [Exit. Lodo. I 'll give it o'er; he says 'tis damnable: Besides I did expect his suffrage, By reason of Camillo's death. Enter Servant and Francisco Fran. Do you know that count? Servant. Yes, my lord. Fran. Bear him these thousand ducats to his lodging. Tell him the Pope hath sent them. Happily That will confirm more than all the rest. [Exit. Servant. Sir. Lodo. To me, sir? Servant. His Holiness hath sent you a thousand crowns, And wills you, if you travel, to make him Your patron for intelligence. Lodo. His creature ever to be commanded.-- Why now 'tis come about. He rail'd upon me; And yet these crowns were told out, and laid ready, Before he knew my voyage. Oh, the art, The modest form of greatness! that do sit, Like brides at wedding-dinners, with their looks turn'd From the least wanton jests, their puling stomach Sick from the modesty, when their thoughts are loose, Even acting of those hot and lustful sports Are to ensue about midnight: such his cunning! He sounds my depth thus with a golden plummet. I am doubly arm'd now. Now to th' act of blood, There 's but three furies found in spacious hell, But in a great man's breast three thousand dwell. [Exit.

Act 4

https://web.archive.org/web/20180409073731/http://www.gradesaver.com/the-white-devil/study-guide/summary-act-4

Act 4 opens in Rome, where Monticelso asks Francisco what he plans to do about Isabella's untimely death by poison. Francisco explains that he wants to avoid war with Brachiano, since that would cause suffering to his land and people. Instead, he intends to leave revenge to a higher power. Monticelso admits that he has a book which contains the names of all the criminals in the city, and offers to show it to Francisco so they can find an ally. When Monticelso leaves to retrieve it, Francisco admits to the audience that he will seek revenge, but that it will be slow and patient. Monticelso returns with his "black book," and lists the types of criminals detailed in it, including: informants, pimps, pirates, female cross-dressing pimps, moneylenders, and crooked lawyers. He then leaves Francisco with the book, who, in an aside, accuses Monticelso of using the book for corrupt purposes. Nonetheless, he resolves to find and hire a murderer, and imagines Isabella's face to keep himself motivated. Isabella's ghost appears to Francisco, which he interprets as a result of his active imagination and his melancholy. Francisco briefly interrogates the ghost, but ultimately decides such a pursuit is folly. Isabella's ghost leaves, and Francisco returns to planning. He arrives at a plan, which involves pretending to be in love with Vittoria. He writes a letter to her, and then orders a servant to deliver it to either Vittoria or the matron of the house of convertites, provided the hand-off is done before Brachiano's men. Francisco then remarks to himself that he will only trust that Brachiano is dead when he is able to play a game with his head. Since he cannot appeal to the gods in heaven to achieve this purpose, he will now appeal to the gods of hell. Scene 2 At the house of convertities, Flamineo bargains with the Matron in an attempt to secure visiting rights for Brachiano. When Francisco's servant arrives with the letter, Flamineo offers to deliver it to his sister, and the servant acquiesces. Brachiano enters, and insists upon reading the letter to his beloved. Flamineo reads the love letter aloud, along with insulting commentary. Brachiano believes Francisco's ruse, and thinks that Vittoria has been untrue. He angrily searches for that "whore," seeking to destroy her. Flamineo is taken aback at the insult to his sister, and when Brachiano threatens him, Flamineo reminds him of his culpability in Camillo's murder. The two insult each other, and Brachiano again demeans Flamineo as a low-class pimp who is unwise to challenge his superior. Vittoria then enters, and Brachiano confronts her about the letter. Vittoria denies having any other lovers, and she claims the letter is a deceit intended to separate them. Brachiano doesn't believe her, and in an action mimicking his divorce from Isabella, he grabs Vittoria's hand and proclaims them separate. Angry and insulted, Vittoria insists she will now live to make the whole world regret smearing her name. She promises Brachiano that God will punish him for Isabella's murder, and then falls weeping on her bed. Her attitude shocks Brachiano, who remembers his love for her. He tries to comfort and woo her, but she resists, and curses Flamineo for having helped him. Flamineo argues for her to forgive Brachiano, comparing her to a young hare that cannot run for very long , and so must eventually crouch in submission. He then advises Brachiano to fondle and kiss her, which he does. Vittoria gives in, and Brachiano pledges to never again accuse her of being a whore. He further resolves to smuggle her from the house of convertites to Padua, which he insists will be an easy escape since all of Rome is in turmoil due to the Pope's recent death. He promises to bring Flamineo, Marcello, and Cornelia with them, and to make Vittoria a duchess in Padua. Flamineo interrupts him, however, to tell a fable of a crocodile who had a toothache caused by a worm stuck in its teeth. A little bird helped the crocodile by removing the worm, but the crocodile, afraid the bird might advertise the fact that the crocodile didn't pay for the service, tried to eat the bird. The bird, however, pecked at the crocodile's mouth until it opened its jaws and the bird could fly away. Brachiano interprets the fable to mean that Flamineo wants to be rewarded for his services, but Flamineo explains that the crocodile represents Vittoria and the worm represents her tarnished reputation. Brachiano is represented by the bird, for he has helped her improve her reputation. Flamineo cautions Vittoria to avoid ingratitude to Brachiano, and to forgive him for his insults. Aside, Flamineo justifies his changeable role of knave, madman, and wiseman, by explaining "knaves do grow great by being great men's apes," i.e. by pretending to be great men. Scene 3 Lodovico, Gasparo, and six Ambassadors enter. Francisco enters through a different door, and asks Lodovico to guard the room where the cardinals are discussing whom to elect as Pope. The ambassadors, "knights of several orders," pass across the stage wearing beautiful costumes after having pleaded with the cardinals on behalf of their various countries. Lodovico checks all of the meals going into the cardinal's conclave for bribery or solicitation letters, explaining to the ambassadors that, until they elect a Pope, no one is allowed to petition them. Francisco proposes a bet with Lodovico over how long the cardinals will take, but before they can finalize the bet, the Cardinal of Arragon appears on the terrace with the announcement. Arragon speaks in Latin, explaining that Monticelso has been elected the next Pope, and he has chosen Paul IV as his name. At that moment, a servant enters to alert Francisco that Vittoria has fled the city with Brachiano and Giovanni. Francisco orders the servant to apprehend the Matron, but then explains privately to Lodovico and the audience that he has planned precisely for such an escape, since it will give him opportunity to enact his revenge on Brachiano away from Rome. Monticelso enters in his papal robes and, after hearing the news from Francisco, excommunicates Vittoria and Brachiano. Everyone on stage exits except for Francisco and Lodovico, who discuss their plan to murder Brachiano. Francisco leaves as Monticelso re-enters. The new Pope asks Lodovico why Francisco worked so hard to arrange his pardon, and accuses the former of working for Francisco in some illicit capacity. Lodovico claims he has been brought to help break a stubborn horse, but Monticelso refuses to believe it. Lodovico then reveals, in a binding confession, that he loved Isabella, and has promised Francisco that he will avenge her death by murdering Brachiano. Monticelso curses him, warning him that he will fall into ruin if he persists in such evil. Monticelso exits, and Lodovico admits his confusion over the Pope's reaction, since he has such reason to hate Brachiano. Francisco enters with a thousand ducats from Monticelso as a gift, and Lodovico realizes that Monticelso has to hide his motives because of his new position.

Monticelso provides one of the most damning examples of Webster's theme of the difference between appearance and intention. This is clear even before Monticelso is named Pope. He brings Francisco his "black book," well aware that he is facilitating murder, even as he continually advises Francisco against revenge. His disgust for murder is doubly harsh once he is named Pope, even though he continues to fund and aid the purpose. Lodovico describes this contrast through the metaphor of a blushing bride. Like a "virgin" bride, Monticelso must appear innocent and chaste, but both he and the bride harbor improper desires behind their facades. Because he is affiliated with the Church, his hypocrisy serves as Webster's indictment not just of humanity but of the institution of the Catholic Church. Though Francisco is committed to murder, his motives are more complicated. The scene with Isabella's ghost reveal his split sentiments. He initially asks the ghost how it was killed, but then dismisses it as a result of too much bile in his system. He alludes to the concept of the four humors, which is the pseudo-scientific idea that moods are ruled by a balance of four bodily fluids, or humors: black bile, yellow bile, blood, and phlegm. If someone had an imbalance of humors, their personalities would shift towards that of the humors . When Francisco successfully rejects Isabella's ghost as merely a physical symptom, The White Devil departs from the traditional revenge tragedy structure. In other revenge tragedies, like Shakespeare's Hamlet, ghosts are taken very seriously, and usually utter illuminating truths. Francisco doesn't care about what Isabella's ghost has to say, and the reader is forced to question Francisco's motives for the revenge. Does he really care about his sister's death, or is he doing this for other reasons? Is he trying to please a supernatural sense of justice, or is he merely inspired by his own earthly feelings? Misogyny continues to perpetuate in this Act, most of all through Brachiano and Flamineo's behavior towards Vittoria. Though she has suffered much for their relationship, Brachiano is quick to accuse her of betraying him. So deep is the fear of cuckoldry that he immediately lashes out from anger and fear. On top of his exit from her trial, we see that even this deep love is less important that his social superiority as a man. In terms of traditional revenge tragedy, Brachiano would function as the tragic hero, but by this point in the play, it is difficult if not impossible to allow him such a noble title. Flamineo sees his sister less as woman than as tool towards his betterment, but his fable reveals that he will use the attitudes towards women to his advantage. Knowing she is capable of causing great harm while still essentially powerless, he does everything he can to ameliorate the situation. He does not want to empower or punish her, but merely to keep her in her place so that less trouble is caused. Yet his fable is quite ambiguous in its meaning, which reveals both his superior wit and his awareness that a situation's superficial appearance does not contain its entire meaning. Instead, even in a calm and basic power dynamic, there are many possibilities for power to shift. The bird might be smaller, but it has great power. Finally, it is worth considering the historical nature of the play, which Webster used to give the play more gravity. Act 4 ends with the election of a new Pope, which was historically accurate to the time of Vittoria's controversial trial and escape. Because the event conforms to reality, the ironic use of the murderer Lodovico as guard against outside corruption is doubly effective as an attack on the church and its power-hungry hypocrites. As with everything else in the play, this most sanctified of processes is not quite what it seems, and gives us every reason to doubt its goodness.

sparknotes

all_chapterized_books/28054-chapters/28.txt

finished_summaries/sparknotes/The Brothers Karamazov/section_4_part_4.txt

The Brothers Karamazov.book 4.chapter 4

book 4, chapter 4

{"name": "book 4, Chapter 4", "url": "https://web.archive.org/web/20210305110438/https://www.sparknotes.com/lit/brothersk/section5/", "summary": "At the Khokhlakovs' At Madame Khokhlakov's, Alyosha is surprised to learn that Ivan is already there, visiting Katerina. The two are upstairs, and before Alyosha joins them, he asks Madame Khokhlakov for a bandage for his hand. When she goes in search of supplies with which to tend his wound, Alyosha is accosted by Lise, who insists that he give her back the love letter she wrote him. She says that it was merely a joke. Alyosha refuses to give the letter back, saying that he fell for the joke and that he did not bring the letter with him", "analysis": ""}

Chapter IV. At The Hohlakovs' Alyosha soon reached Madame Hohlakov's house, a handsome stone house of two stories, one of the finest in our town. Though Madame Hohlakov spent most of her time in another province where she had an estate, or in Moscow, where she had a house of her own, yet she had a house in our town too, inherited from her forefathers. The estate in our district was the largest of her three estates, yet she had been very little in our province before this time. She ran out to Alyosha in the hall. "Did you get my letter about the new miracle?" She spoke rapidly and nervously. "Yes." "Did you show it to every one? He restored the son to his mother!" "He is dying to-day," said Alyosha. "I have heard, I know, oh, how I long to talk to you, to you or some one, about all this. No, to you, to you! And how sorry I am I can't see him! The whole town is in excitement, they are all suspense. But now--do you know Katerina Ivanovna is here now?" "Ah, that's lucky," cried Alyosha. "Then I shall see her here. She told me yesterday to be sure to come and see her to-day." "I know, I know all. I've heard exactly what happened yesterday--and the atrocious behavior of that--creature. _C'est tragique_, and if I'd been in her place I don't know what I should have done. And your brother Dmitri Fyodorovitch, what do you think of him?--my goodness! Alexey Fyodorovitch, I am forgetting, only fancy; your brother is in there with her, not that dreadful brother who was so shocking yesterday, but the other, Ivan Fyodorovitch, he is sitting with her talking; they are having a serious conversation. If you could only imagine what's passing between them now--it's awful, I tell you it's lacerating, it's like some incredible tale of horror. They are ruining their lives for no reason any one can see. They both recognize it and revel in it. I've been watching for you! I've been thirsting for you! It's too much for me, that's the worst of it. I'll tell you all about it presently, but now I must speak of something else, the most important thing--I had quite forgotten what's most important. Tell me, why has Lise been in hysterics? As soon as she heard you were here, she began to be hysterical!" "_Maman_, it's you who are hysterical now, not I," Lise's voice caroled through a tiny crack of the door at the side. Her voice sounded as though she wanted to laugh, but was doing her utmost to control it. Alyosha at once noticed the crack, and no doubt Lise was peeping through it, but that he could not see. "And no wonder, Lise, no wonder ... your caprices will make me hysterical too. But she is so ill, Alexey Fyodorovitch, she has been so ill all night, feverish and moaning! I could hardly wait for the morning and for Herzenstube to come. He says that he can make nothing of it, that we must wait. Herzenstube always comes and says that he can make nothing of it. As soon as you approached the house, she screamed, fell into hysterics, and insisted on being wheeled back into this room here." "Mamma, I didn't know he had come. It wasn't on his account I wanted to be wheeled into this room." "That's not true, Lise, Yulia ran to tell you that Alexey Fyodorovitch was coming. She was on the look-out for you." "My darling mamma, it's not at all clever of you. But if you want to make up for it and say something very clever, dear mamma, you'd better tell our honored visitor, Alexey Fyodorovitch, that he has shown his want of wit by venturing to us after what happened yesterday and although every one is laughing at him." "Lise, you go too far. I declare I shall have to be severe. Who laughs at him? I am so glad he has come, I need him, I can't do without him. Oh, Alexey Fyodorovitch, I am exceedingly unhappy!" "But what's the matter with you, mamma, darling?" "Ah, your caprices, Lise, your fidgetiness, your illness, that awful night of fever, that awful everlasting Herzenstube, everlasting, everlasting, that's the worst of it! Everything, in fact, everything.... Even that miracle, too! Oh, how it has upset me, how it has shattered me, that miracle, dear Alexey Fyodorovitch! And that tragedy in the drawing-room, it's more than I can bear, I warn you. I can't bear it. A comedy, perhaps, not a tragedy. Tell me, will Father Zossima live till to-morrow, will he? Oh, my God! What is happening to me? Every minute I close my eyes and see that it's all nonsense, all nonsense." "I should be very grateful," Alyosha interrupted suddenly, "if you could give me a clean rag to bind up my finger with. I have hurt it, and it's very painful." Alyosha unbound his bitten finger. The handkerchief was soaked with blood. Madame Hohlakov screamed and shut her eyes. "Good heavens, what a wound, how awful!" But as soon as Lise saw Alyosha's finger through the crack, she flung the door wide open. "Come, come here," she cried, imperiously. "No nonsense now! Good heavens, why did you stand there saying nothing about it all this time? He might have bled to death, mamma! How did you do it? Water, water! You must wash it first of all, simply hold it in cold water to stop the pain, and keep it there, keep it there.... Make haste, mamma, some water in a slop-basin. But do make haste," she finished nervously. She was quite frightened at the sight of Alyosha's wound. "Shouldn't we send for Herzenstube?" cried Madame Hohlakov. "Mamma, you'll be the death of me. Your Herzenstube will come and say that he can make nothing of it! Water, water! Mamma, for goodness' sake go yourself and hurry Yulia, she is such a slowcoach and never can come quickly! Make haste, mamma, or I shall die." "Why, it's nothing much," cried Alyosha, frightened at this alarm. Yulia ran in with water and Alyosha put his finger in it. "Some lint, mamma, for mercy's sake, bring some lint and that muddy caustic lotion for wounds, what's it called? We've got some. You know where the bottle is, mamma; it's in your bedroom in the right-hand cupboard, there's a big bottle of it there with the lint." "I'll bring everything in a minute, Lise, only don't scream and don't fuss. You see how bravely Alexey Fyodorovitch bears it. Where did you get such a dreadful wound, Alexey Fyodorovitch?" Madame Hohlakov hastened away. This was all Lise was waiting for. "First of all, answer the question, where did you get hurt like this?" she asked Alyosha, quickly. "And then I'll talk to you about something quite different. Well?" Instinctively feeling that the time of her mother's absence was precious for her, Alyosha hastened to tell her of his enigmatic meeting with the schoolboys in the fewest words possible. Lise clasped her hands at his story. "How can you, and in that dress too, associate with schoolboys?" she cried angrily, as though she had a right to control him. "You are nothing but a boy yourself if you can do that, a perfect boy! But you must find out for me about that horrid boy and tell me all about it, for there's some mystery in it. Now for the second thing, but first a question: does the pain prevent you talking about utterly unimportant things, but talking sensibly?" "Of course not, and I don't feel much pain now." "That's because your finger is in the water. It must be changed directly, for it will get warm in a minute. Yulia, bring some ice from the cellar and another basin of water. Now she is gone, I can speak; will you give me the letter I sent you yesterday, dear Alexey Fyodorovitch--be quick, for mamma will be back in a minute and I don't want--" "I haven't got the letter." "That's not true, you have. I knew you would say that. You've got it in that pocket. I've been regretting that joke all night. Give me back the letter at once, give it me." "I've left it at home." "But you can't consider me as a child, a little girl, after that silly joke! I beg your pardon for that silliness, but you must bring me the letter, if you really haven't got it--bring it to-day, you must, you must." "To-day I can't possibly, for I am going back to the monastery and I shan't come and see you for the next two days--three or four perhaps--for Father Zossima--" "Four days, what nonsense! Listen. Did you laugh at me very much?" "I didn't laugh at all." "Why not?" "Because I believed all you said." "You are insulting me!" "Not at all. As soon as I read it, I thought that all that would come to pass, for as soon as Father Zossima dies, I am to leave the monastery. Then I shall go back and finish my studies, and when you reach the legal age we will be married. I shall love you. Though I haven't had time to think about it, I believe I couldn't find a better wife than you, and Father Zossima tells me I must marry." "But I am a cripple, wheeled about in a chair," laughed Lise, flushing crimson. "I'll wheel you about myself, but I'm sure you'll get well by then." "But you are mad," said Lise, nervously, "to make all this nonsense out of a joke! Here's mamma, very _a propos_, perhaps. Mamma, how slow you always are, how can you be so long! And here's Yulia with the ice!" "Oh, Lise, don't scream, above all things don't scream. That scream drives me ... How can I help it when you put the lint in another place? I've been hunting and hunting--I do believe you did it on purpose." "But I couldn't tell that he would come with a bad finger, or else perhaps I might have done it on purpose. My darling mamma, you begin to say really witty things." "Never mind my being witty, but I must say you show nice feeling for Alexey Fyodorovitch's sufferings! Oh, my dear Alexey Fyodorovitch, what's killing me is no one thing in particular, not Herzenstube, but everything together, that's what is too much for me." "That's enough, mamma, enough about Herzenstube," Lise laughed gayly. "Make haste with the lint and the lotion, mamma. That's simply Goulard's water, Alexey Fyodorovitch, I remember the name now, but it's a splendid lotion. Would you believe it, mamma, on the way here he had a fight with the boys in the street, and it was a boy bit his finger, isn't he a child, a child himself? Is he fit to be married after that? For only fancy, he wants to be married, mamma. Just think of him married, wouldn't it be funny, wouldn't it be awful?" And Lise kept laughing her thin hysterical giggle, looking slyly at Alyosha. "But why married, Lise? What makes you talk of such a thing? It's quite out of place--and perhaps the boy was rabid." "Why, mamma! As though there were rabid boys!" "Why not, Lise, as though I had said something stupid! Your boy might have been bitten by a mad dog and he would become mad and bite any one near him. How well she has bandaged it, Alexey Fyodorovitch! I couldn't have done it. Do you still feel the pain?" "It's nothing much now." "You don't feel afraid of water?" asked Lise. "Come, that's enough, Lise, perhaps I really was rather too quick talking of the boy being rabid, and you pounced upon it at once Katerina Ivanovna has only just heard that you are here, Alexey Fyodorovitch, she simply rushed at me, she's dying to see you, dying!" "Ach, mamma, go to them yourself. He can't go just now, he is in too much pain." "Not at all, I can go quite well," said Alyosha. "What! You are going away? Is that what you say?" "Well, when I've seen them, I'll come back here and we can talk as much as you like. But I should like to see Katerina Ivanovna at once, for I am very anxious to be back at the monastery as soon as I can." "Mamma, take him away quickly. Alexey Fyodorovitch, don't trouble to come and see me afterwards, but go straight back to your monastery and a good riddance. I want to sleep, I didn't sleep all night." "Ah, Lise, you are only making fun, but how I wish you would sleep!" cried Madame Hohlakov. "I don't know what I've done.... I'll stay another three minutes, five if you like," muttered Alyosha. "Even five! Do take him away quickly, mamma, he is a monster." "Lise, you are crazy. Let us go, Alexey Fyodorovitch, she is too capricious to-day. I am afraid to cross her. Oh, the trouble one has with nervous girls! Perhaps she really will be able to sleep after seeing you. How quickly you have made her sleepy, and how fortunate it is!" "Ah, mamma, how sweetly you talk! I must kiss you for it, mamma." "And I kiss you too, Lise. Listen, Alexey Fyodorovitch," Madame Hohlakov began mysteriously and importantly, speaking in a rapid whisper. "I don't want to suggest anything, I don't want to lift the veil, you will see for yourself what's going on. It's appalling. It's the most fantastic farce. She loves your brother, Ivan, and she is doing her utmost to persuade herself she loves your brother, Dmitri. It's appalling! I'll go in with you, and if they don't turn me out, I'll stay to the end."

book 4, Chapter 4

https://web.archive.org/web/20210305110438/https://www.sparknotes.com/lit/brothersk/section5/

At the Khokhlakovs' At Madame Khokhlakov's, Alyosha is surprised to learn that Ivan is already there, visiting Katerina. The two are upstairs, and before Alyosha joins them, he asks Madame Khokhlakov for a bandage for his hand. When she goes in search of supplies with which to tend his wound, Alyosha is accosted by Lise, who insists that he give her back the love letter she wrote him. She says that it was merely a joke. Alyosha refuses to give the letter back, saying that he fell for the joke and that he did not bring the letter with him

shmoop

all_chapterized_books/110-chapters/11.txt

finished_summaries/shmoop/Tess of the D'Urbervilles/section_10_part_0.txt

Tess of the D'Urbervilles.chapter 11

chapter 11

{"name": "Phase I: \"The Maiden,\" Chapter Eleven", "url": "https://web.archive.org/web/20210424232301/http://www.shmoop.com/study-guides/literature/tess-of-the-durbervilles/summary/chapter-11", "summary": "Alec canters off with Tess, and slows to a walk when she asks him to. He asks why she doesn't like him to kiss her, and she answers that it's because she doesn't love him. There's some more back-and-forth here--she says that he makes her angry, and offended when he flirts with her, and he doesn't argue . The horse walks slowly through the wood until they're surrounded by a deep fog. Alec hasn't taken the usual Trantridge path through the woods. Tess is exhausted--she's been up early and working hard all week, and it's now almost 1 a.m. At one point she starts to fall asleep, and slumps forward against Alec's back. He twists around to put his arm around her--but she wakes quickly enough to push him away. He's off balance and almost falls off of his horse. Alec says that he was only trying to keep her from falling, so Tess apologizes. He goes on to complain that she has \"no confidence\" in him and has been jerking him around for months now. He says he loves her. Tess stammers out a reply, and he puts his arm around her again. Tess realizes that they should already be back by this time, and asks where they are. He says that they're in The Chase--the oldest forest in the area. It's such a nice night, he says, why not enjoy it? Extend their ride a bit? Tess is mad--he lulled her into a false sense of security by making her feel guilty about shoving him. She asks to get down and walk home, but he says that she'd wander for hours in the fog and the trees. Alec says that he's not exactly sure where they are anyway, because of the fog. So they both dismount, and Alec says that he'll take a look around to get his bearings. Alec spreads his jacket on the ground for Tess to sit on while he looks around. Just then, he tells her that \"someone\" gave her father a new horse that day. Tess thanks him but feels awkward that she has to thank him at that moment. He asks if she's cold , and she admits that she is, a little. He takes a bottle out of the saddlebag, and puts it to her lips before she knows what he's up to. She swallows as he pours to keep it from spilling on her best dress. He assures her that it's medicinal, and then disappears into the fog and the trees. Alec really doesn't know where they are--he wasn't just trying to tease Tess. But after climbing up a nearby hill he finds the edge of the highway and figures out where they are. When he gets back, he calls her name. She doesn't answer--she's asleep under the trees. The narrator asks, \"where was Tess's guardian angel? where was Providence?\" , but neither her guardian angel nor Providence comes to help her. There are good men and women waking up in cottages not too far away from them, but not one of them knew \"that their sister was in the hands of the spoiler\" . . The narrator muses that perhaps one of Tess's distant knighted ancestors had \"dealt the same wrong upon peasant girls of their time\" . The first phase of the novel ends with the \"fatalistic\" remark common to Tess's neighbors: \"it was to be\" . Note that Hardy never once uses the word \"rape\" in this scene--he leaves it slightly ambiguous.", "analysis": ""}

The twain cantered along for some time without speech, Tess as she clung to him still panting in her triumph, yet in other respects dubious. She had perceived that the horse was not the spirited one he sometimes rose, and felt no alarm on that score, though her seat was precarious enough despite her tight hold of him. She begged him to slow the animal to a walk, which Alec accordingly did. "Neatly done, was it not, dear Tess?" he said by and by. "Yes!" said she. "I am sure I ought to be much obliged to you." "And are you?" She did not reply. "Tess, why do you always dislike my kissing you?" "I suppose--because I don't love you." "You are quite sure?" "I am angry with you sometimes!" "Ah, I half feared as much." Nevertheless, Alec did not object to that confession. He knew that anything was better then frigidity. "Why haven't you told me when I have made you angry?" "You know very well why. Because I cannot help myself here." "I haven't offended you often by love-making?" "You have sometimes." "How many times?" "You know as well as I--too many times." "Every time I have tried?" She was silent, and the horse ambled along for a considerable distance, till a faint luminous fog, which had hung in the hollows all the evening, became general and enveloped them. It seemed to hold the moonlight in suspension, rendering it more pervasive than in clear air. Whether on this account, or from absent-mindedness, or from sleepiness, she did not perceive that they had long ago passed the point at which the lane to Trantridge branched from the highway, and that her conductor had not taken the Trantridge track. She was inexpressibly weary. She had risen at five o'clock every morning of that week, had been on foot the whole of each day, and on this evening had in addition walked the three miles to Chaseborough, waited three hours for her neighbours without eating or drinking, her impatience to start them preventing either; she had then walked a mile of the way home, and had undergone the excitement of the quarrel, till, with the slow progress of their steed, it was now nearly one o'clock. Only once, however, was she overcome by actual drowsiness. In that moment of oblivion her head sank gently against him. D'Urberville stopped the horse, withdrew his feet from the stirrups, turned sideways on the saddle, and enclosed her waist with his arm to support her. This immediately put her on the defensive, and with one of those sudden impulses of reprisal to which she was liable she gave him a little push from her. In his ticklish position he nearly lost his balance and only just avoided rolling over into the road, the horse, though a powerful one, being fortunately the quietest he rode. "That is devilish unkind!" he said. "I mean no harm--only to keep you from falling." She pondered suspiciously, till, thinking that this might after all be true, she relented, and said quite humbly, "I beg your pardon, sir." "I won't pardon you unless you show some confidence in me. Good God!" he burst out, "what am I, to be repulsed so by a mere chit like you? For near three mortal months have you trifled with my feelings, eluded me, and snubbed me; and I won't stand it!" "I'll leave you to-morrow, sir." "No, you will not leave me to-morrow! Will you, I ask once more, show your belief in me by letting me clasp you with my arm? Come, between us two and nobody else, now. We know each other well; and you know that I love you, and think you the prettiest girl in the world, which you are. Mayn't I treat you as a lover?" She drew a quick pettish breath of objection, writhing uneasily on her seat, looked far ahead, and murmured, "I don't know--I wish--how can I say yes or no when--" He settled the matter by clasping his arm round her as he desired, and Tess expressed no further negative. Thus they sidled slowly onward till it struck her they had been advancing for an unconscionable time--far longer than was usually occupied by the short journey from Chaseborough, even at this walking pace, and that they were no longer on hard road, but in a mere trackway. "Why, where be we?" she exclaimed. "Passing by a wood." "A wood--what wood? Surely we are quite out of the road?" "A bit of The Chase--the oldest wood in England. It is a lovely night, and why should we not prolong our ride a little?" "How could you be so treacherous!" said Tess, between archness and real dismay, and getting rid of his arm by pulling open his fingers one by one, though at the risk of slipping off herself. "Just when I've been putting such trust in you, and obliging you to please you, because I thought I had wronged you by that push! Please set me down, and let me walk home." "You cannot walk home, darling, even if the air were clear. We are miles away from Trantridge, if I must tell you, and in this growing fog you might wander for hours among these trees." "Never mind that," she coaxed. "Put me down, I beg you. I don't mind where it is; only let me get down, sir, please!" "Very well, then, I will--on one condition. Having brought you here to this out-of-the-way place, I feel myself responsible for your safe-conduct home, whatever you may yourself feel about it. As to your getting to Trantridge without assistance, it is quite impossible; for, to tell the truth, dear, owing to this fog, which so disguises everything, I don't quite know where we are myself. Now, if you will promise to wait beside the horse while I walk through the bushes till I come to some road or house, and ascertain exactly our whereabouts, I'll deposit you here willingly. When I come back I'll give you full directions, and if you insist upon walking you may; or you may ride--at your pleasure." She accepted these terms, and slid off on the near side, though not till he had stolen a cursory kiss. He sprang down on the other side. "I suppose I must hold the horse?" said she. "Oh no; it's not necessary," replied Alec, patting the panting creature. "He's had enough of it for to-night." He turned the horse's head into the bushes, hitched him on to a bough, and made a sort of couch or nest for her in the deep mass of dead leaves. "Now, you sit there," he said. "The leaves have not got damp as yet. Just give an eye to the horse--it will be quite sufficient." He took a few steps away from her, but, returning, said, "By the bye, Tess, your father has a new cob to-day. Somebody gave it to him." "Somebody? You!" D'Urberville nodded. "O how very good of you that is!" she exclaimed, with a painful sense of the awkwardness of having to thank him just then. "And the children have some toys." "I didn't know--you ever sent them anything!" she murmured, much moved. "I almost wish you had not--yes, I almost wish it!" "Why, dear?" "It--hampers me so." "Tessy--don't you love me ever so little now?" "I'm grateful," she reluctantly admitted. "But I fear I do not--" The sudden vision of his passion for herself as a factor in this result so distressed her that, beginning with one slow tear, and then following with another, she wept outright. "Don't cry, dear, dear one! Now sit down here, and wait till I come." She passively sat down amid the leaves he had heaped, and shivered slightly. "Are you cold?" he asked. "Not very--a little." He touched her with his fingers, which sank into her as into down. "You have only that puffy muslin dress on--how's that?" "It's my best summer one. 'Twas very warm when I started, and I didn't know I was going to ride, and that it would be night." "Nights grow chilly in September. Let me see." He pulled off a light overcoat that he had worn, and put it round her tenderly. "That's it--now you'll feel warmer," he continued. "Now, my pretty, rest there; I shall soon be back again." Having buttoned the overcoat round her shoulders he plunged into the webs of vapour which by this time formed veils between the trees. She could hear the rustling of the branches as he ascended the adjoining slope, till his movements were no louder than the hopping of a bird, and finally died away. With the setting of the moon the pale light lessened, and Tess became invisible as she fell into reverie upon the leaves where he had left her. In the meantime Alec d'Urberville had pushed on up the slope to clear his genuine doubt as to the quarter of The Chase they were in. He had, in fact, ridden quite at random for over an hour, taking any turning that came to hand in order to prolong companionship with her, and giving far more attention to Tess's moonlit person than to any wayside object. A little rest for the jaded animal being desirable, he did not hasten his search for landmarks. A clamber over the hill into the adjoining vale brought him to the fence of a highway whose contours he recognized, which settled the question of their whereabouts. D'Urberville thereupon turned back; but by this time the moon had quite gone down, and partly on account of the fog The Chase was wrapped in thick darkness, although morning was not far off. He was obliged to advance with outstretched hands to avoid contact with the boughs, and discovered that to hit the exact spot from which he had started was at first entirely beyond him. Roaming up and down, round and round, he at length heard a slight movement of the horse close at hand; and the sleeve of his overcoat unexpectedly caught his foot. "Tess!" said d'Urberville. There was no answer. The obscurity was now so great that he could see absolutely nothing but a pale nebulousness at his feet, which represented the white muslin figure he had left upon the dead leaves. Everything else was blackness alike. D'Urberville stooped; and heard a gentle regular breathing. He knelt and bent lower, till her breath warmed his face, and in a moment his cheek was in contact with hers. She was sleeping soundly, and upon her eyelashes there lingered tears. Darkness and silence ruled everywhere around. Above them rose the primeval yews and oaks of The Chase, in which there poised gentle roosting birds in their last nap; and about them stole the hopping rabbits and hares. But, might some say, where was Tess's guardian angel? where was the providence of her simple faith? Perhaps, like that other god of whom the ironical Tishbite spoke, he was talking, or he was pursuing, or he was in a journey, or he was sleeping and not to be awaked. Why it was that upon this beautiful feminine tissue, sensitive as gossamer, and practically blank as snow as yet, there should have been traced such a coarse pattern as it was doomed to receive; why so often the coarse appropriates the finer thus, the wrong man the woman, the wrong woman the man, many thousand years of analytical philosophy have failed to explain to our sense of order. One may, indeed, admit the possibility of a retribution lurking in the present catastrophe. Doubtless some of Tess d'Urberville's mailed ancestors rollicking home from a fray had dealt the same measure even more ruthlessly towards peasant girls of their time. But though to visit the sins of the fathers upon the children may be a morality good enough for divinities, it is scorned by average human nature; and it therefore does not mend the matter. As Tess's own people down in those retreats are never tired of saying among each other in their fatalistic way: "It was to be." There lay the pity of it. An immeasurable social chasm was to divide our heroine's personality thereafter from that previous self of hers who stepped from her mother's door to try her fortune at Trantridge poultry-farm. END OF PHASE THE FIRST Phase the Second: Maiden No More

Phase I: "The Maiden," Chapter Eleven

https://web.archive.org/web/20210424232301/http://www.shmoop.com/study-guides/literature/tess-of-the-durbervilles/summary/chapter-11

Alec canters off with Tess, and slows to a walk when she asks him to. He asks why she doesn't like him to kiss her, and she answers that it's because she doesn't love him. There's some more back-and-forth here--she says that he makes her angry, and offended when he flirts with her, and he doesn't argue . The horse walks slowly through the wood until they're surrounded by a deep fog. Alec hasn't taken the usual Trantridge path through the woods. Tess is exhausted--she's been up early and working hard all week, and it's now almost 1 a.m. At one point she starts to fall asleep, and slumps forward against Alec's back. He twists around to put his arm around her--but she wakes quickly enough to push him away. He's off balance and almost falls off of his horse. Alec says that he was only trying to keep her from falling, so Tess apologizes. He goes on to complain that she has "no confidence" in him and has been jerking him around for months now. He says he loves her. Tess stammers out a reply, and he puts his arm around her again. Tess realizes that they should already be back by this time, and asks where they are. He says that they're in The Chase--the oldest forest in the area. It's such a nice night, he says, why not enjoy it? Extend their ride a bit? Tess is mad--he lulled her into a false sense of security by making her feel guilty about shoving him. She asks to get down and walk home, but he says that she'd wander for hours in the fog and the trees. Alec says that he's not exactly sure where they are anyway, because of the fog. So they both dismount, and Alec says that he'll take a look around to get his bearings. Alec spreads his jacket on the ground for Tess to sit on while he looks around. Just then, he tells her that "someone" gave her father a new horse that day. Tess thanks him but feels awkward that she has to thank him at that moment. He asks if she's cold , and she admits that she is, a little. He takes a bottle out of the saddlebag, and puts it to her lips before she knows what he's up to. She swallows as he pours to keep it from spilling on her best dress. He assures her that it's medicinal, and then disappears into the fog and the trees. Alec really doesn't know where they are--he wasn't just trying to tease Tess. But after climbing up a nearby hill he finds the edge of the highway and figures out where they are. When he gets back, he calls her name. She doesn't answer--she's asleep under the trees. The narrator asks, "where was Tess's guardian angel? where was Providence?" , but neither her guardian angel nor Providence comes to help her. There are good men and women waking up in cottages not too far away from them, but not one of them knew "that their sister was in the hands of the spoiler" . . The narrator muses that perhaps one of Tess's distant knighted ancestors had "dealt the same wrong upon peasant girls of their time" . The first phase of the novel ends with the "fatalistic" remark common to Tess's neighbors: "it was to be" . Note that Hardy never once uses the word "rape" in this scene--he leaves it slightly ambiguous.

shmoop

all_chapterized_books/23042-chapters/3.txt

finished_summaries/shmoop/The Tempest/section_2_part_0.txt

The Tempest.act 2.scene 1

act 2, scene 1

{"name": "Act 2, Scene 1", "url": "https://web.archive.org/web/20210411014001/https://www.shmoop.com/study-guides/literature/tempest/summary/act-2-scene-1", "summary": "Alonso, King of Naples, has washed up on shore with Antonio, Sebastian, Gonzalo, and attendant lords. Gonzalo tells everyone that they can balance their sorrow with comfort--at least they've survived the terrible shipwreck. Antonio and Sebastian amuse themselves by teasing Gonzalo mean-spiritedly and then, after the King silences him, betting on who will speak up first: Adrian or Gonzalo. It's Adrian, which means Antonio wins the wager. Interestingly, the two different sets of people see entirely different things when they survey the island. Gonzalo sees \"lush and lusty grass,\" while Antonio and Sebastian only see a nasty, uninhabitable place--kind of like a glass half-full, glass half-empty deal. Adrian comes down somewhere in the middle. The island seems uninhabitable, and yet the air is sweet. Gonzalo, the eternal optimist, notes their clothes are as fresh as the first time they were worn for the marriage of Alonso's daughter, Claribel, to the King of Tunis, which, of course, Antonio and Sebastian dispute...as they dispute pretty much everything Gonzalo says. Gonzalo takes their snarkiness in stride. The King interrupts his bickering companions with his grief. He regrets that he married his daughter to a man in so far off a place--the voyage to visit her has cost him his son, and his daughter is so far away she might as well be dead, too. Francisco, an attendant lord, tries to reassure the King that Prince Ferdinand might still be alive, but the King won't hear any of this perky optimism. Sebastian takes the opportunity to confirm that his brother, the King, needs a good kick in the teeth. As the King grieves his two lost children, Sebastian points out that the King's loss is his own fault; even though everyone harassed King Alonso about it, he chose to marry his daughter to a far-off African instead of a closer European. Gonzalo gently tells Sebastian to hold off, and changes the subject back to the island, which shows itself to him as beautiful. Gonzalo begins to talk of what he would do if he were king of the island--there would be no trade in money, no politicians, no schools, no rich or poor, no slavery, no inheritance, no dividing up the land, no metal, corn, wine or oil , and no occupation of any kind--just idle, wholesome, idyllic men and women living happily. Brain Snack: Gonzalo's big speech is based on a famous passage from John Florio's 1603 translation of an essay called \"Of Cannibals\" by Montaigne. Gonzalo's people would live off of the bounty of everything nature brings forth, and he announces he would govern to excel the Golden Age . Antonio and Sebastian make snide comments and the King tells everyone to pipe down,as they're all talking nonsense. Ariel enters playing a song, and everyone suddenly drifts off to sleep, lulled by the music, except for Alonso, Sebastian, and Antonio. Antonio and Sebastian agree they will keep watch over the King while he sleeps, as they are not at all sleepy, and wonder what happened to make everyone pass out so quickly. Antonio, who we know took his brother's dukedom through treachery, doesn't waste any time before suggesting to Sebastian that all that stands between Sebastian and the crown is the sleeping King. Further, Antonio claims sleep is a sort of death; it would be easy for them to kill the King while he slumbers, and convince the others of Sebastian's noble title. Sebastian quibbles a bit, and asks if Antonio's conscience doesn't bother him for stealing his brother's title. Antonio replies that he's led by practicality, not conscience. Sebastian comes around, and two plotters agree that if Antonio draws his sword to kill the King, Sebastian will draw on Gonzalo, and Sebastian's path to power will be clear. As the two unsheathe their swords, Ariel enters and whispers in Gonzalo's ear of their treachery, waking him up. Gonzalo quickly wakes the King, and everyone rises to find Sebastian and Antonio with their swords drawn. The two are surprised in the midst of their horrible act. They claim they heard the howling of lions and only drew their swords to protect the King. King Alonso is freaked out by the possibility of lions and, not knowing Antonio and Sebastian's wicked plan, Alonso suggests they all leave the place at once to see if they can find his son. Ariel pledges to tattle to Prospero about Sebastian and Antonio's wickedness. Meanwhile, he will help the King safely seek the Prince.", "analysis": ""}

ACT II. SCENE I. _Another part of the island._ _Enter ALONSO, SEBASTIAN, ANTONIO, GONZALO, ADRIAN, FRANCISCO, and others._ _Gon._ Beseech you, sir, be merry; you have cause, So have we all, of joy; for our escape Is much beyond our loss. Our hint of woe Is common; every day, some sailor's wife, The masters of some merchant, and the merchant, 5 Have just our theme of woe; but for the miracle, I mean our preservation, few in millions Can speak like us: then wisely, good sir, weigh Our sorrow with our comfort. _Alon._ Prithee, peace. _Seb._ He receives comfort like cold porridge. 10 _Ant._ The visitor will not give him o'er so. _Seb._ Look, he's winding up the watch of his wit; by and by it will strike. _Gon._ Sir,-- _Seb._ One: tell. 15 _Gon._ When every grief is entertain'd that's offer'd, Comes to the entertainer-- _Seb._ A dollar. _Gon._ Dolour comes to him, indeed: you have spoken truer than you purposed. 20 _Seb._ You have taken it wiselier than I meant you should. _Gon._ Therefore, my lord,-- _Ant._ Fie, what a spendthrift is he of his tongue! _Alon._ I prithee, spare. _Gon._ Well, I have done: but yet,-- 25 _Seb._ He will be talking. _Ant._ Which, of he or Adrian, for a good wager, first begins to crow? _Seb._ The old cock. _Ant._ The cockerel. 30 _Seb._ Done. The wager? _Ant._ A laughter. _Seb._ A match! _Adr._ Though this island seem to be desert,-- _Seb._ Ha, ha, ha!--So, you're paid. 35 _Adr._ Uninhabitable, and almost inaccessible,-- _Seb._ Yet,-- _Adr._ Yet,-- _Ant._ He could not miss't. _Adr._ It must needs be of subtle, tender and delicate 40 temperance. _Ant._ Temperance was a delicate wench. _Seb._ Ay, and a subtle; as he most learnedly delivered. _Adr._ The air breathes upon us here most sweetly. _Seb._ As if it had lungs, and rotten ones. 45 _Ant._ Or as 'twere perfumed by a fen. _Gon._ Here is every thing advantageous to life. _Ant._ True; save means to live. _Seb._ Of that there's none, or little. _Gon._ How lush and lusty the grass looks! how green! 50 _Ant._ The ground, indeed, is tawny. _Seb._ With an eye of green in't. _Ant._ He misses not much. _Seb._ No; he doth but mistake the truth totally. _Gon._ But the rarity of it is,--which is indeed almost 55 beyond credit,-- _Seb._ As many vouched rarities are. _Gon._ That our garments, being, as they were, drenched in the sea, hold, notwithstanding, their freshness and glosses, being rather new-dyed than stained with salt water. 60 _Ant._ If but one of his pockets could speak, would it not say he lies? _Seb._ Ay, or very falsely pocket up his report. _Gon._ Methinks our garments are now as fresh as when we put them on first in Afric, at the marriage of the king's 65 fair daughter Claribel to the King of Tunis. _Seb._ 'Twas a sweet marriage, and we prosper well in our return. _Adr._ Tunis was never graced before with such a paragon to their queen. 70 _Gon._ Not since widow Dido's time. _Ant._ Widow! a pox o' that! How came that widow in? widow Dido! _Seb._ What if he had said 'widower Aeneas' too? Good Lord, how you take it! 75 _Adr._ 'Widow Dido' said you? you make me study of that: she was of Carthage, not of Tunis. _Gon._ This Tunis, sir, was Carthage. _Adr._ Carthage? _Gon._ I assure you, Carthage. 80 _Seb._ His word is more than the miraculous harp; he hath raised the wall, and houses too. _Ant._ What impossible matter will he make easy next? _Seb._ I think he will carry this island home in his pocket, and give it his son for an apple. 85 _Ant._ And, sowing the kernels of it in the sea, bring forth more islands. _Gon._ Ay. _Ant._ Why, in good time. _Gon._ Sir, we were talking that our garments seem now 90 as fresh as when we were at Tunis at the marriage of your daughter, who is now queen. _Ant._ And the rarest that e'er came there. _Seb._ Bate, I beseech you, widow Dido. _Ant._ O, widow Dido! ay, widow Dido. 95 _Gon._ Is not, sir, my doublet as fresh as the first day I wore it? I mean, in a sort. _Ant._ That sort was well fished for. _Gon._ When I wore it at your daughter's marriage? _Alon._ You cram these words into mine ears against 100 The stomach of my sense. Would I had never Married my daughter there! for, coming thence, My son is lost, and, in my rate, she too. Who is so far from Italy removed I ne'er again shall see her. O thou mine heir 105 Of Naples and of Milan, what strange fish Hath made his meal on thee? _Fran._ Sir, he may live: I saw him beat the surges under him, And ride upon their backs; he trod the water. Whose enmity he flung aside, and breasted 110 The surge most swoln that met him; his bold head 'Bove the contentious waves he kept, and oar'd Himself with his good arms in lusty stroke To the shore, that o'er his wave-worn basis bow'd, As stooping to relieve him: I not doubt 115 He came alive to land. _Alon._ No, no, he's gone. _Seb._ Sir, you may thank yourself for this great loss, That would not bless our Europe with your daughter, But rather lose her to an African; Where she, at least, is banish'd from your eye, 120 Who hath cause to wet the grief on't. _Alon._ Prithee, peace. _Seb._ You were kneel'd to, and importuned otherwise, By all of us; and the fair soul herself Weigh'd between loathness and obedience, at Which end o' the beam should bow. We have lost your son, 125 I fear, for ever: Milan and Naples have More widows in them of this business' making Than we bring men to comfort them: The fault's your own. _Alon._ So is the dear'st o' the loss. _Gon._ My lord Sebastian, 130 The truth you speak doth lack some gentleness, And time to speak it in: you rub the sore, When you should bring the plaster. _Seb._ Very well. _Ant._ And most chirurgeonly. _Gon._ It is foul weather in us all, good sir, 135 When you are cloudy. _Seb._ Foul weather? _Ant._ Very foul. _Gon._ Had I plantation of this isle, my lord,-- _Ant._ He'ld sow't with nettle-seed. _Seb._ Or docks, or mallows. _Gon._ And were the king on't, what would I do? _Seb._ 'Scape being drunk for want of wine. 140 _Gon._ I' the commonwealth I would by contraries Execute all things; for no kind of traffic Would I admit; no name of magistrate; Letters should not be known; riches, poverty, And use of service, none; contract, succession, 145 Bourn, bound of land, tilth, vineyard, none; No use of metal, corn, or wine, or oil; No occupation; all men idle, all; And women too, but innocent and pure; No sovereignty;-- 150 _Seb._ Yet he would be king on't. _Ant._ The latter end of his commonwealth forgets the beginning. _Gon._ All things in common nature should produce Without sweat or endeavour: treason, felony, Sword, pike, knife, gun, or need of any engine, 155 Would I not have; but nature should bring forth, Of its own kind, all foison, all abundance, To feed my innocent people. _Seb._ No marrying 'mong his subjects? _Ant._ None, man; all idle; whores and knaves. 160 _Gon._ I would with such perfection govern, sir, To excel the golden age. _Seb._ 'Save his majesty! _Ant._ Long live Gonzalo! _Gon._ And,--do you mark me, sir? _Alon._ Prithee, no more: thou dost talk nothing to me. _Gon._ I do well believe your highness; and did it to minister 165 occasion to these gentlemen, who are of such sensible and nimble lungs that they always use to laugh at nothing. _Ant._ 'Twas you we laughed at. _Gon._ Who in this kind of merry fooling am nothing to you: so you may continue, and laugh at nothing still. 170 _Ant._ What a blow was there given! _Seb._ An it had not fallen flat-long. _Gon._ You are gentlemen of brave mettle; you would lift the moon out of her sphere, if she would continue in it five weeks without changing. 175 _Enter ARIEL (invisible) playing solemn music._ _Seb._ We would so, and then go a bat-fowling. _Ant._ Nay, good my lord, be not angry. _Gon._ No, I warrant you; I will not adventure my discretion so weakly. Will you laugh me asleep, for I am very heavy? 180 _Ant._ Go sleep, and hear us. [_All sleep except Alon., Seb., and Ant._ _Alon._ What, all so soon asleep! I wish mine eyes Would, with themselves, shut up my thoughts: I find They are inclined to do so. _Seb._ Please you, sir, Do not omit the heavy offer of it: 185 It seldom visits sorrow; when it doth, It is a comforter. _Ant._ We two, my lord, Will guard your person while you take your rest, And watch your safety. _Alon._ Thank you.--Wondrous heavy. [_Alonso sleeps. Exit Ariel._ _Seb._ What a strange drowsiness possesses them! 190 _Ant._ It is the quality o' the climate. _Seb._ Why Doth it not then our eyelids sink? I find not Myself disposed to sleep. _Ant._ Nor I; my spirits are nimble. They fell together all, as by consent; They dropp'd, as by a thunder-stroke. What might, 195 Worthy Sebastian?--O, what might?--No more:-- And yet methinks I see it in thy face, What thou shouldst be: the occasion speaks thee; and My strong imagination sees a crown Dropping upon thy head. _Seb._ What, art thou waking? 200 _Ant._ Do you not hear me speak? _Seb._ I do; and surely It is a sleepy language, and thou speak'st Out of thy sleep. What is it thou didst say? This is a strange repose, to be asleep With eyes wide open; standing, speaking, moving, 205 And yet so fast asleep. _Ant._ Noble Sebastian, Thou let'st thy fortune sleep--die, rather; wink'st Whiles thou art waking. _Seb._ Thou dost snore distinctly; There's meaning in thy snores. _Ant._ I am more serious than my custom: you 210 Must be so too, if heed me; which to do Trebles thee o'er. _Seb._ Well, I am standing water. _Ant._ I'll teach you how to flow. _Seb._ Do so: to ebb Hereditary sloth instructs me. _Ant._ O, If you but knew how you the purpose cherish 215 Whiles thus you mock it! how, in stripping it, You more invest it! Ebbing men, indeed, Most often do so near the bottom run By their own fear or sloth. _Seb._ Prithee, say on: The setting of thine eye and cheek proclaim 220 A matter from thee; and a birth, indeed, Which throes thee much to yield. _Ant._ Thus, sir: Although this lord of weak remembrance, this, Who shall be of as little memory When he is earth'd, hath here almost persuaded,-- 225 For he's a spirit of persuasion, only Professes to persuade,--the king his son's alive, 'Tis as impossible that he's undrown'd As he that sleeps here swims. _Seb._ I have no hope That he's undrown'd. _Ant._ O, out of that 'no hope' 230 What great hope have you! no hope that way is Another way so high a hope that even Ambition cannot pierce a wink beyond, But doubt discovery there. Will you grant with me That Ferdinand is drown'd? _Seb._ He's gone. _Ant._ Then, tell me, 235 Who's the next heir of Naples? _Seb._ Claribel. _Ant._ She that is queen of Tunis; she that dwells Ten leagues beyond man's life; she that from Naples Can have no note, unless the sun were post,-- The man i' the moon's too slow,--till new-born chins 240 Be rough and razorable; she that from whom We all were sea-swallow'd, though some cast again, And by that destiny, to perform an act Whereof what's past is prologue; what to come, In yours and my discharge. _Seb._ What stuff is this! How say you? 245 'Tis true, my brother's daughter's queen of Tunis; So is she heir of Naples; 'twixt which regions There is some space. _Ant._ A space whose every cubit Seems to cry out, "How shall that Claribel Measure us back to Naples? Keep in Tunis, 250 And let Sebastian wake." Say, this were death That now hath seized them; why, they were no worse Than now they are. There be that can rule Naples As well as he that sleeps; lords that can prate As amply and unnecessarily 255 As this Gonzalo; I myself could make A chough of as deep chat. O, that you bore The mind that I do! what a sleep were this For your advancement! Do you understand me? _Seb._ Methinks I do. _Ant._ And how does your content 260 Tender your own good fortune? _Seb._ I remember You did supplant your brother Prospero. _Ant._ True: And look how well my garments sit upon me; Much feater than before: my brother's servants Were then my fellows; now they are my men. 265 _Seb._ But for your conscience. _Ant._ Ay, sir; where lies that? if 'twere a kibe, 'Twould put me to my slipper: but I feel not This deity in my bosom: twenty consciences, That stand 'twixt me and Milan, candied be they, 270 And melt, ere they molest! Here lies your brother, No better than the earth he lies upon, If he were that which now he's like, that's dead; Whom I, with this obedient steel, three inches of it, Can lay to bed for ever; whiles you, doing thus, 275 To the perpetual wink for aye might put This ancient morsel, this Sir Prudence, who Should not upbraid our course. For all the rest, They'll take suggestion as a cat laps milk; They'll tell the clock to any business that 280 We say befits the hour. _Seb._ Thy case, dear friend, Shall be my precedent; as thou got'st Milan, I'll come by Naples. Draw thy sword: one stroke Shall free thee from the tribute which thou payest; And I the king shall love thee. _Ant._ Draw together; 285 And when I rear my hand, do you the like, To fall it on Gonzalo. _Seb._ O, but one word. [_They talk apart._ _Re-enter ARIEL invisible._ _Ari._ My master through his art foresees the danger That you, his friend, are in; and sends me forth,-- For else his project dies,--to keep them living. 290 [_Sings in Gonzalo's ear._ While you here do snoring lie, Open-eyed conspiracy His time doth take. If of life you keep a care, Shake off slumber, and beware: 295 Awake, awake! _Ant._ Then let us both be sudden. _Gon._ Now, good angels Preserve the king! [_They wake._ _Alon._ Why, how now? ho, awake!--Why are you drawn? Wherefore this ghastly looking? _Gon._ What's the matter? 300 _Seb._ Whiles we stood here securing your repose, Even now, we heard a hollow burst of bellowing Like bulls, or rather lions: did't not wake you? It struck mine ear most terribly. _Alon._ I heard nothing. _Ant._ O, 'twas a din to fright a monster's ear, 305 To make an earthquake! sure, it was the roar Of a whole herd of lions. _Alon._ Heard you this, Gonzalo? _Gon._ Upon mine honour, sir, I heard a humming, And that a strange one too, which did awake me: I shaked you, sir, and cried: as mine eyes open'd, 310 I saw their weapons drawn:--there was a noise, That's verily. 'Tis best we stand upon our guard, Or that we quit this place: let's draw our weapons. _Alon._ Lead off this ground; and let's make further search For my poor son. _Gon._ Heavens keep him from these beasts! 315 For he is, sure, i' th' island. _Alon._ Lead away. _Ari._ Prospero my lord shall know what I have done: So, king, go safely on to seek thy son. [_Exeunt._ Notes: II, 1. 3: _hint_] _stint_ Warburton. 5: _masters_] _master_ Johnson. _mistress_ Steevens conj. _master's_ Edd. conj. 6: _of woe_] om. Steevens conj. 11-99: Marked as interpolated by Pope. 11: _visitor_] _'viser_ Warburton. _him_] om. Rowe. 15: _one_] F1. _on_ F2 F3 F4. 16: _entertain'd ... Comes_] Capell. _entertain'd, That's offer'd comes_] Ff. Printed as prose by Pope. 27: _of he_] Ff. _of them, he_ Pope. _or he_ Collier MS. See note (VII). 35: Seb. _Ha, ha, ha!--So you're paid_] Theobald. Seb. _Ha, ha, ha!_ Ant. _So you'r paid_ Ff. Ant. _So you've paid_ Capell. 81, 82: Seb. _His ... too_] Edd. Ant. _His ... harp._ Seb. _He ... too_ Ff. 88: _Ay._] I. Ff. _Ay?_ Pope. 96: _sir, my doublet_] F1. _my doublet, sir_ F2 F3 F4. 113: _stroke_] F1 F2 F3. _strokes_ F4. 124: _Weigh'd_] _Sway'd_ S. Verges conj. _at_] _as_ Collier MS.] 125: _o' the_] _the_ Pope. _should_] _she'd_ Malone. 129: _The fault's your own_] _the fault's your own_ (at the end of 128) Capell. _the fault's Your own_ Malone. 137: _plantation_] _the plantation_ Rowe. _the planting_ Hanmer. 139: _on't_] _of it_ Hanmer. 144: _riches, poverty_] _wealth, poverty_ Pope. _poverty, riches_ Capell. 145: _contract, succession_] _succession, Contract_ Malone conj. _succession, None_ id. conj. 146: _none_] _olives, none_ Hanmer. 157: _its_] F3 F4. _it_ F1 F2. See note (VIII). 162: _'Save_] F1 F2 F3. _Save_ F4. _God save_ Edd. conj. 175: Enter ... invisible ... music.] Malone. Enter Ariel, playing solemn music. Ff. om. Pope. [Solemn music. Capell. 181: [All sleep ... Ant.] Stage direction to the same effect, first inserted by Capell. 182-189: Text as in Pope. In Ff. the lines begin _Would ... I find ... Do not ... It seldom ... We two ... While ... Thank._ 189: [Exit Ariel] Malone. 192: _find not_ Pope. _find Not_ Ff. 211: _so too, if heed_] _so too, if you heed_ Rowe. _so, if you heed_ Pope. 212: _Trebles thee o'er_] _Troubles thee o'er_ Pope. _Troubles thee not_ Hanmer. 222: _throes_] Pope. _throwes_ F1 F2 F3. _throws_ F4. _Thus, sir_] _Why then thus Sir_ Hanmer. 226: _he's_] _he'as_ Hanmer. _he_ Johnson conj. 227: _Professes to persuade_] om. Steevens. 234: _doubt_] _drops_ Hanmer. _doubts_ Capell. 241: _she that from whom_] Ff. _she from whom_ Rowe. _she for whom_ Pope. _she from whom coming_ Singer. _she that--from whom?_ Spedding conj. See note (IX). 242: _all_] om. Pope. 243: _And ... to perform_] _May ... perform_ Pope. _And by that destin'd to perform_ Musgrave conj. _(And that by destiny) to perform_ Staunton conj. 244: _is_] F1. _in_ F2 F3 F4. 245: _In_] _Is_ Pope. 250: _to_] F1. _by_ F2 F3 F4. _Keep_] _Sleep_ Johnson conj. 251: See note (X). 267: _'twere_] _it were_ Singer. 267-271: Pope ends the lines with _that? ... slipper ... bosom ... Milan ... molest ... brother._ 267: See note (XI). 269: _twenty_] _Ten_ Pope. 270: _stand_] _stood_ Hanmer. _candied_] _Discandy'd_ Upton conj. 271: _And melt_] _Would melt_ Johnson conj. _Or melt_ id. conj. 273, 274: _like, that's dead; Whom I, with_] _like, whom I With_ Steevens (Farmer conj.). 275: _whiles_] om. Pope. 277: _morsel_] _Moral_ Warburton. 280, 281: _business ... hour._] _hour ... business._ Farmer conj. 282: _precedent_] Pope. _president_ Ff. _O_] om. Pope. [They talk apart] Capell. Re-enter Ariel invisible.] Capell. Enter Ariel with music and song. Ff. 289: _you, his friend,_] _these, his friends_ Steevens (Johnson conj.). 289, 290: _friend ... project dies ... them_] _friend ... projects dies ... you_ Hanmer. _friend ... projects die ... them_ Malone conj. _friend ... project dies ... thee_ Dyce. 298: [They wake.] Rowe. 300: _this_] _thus_ Collier MS. 307: _Gonzalo_] om. Pope. 312: _verily_] _verity_ Pope. _upon our guard_] _on guard_ Pope.

Act 2, Scene 1

https://web.archive.org/web/20210411014001/https://www.shmoop.com/study-guides/literature/tempest/summary/act-2-scene-1

Alonso, King of Naples, has washed up on shore with Antonio, Sebastian, Gonzalo, and attendant lords. Gonzalo tells everyone that they can balance their sorrow with comfort--at least they've survived the terrible shipwreck. Antonio and Sebastian amuse themselves by teasing Gonzalo mean-spiritedly and then, after the King silences him, betting on who will speak up first: Adrian or Gonzalo. It's Adrian, which means Antonio wins the wager. Interestingly, the two different sets of people see entirely different things when they survey the island. Gonzalo sees "lush and lusty grass," while Antonio and Sebastian only see a nasty, uninhabitable place--kind of like a glass half-full, glass half-empty deal. Adrian comes down somewhere in the middle. The island seems uninhabitable, and yet the air is sweet. Gonzalo, the eternal optimist, notes their clothes are as fresh as the first time they were worn for the marriage of Alonso's daughter, Claribel, to the King of Tunis, which, of course, Antonio and Sebastian dispute...as they dispute pretty much everything Gonzalo says. Gonzalo takes their snarkiness in stride. The King interrupts his bickering companions with his grief. He regrets that he married his daughter to a man in so far off a place--the voyage to visit her has cost him his son, and his daughter is so far away she might as well be dead, too. Francisco, an attendant lord, tries to reassure the King that Prince Ferdinand might still be alive, but the King won't hear any of this perky optimism. Sebastian takes the opportunity to confirm that his brother, the King, needs a good kick in the teeth. As the King grieves his two lost children, Sebastian points out that the King's loss is his own fault; even though everyone harassed King Alonso about it, he chose to marry his daughter to a far-off African instead of a closer European. Gonzalo gently tells Sebastian to hold off, and changes the subject back to the island, which shows itself to him as beautiful. Gonzalo begins to talk of what he would do if he were king of the island--there would be no trade in money, no politicians, no schools, no rich or poor, no slavery, no inheritance, no dividing up the land, no metal, corn, wine or oil , and no occupation of any kind--just idle, wholesome, idyllic men and women living happily. Brain Snack: Gonzalo's big speech is based on a famous passage from John Florio's 1603 translation of an essay called "Of Cannibals" by Montaigne. Gonzalo's people would live off of the bounty of everything nature brings forth, and he announces he would govern to excel the Golden Age . Antonio and Sebastian make snide comments and the King tells everyone to pipe down,as they're all talking nonsense. Ariel enters playing a song, and everyone suddenly drifts off to sleep, lulled by the music, except for Alonso, Sebastian, and Antonio. Antonio and Sebastian agree they will keep watch over the King while he sleeps, as they are not at all sleepy, and wonder what happened to make everyone pass out so quickly. Antonio, who we know took his brother's dukedom through treachery, doesn't waste any time before suggesting to Sebastian that all that stands between Sebastian and the crown is the sleeping King. Further, Antonio claims sleep is a sort of death; it would be easy for them to kill the King while he slumbers, and convince the others of Sebastian's noble title. Sebastian quibbles a bit, and asks if Antonio's conscience doesn't bother him for stealing his brother's title. Antonio replies that he's led by practicality, not conscience. Sebastian comes around, and two plotters agree that if Antonio draws his sword to kill the King, Sebastian will draw on Gonzalo, and Sebastian's path to power will be clear. As the two unsheathe their swords, Ariel enters and whispers in Gonzalo's ear of their treachery, waking him up. Gonzalo quickly wakes the King, and everyone rises to find Sebastian and Antonio with their swords drawn. The two are surprised in the midst of their horrible act. They claim they heard the howling of lions and only drew their swords to protect the King. King Alonso is freaked out by the possibility of lions and, not knowing Antonio and Sebastian's wicked plan, Alonso suggests they all leave the place at once to see if they can find his son. Ariel pledges to tattle to Prospero about Sebastian and Antonio's wickedness. Meanwhile, he will help the King safely seek the Prince.

shmoop

all_chapterized_books/28054-chapters/68.txt

finished_summaries/shmoop/The Brothers Karamazov/section_67_part_0.txt

The Brothers Karamazov.book 10.chapter 6

book 10, chapter 6

{"name": "Book 10, Chapter 6", "url": "https://web.archive.org/web/20201023112808/https://www.shmoop.com/study-guides/literature/brothers-karamazov/summary/book-10-chapter-6", "summary": "Outside, Kolya and Alyosha get to know each other. At first Kolya tries to impress Alyosha with his knowledge - disparaging religion and championing socialism, among other things. Frustrated, he asks Alyosha if he despises him, a question that surprises Alyosha. Alyosha quickly reassures Kolya. Kolya is won over by his frankness and lack of condescension. He opens up to Alyosha and confesses that he knows he suffers from vanity. Alyosha tells Kolya that he shouldn't be so worried about appearing ridiculous, and they both declare their friendship. Their conversation is cut short when the famous doctor emerges from the room.", "analysis": ""}

Chapter VI. Precocity "What do you think the doctor will say to him?" Kolya asked quickly. "What a repulsive mug, though, hasn't he? I can't endure medicine!" "Ilusha is dying. I think that's certain," answered Alyosha, mournfully. "They are rogues! Medicine's a fraud! I am glad to have made your acquaintance, though, Karamazov. I wanted to know you for a long time. I am only sorry we meet in such sad circumstances." Kolya had a great inclination to say something even warmer and more demonstrative, but he felt ill at ease. Alyosha noticed this, smiled, and pressed his hand. "I've long learned to respect you as a rare person," Kolya muttered again, faltering and uncertain. "I have heard you are a mystic and have been in the monastery. I know you are a mystic, but ... that hasn't put me off. Contact with real life will cure you.... It's always so with characters like yours." "What do you mean by mystic? Cure me of what?" Alyosha was rather astonished. "Oh, God and all the rest of it." "What, don't you believe in God?" "Oh, I've nothing against God. Of course, God is only a hypothesis, but ... I admit that He is needed ... for the order of the universe and all that ... and that if there were no God He would have to be invented," added Kolya, beginning to blush. He suddenly fancied that Alyosha might think he was trying to show off his knowledge and to prove that he was "grown up." "I haven't the slightest desire to show off my knowledge to him," Kolya thought indignantly. And all of a sudden he felt horribly annoyed. "I must confess I can't endure entering on such discussions," he said with a final air. "It's possible for one who doesn't believe in God to love mankind, don't you think so? Voltaire didn't believe in God and loved mankind?" ("I am at it again," he thought to himself.) "Voltaire believed in God, though not very much, I think, and I don't think he loved mankind very much either," said Alyosha quietly, gently, and quite naturally, as though he were talking to some one of his own age, or even older. Kolya was particularly struck by Alyosha's apparent diffidence about his opinion of Voltaire. He seemed to be leaving the question for him, little Kolya, to settle. "Have you read Voltaire?" Alyosha finished. "No, not to say read.... But I've read _Candide_ in the Russian translation ... in an absurd, grotesque, old translation ... (At it again! again!)" "And did you understand it?" "Oh, yes, everything.... That is ... Why do you suppose I shouldn't understand it? There's a lot of nastiness in it, of course.... Of course I can understand that it's a philosophical novel and written to advocate an idea...." Kolya was getting mixed by now. "I am a Socialist, Karamazov, I am an incurable Socialist," he announced suddenly, apropos of nothing. "A Socialist?" laughed Alyosha. "But when have you had time to become one? Why, I thought you were only thirteen?" Kolya winced. "In the first place I am not thirteen, but fourteen, fourteen in a fortnight," he flushed angrily, "and in the second place I am at a complete loss to understand what my age has to do with it? The question is what are my convictions, not what is my age, isn't it?" "When you are older, you'll understand for yourself the influence of age on convictions. I fancied, too, that you were not expressing your own ideas," Alyosha answered serenely and modestly, but Kolya interrupted him hotly: "Come, you want obedience and mysticism. You must admit that the Christian religion, for instance, has only been of use to the rich and the powerful to keep the lower classes in slavery. That's so, isn't it?" "Ah, I know where you read that, and I am sure some one told you so!" cried Alyosha. "I say, what makes you think I read it? And certainly no one told me so. I can think for myself.... I am not opposed to Christ, if you like. He was a most humane person, and if He were alive to-day, He would be found in the ranks of the revolutionists, and would perhaps play a conspicuous part.... There's no doubt about that." "Oh, where, where did you get that from? What fool have you made friends with?" exclaimed Alyosha. "Come, the truth will out! It has so chanced that I have often talked to Mr. Rakitin, of course, but ... old Byelinsky said that, too, so they say." "Byelinsky? I don't remember. He hasn't written that anywhere." "If he didn't write it, they say he said it. I heard that from a ... but never mind." "And have you read Byelinsky?" "Well, no ... I haven't read all of him, but ... I read the passage about Tatyana, why she didn't go off with Onyegin." "Didn't go off with Onyegin? Surely you don't ... understand that already?" "Why, you seem to take me for little Smurov," said Kolya, with a grin of irritation. "But please don't suppose I am such a revolutionist. I often disagree with Mr. Rakitin. Though I mention Tatyana, I am not at all for the emancipation of women. I acknowledge that women are a subject race and must obey. _Les femmes tricottent_, as Napoleon said." Kolya, for some reason, smiled, "And on that question at least I am quite of one mind with that pseudo-great man. I think, too, that to leave one's own country and fly to America is mean, worse than mean--silly. Why go to America when one may be of great service to humanity here? Now especially. There's a perfect mass of fruitful activity open to us. That's what I answered." "What do you mean? Answered whom? Has some one suggested your going to America already?" "I must own, they've been at me to go, but I declined. That's between ourselves, of course, Karamazov; do you hear, not a word to any one. I say this only to you. I am not at all anxious to fall into the clutches of the secret police and take lessons at the Chain bridge. _Long will you remember_ _The house at the Chain bridge._ Do you remember? It's splendid. Why are you laughing? You don't suppose I am fibbing, do you?" ("What if he should find out that I've only that one number of _The Bell_ in father's bookcase, and haven't read any more of it?" Kolya thought with a shudder.) "Oh, no, I am not laughing and don't suppose for a moment that you are lying. No, indeed, I can't suppose so, for all this, alas! is perfectly true. But tell me, have you read Pushkin--_Onyegin_, for instance?... You spoke just now of Tatyana." "No, I haven't read it yet, but I want to read it. I have no prejudices, Karamazov; I want to hear both sides. What makes you ask?" "Oh, nothing." "Tell me, Karamazov, have you an awful contempt for me?" Kolya rapped out suddenly and drew himself up before Alyosha, as though he were on drill. "Be so kind as to tell me, without beating about the bush." "I have a contempt for you?" Alyosha looked at him wondering. "What for? I am only sad that a charming nature such as yours should be perverted by all this crude nonsense before you have begun life." "Don't be anxious about my nature," Kolya interrupted, not without complacency. "But it's true that I am stupidly sensitive, crudely sensitive. You smiled just now, and I fancied you seemed to--" "Oh, my smile meant something quite different. I'll tell you why I smiled. Not long ago I read the criticism made by a German who had lived in Russia, on our students and schoolboys of to-day. 'Show a Russian schoolboy,' he writes, 'a map of the stars, which he knows nothing about, and he will give you back the map next day with corrections on it.' No knowledge and unbounded conceit--that's what the German meant to say about the Russian schoolboy." "Yes, that's perfectly right," Kolya laughed suddenly, "exactly so! Bravo the German! But he did not see the good side, what do you think? Conceit may be, that comes from youth, that will be corrected if need be, but, on the other hand, there is an independent spirit almost from childhood, boldness of thought and conviction, and not the spirit of these sausage makers, groveling before authority.... But the German was right all the same. Bravo the German! But Germans want strangling all the same. Though they are so good at science and learning they must be strangled." "Strangled, what for?" smiled Alyosha. "Well, perhaps I am talking nonsense, I agree. I am awfully childish sometimes, and when I am pleased about anything I can't restrain myself and am ready to talk any stuff. But, I say, we are chattering away here about nothing, and that doctor has been a long time in there. But perhaps he's examining the mamma and that poor crippled Nina. I liked that Nina, you know. She whispered to me suddenly as I was coming away, 'Why didn't you come before?' And in such a voice, so reproachfully! I think she is awfully nice and pathetic." "Yes, yes! Well, you'll be coming often, you will see what she is like. It would do you a great deal of good to know people like that, to learn to value a great deal which you will find out from knowing these people," Alyosha observed warmly. "That would have more effect on you than anything." "Oh, how I regret and blame myself for not having come sooner!" Kolya exclaimed, with bitter feeling. "Yes, it's a great pity. You saw for yourself how delighted the poor child was to see you. And how he fretted for you to come!" "Don't tell me! You make it worse! But it serves me right. What kept me from coming was my conceit, my egoistic vanity, and the beastly wilfullness, which I never can get rid of, though I've been struggling with it all my life. I see that now. I am a beast in lots of ways, Karamazov!" "No, you have a charming nature, though it's been distorted, and I quite understand why you have had such an influence on this generous, morbidly sensitive boy," Alyosha answered warmly. "And you say that to me!" cried Kolya; "and would you believe it, I thought--I've thought several times since I've been here--that you despised me! If only you knew how I prize your opinion!" "But are you really so sensitive? At your age! Would you believe it, just now, when you were telling your story, I thought, as I watched you, that you must be very sensitive!" "You thought so? What an eye you've got, I say! I bet that was when I was talking about the goose. That was just when I was fancying you had a great contempt for me for being in such a hurry to show off, and for a moment I quite hated you for it, and began talking like a fool. Then I fancied--just now, here--when I said that if there were no God He would have to be invented, that I was in too great a hurry to display my knowledge, especially as I got that phrase out of a book. But I swear I wasn't showing off out of vanity, though I really don't know why. Because I was so pleased? Yes, I believe it was because I was so pleased ... though it's perfectly disgraceful for any one to be gushing directly they are pleased, I know that. But I am convinced now that you don't despise me; it was all my imagination. Oh, Karamazov, I am profoundly unhappy. I sometimes fancy all sorts of things, that every one is laughing at me, the whole world, and then I feel ready to overturn the whole order of things." "And you worry every one about you," smiled Alyosha. "Yes, I worry every one about me, especially my mother. Karamazov, tell me, am I very ridiculous now?" "Don't think about that, don't think of it at all!" cried Alyosha. "And what does ridiculous mean? Isn't every one constantly being or seeming ridiculous? Besides, nearly all clever people now are fearfully afraid of being ridiculous, and that makes them unhappy. All I am surprised at is that you should be feeling that so early, though I've observed it for some time past, and not only in you. Nowadays the very children have begun to suffer from it. It's almost a sort of insanity. The devil has taken the form of that vanity and entered into the whole generation; it's simply the devil," added Alyosha, without a trace of the smile that Kolya, staring at him, expected to see. "You are like every one else," said Alyosha, in conclusion, "that is, like very many others. Only you must not be like everybody else, that's all." "Even if every one is like that?" "Yes, even if every one is like that. You be the only one not like it. You really are not like every one else, here you are not ashamed to confess to something bad and even ridiculous. And who will admit so much in these days? No one. And people have even ceased to feel the impulse to self- criticism. Don't be like every one else, even if you are the only one." "Splendid! I was not mistaken in you. You know how to console one. Oh, how I have longed to know you, Karamazov! I've long been eager for this meeting. Can you really have thought about me, too? You said just now that you thought of me, too?" "Yes, I'd heard of you and had thought of you, too ... and if it's partly vanity that makes you ask, it doesn't matter." "Do you know, Karamazov, our talk has been like a declaration of love," said Kolya, in a bashful and melting voice. "That's not ridiculous, is it?" "Not at all ridiculous, and if it were, it wouldn't matter, because it's been a good thing." Alyosha smiled brightly. "But do you know, Karamazov, you must admit that you are a little ashamed yourself, now.... I see it by your eyes." Kolya smiled with a sort of sly happiness. "Why ashamed?" "Well, why are you blushing?" "It was you made me blush," laughed Alyosha, and he really did blush. "Oh, well, I am a little, goodness knows why, I don't know..." he muttered, almost embarrassed. "Oh, how I love you and admire you at this moment just because you are rather ashamed! Because you are just like me," cried Kolya, in positive ecstasy. His cheeks glowed, his eyes beamed. "You know, Kolya, you will be very unhappy in your life," something made Alyosha say suddenly. "I know, I know. How you know it all beforehand!" Kolya agreed at once. "But you will bless life on the whole, all the same." "Just so, hurrah! You are a prophet. Oh, we shall get on together, Karamazov! Do you know, what delights me most, is that you treat me quite like an equal. But we are not equals, no, we are not, you are better! But we shall get on. Do you know, all this last month, I've been saying to myself, 'Either we shall be friends at once, for ever, or we shall part enemies to the grave!' " "And saying that, of course, you loved me," Alyosha laughed gayly. "I did. I loved you awfully. I've been loving and dreaming of you. And how do you know it all beforehand? Ah, here's the doctor. Goodness! What will he tell us? Look at his face!"

Book 10, Chapter 6

https://web.archive.org/web/20201023112808/https://www.shmoop.com/study-guides/literature/brothers-karamazov/summary/book-10-chapter-6

Outside, Kolya and Alyosha get to know each other. At first Kolya tries to impress Alyosha with his knowledge - disparaging religion and championing socialism, among other things. Frustrated, he asks Alyosha if he despises him, a question that surprises Alyosha. Alyosha quickly reassures Kolya. Kolya is won over by his frankness and lack of condescension. He opens up to Alyosha and confesses that he knows he suffers from vanity. Alyosha tells Kolya that he shouldn't be so worried about appearing ridiculous, and they both declare their friendship. Their conversation is cut short when the famous doctor emerges from the room.

novelguide

all_chapterized_books/161-chapters/10.txt

finished_summaries/novelguide/Sense and Sensibility/section_1_part_10.txt

Sense and Sensibility.chapter x

chapter x

{"name": "Chapter X", "url": "https://web.archive.org/web/20201020004256/https://www.novelguide.com/sense-and-sensibility/summaries/volume1-chapter1-11", "summary": "Willoughby calls at the cottage the next day to ask after Marianne. The two talk, and she is delighted to find that he shares her love of music and dancing, and her passion for certain authors. After he has left, Elinor expresses concern that Marianne has told Willoughby everything about herself and that there will be nothing left for future occasions. Marianne bridles at this, believing that Elinor is rebuking her for being too open. Marianne recovers. Willoughby continues to visit her every day, and they read, talk, and sing together. Marianne learns that he reads literature aloud with all the sensibility and passion that Edward sadly lacks. Elinor feels that he is too prone to speak his thoughts, without consideration of others or of the situation. Marianne feels that he is everything that she has always wished for in a man. Mrs. Dashwood now expects two marriages, between Marianne and Willoughby, and Elinor and Edward. Elinor notices that Colonel Brandon's spirits seem to be oppressed by past disappointments. Willoughby cruelly dismisses him as the kind of man \"whom all are delighted to see, and nobody remembers to talk to,\" and Marianne agrees. She thinks he lacks \"genius\" and \"spirit", "analysis": ""}

Marianne's preserver, as Margaret, with more elegance than precision, styled Willoughby, called at the cottage early the next morning to make his personal enquiries. He was received by Mrs. Dashwood with more than politeness; with a kindness which Sir John's account of him and her own gratitude prompted; and every thing that passed during the visit tended to assure him of the sense, elegance, mutual affection, and domestic comfort of the family to whom accident had now introduced him. Of their personal charms he had not required a second interview to be convinced. Miss Dashwood had a delicate complexion, regular features, and a remarkably pretty figure. Marianne was still handsomer. Her form, though not so correct as her sister's, in having the advantage of height, was more striking; and her face was so lovely, that when in the common cant of praise, she was called a beautiful girl, truth was less violently outraged than usually happens. Her skin was very brown, but, from its transparency, her complexion was uncommonly brilliant; her features were all good; her smile was sweet and attractive; and in her eyes, which were very dark, there was a life, a spirit, an eagerness, which could hardily be seen without delight. From Willoughby their expression was at first held back, by the embarrassment which the remembrance of his assistance created. But when this passed away, when her spirits became collected, when she saw that to the perfect good-breeding of the gentleman, he united frankness and vivacity, and above all, when she heard him declare, that of music and dancing he was passionately fond, she gave him such a look of approbation as secured the largest share of his discourse to herself for the rest of his stay. It was only necessary to mention any favourite amusement to engage her to talk. She could not be silent when such points were introduced, and she had neither shyness nor reserve in their discussion. They speedily discovered that their enjoyment of dancing and music was mutual, and that it arose from a general conformity of judgment in all that related to either. Encouraged by this to a further examination of his opinions, she proceeded to question him on the subject of books; her favourite authors were brought forward and dwelt upon with so rapturous a delight, that any young man of five and twenty must have been insensible indeed, not to become an immediate convert to the excellence of such works, however disregarded before. Their taste was strikingly alike. The same books, the same passages were idolized by each--or if any difference appeared, any objection arose, it lasted no longer than till the force of her arguments and the brightness of her eyes could be displayed. He acquiesced in all her decisions, caught all her enthusiasm; and long before his visit concluded, they conversed with the familiarity of a long-established acquaintance. "Well, Marianne," said Elinor, as soon as he had left them, "for ONE morning I think you have done pretty well. You have already ascertained Mr. Willoughby's opinion in almost every matter of importance. You know what he thinks of Cowper and Scott; you are certain of his estimating their beauties as he ought, and you have received every assurance of his admiring Pope no more than is proper. But how is your acquaintance to be long supported, under such extraordinary despatch of every subject for discourse? You will soon have exhausted each favourite topic. Another meeting will suffice to explain his sentiments on picturesque beauty, and second marriages, and then you can have nothing farther to ask."-- "Elinor," cried Marianne, "is this fair? is this just? are my ideas so scanty? But I see what you mean. I have been too much at my ease, too happy, too frank. I have erred against every common-place notion of decorum; I have been open and sincere where I ought to have been reserved, spiritless, dull, and deceitful--had I talked only of the weather and the roads, and had I spoken only once in ten minutes, this reproach would have been spared." "My love," said her mother, "you must not be offended with Elinor--she was only in jest. I should scold her myself, if she were capable of wishing to check the delight of your conversation with our new friend."-- Marianne was softened in a moment. Willoughby, on his side, gave every proof of his pleasure in their acquaintance, which an evident wish of improving it could offer. He came to them every day. To enquire after Marianne was at first his excuse; but the encouragement of his reception, to which every day gave greater kindness, made such an excuse unnecessary before it had ceased to be possible, by Marianne's perfect recovery. She was confined for some days to the house; but never had any confinement been less irksome. Willoughby was a young man of good abilities, quick imagination, lively spirits, and open, affectionate manners. He was exactly formed to engage Marianne's heart, for with all this, he joined not only a captivating person, but a natural ardour of mind which was now roused and increased by the example of her own, and which recommended him to her affection beyond every thing else. His society became gradually her most exquisite enjoyment. They read, they talked, they sang together; his musical talents were considerable; and he read with all the sensibility and spirit which Edward had unfortunately wanted. In Mrs. Dashwood's estimation he was as faultless as in Marianne's; and Elinor saw nothing to censure in him but a propensity, in which he strongly resembled and peculiarly delighted her sister, of saying too much what he thought on every occasion, without attention to persons or circumstances. In hastily forming and giving his opinion of other people, in sacrificing general politeness to the enjoyment of undivided attention where his heart was engaged, and in slighting too easily the forms of worldly propriety, he displayed a want of caution which Elinor could not approve, in spite of all that he and Marianne could say in its support. Marianne began now to perceive that the desperation which had seized her at sixteen and a half, of ever seeing a man who could satisfy her ideas of perfection, had been rash and unjustifiable. Willoughby was all that her fancy had delineated in that unhappy hour and in every brighter period, as capable of attaching her; and his behaviour declared his wishes to be in that respect as earnest, as his abilities were strong. Her mother too, in whose mind not one speculative thought of their marriage had been raised, by his prospect of riches, was led before the end of a week to hope and expect it; and secretly to congratulate herself on having gained two such sons-in-law as Edward and Willoughby. Colonel Brandon's partiality for Marianne, which had so early been discovered by his friends, now first became perceptible to Elinor, when it ceased to be noticed by them. Their attention and wit were drawn off to his more fortunate rival; and the raillery which the other had incurred before any partiality arose, was removed when his feelings began really to call for the ridicule so justly annexed to sensibility. Elinor was obliged, though unwillingly, to believe that the sentiments which Mrs. Jennings had assigned him for her own satisfaction, were now actually excited by her sister; and that however a general resemblance of disposition between the parties might forward the affection of Mr. Willoughby, an equally striking opposition of character was no hindrance to the regard of Colonel Brandon. She saw it with concern; for what could a silent man of five and thirty hope, when opposed to a very lively one of five and twenty? and as she could not even wish him successful, she heartily wished him indifferent. She liked him--in spite of his gravity and reserve, she beheld in him an object of interest. His manners, though serious, were mild; and his reserve appeared rather the result of some oppression of spirits than of any natural gloominess of temper. Sir John had dropped hints of past injuries and disappointments, which justified her belief of his being an unfortunate man, and she regarded him with respect and compassion. Perhaps she pitied and esteemed him the more because he was slighted by Willoughby and Marianne, who, prejudiced against him for being neither lively nor young, seemed resolved to undervalue his merits. "Brandon is just the kind of man," said Willoughby one day, when they were talking of him together, "whom every body speaks well of, and nobody cares about; whom all are delighted to see, and nobody remembers to talk to." "That is exactly what I think of him," cried Marianne. "Do not boast of it, however," said Elinor, "for it is injustice in both of you. He is highly esteemed by all the family at the park, and I never see him myself without taking pains to converse with him." "That he is patronised by YOU," replied Willoughby, "is certainly in his favour; but as for the esteem of the others, it is a reproach in itself. Who would submit to the indignity of being approved by such a woman as Lady Middleton and Mrs. Jennings, that could command the indifference of any body else?" "But perhaps the abuse of such people as yourself and Marianne will make amends for the regard of Lady Middleton and her mother. If their praise is censure, your censure may be praise, for they are not more undiscerning, than you are prejudiced and unjust." "In defence of your protege you can even be saucy." "My protege, as you call him, is a sensible man; and sense will always have attractions for me. Yes, Marianne, even in a man between thirty and forty. He has seen a great deal of the world; has been abroad, has read, and has a thinking mind. I have found him capable of giving me much information on various subjects; and he has always answered my inquiries with readiness of good-breeding and good nature." "That is to say," cried Marianne contemptuously, "he has told you, that in the East Indies the climate is hot, and the mosquitoes are troublesome." "He WOULD have told me so, I doubt not, had I made any such inquiries, but they happened to be points on which I had been previously informed." "Perhaps," said Willoughby, "his observations may have extended to the existence of nabobs, gold mohrs, and palanquins." "I may venture to say that HIS observations have stretched much further than your candour. But why should you dislike him?" "I do not dislike him. I consider him, on the contrary, as a very respectable man, who has every body's good word, and nobody's notice; who, has more money than he can spend, more time than he knows how to employ, and two new coats every year." "Add to which," cried Marianne, "that he has neither genius, taste, nor spirit. That his understanding has no brilliancy, his feelings no ardour, and his voice no expression." "You decide on his imperfections so much in the mass," replied Elinor, "and so much on the strength of your own imagination, that the commendation I am able to give of him is comparatively cold and insipid. I can only pronounce him to be a sensible man, well-bred, well-informed, of gentle address, and, I believe, possessing an amiable heart." "Miss Dashwood," cried Willoughby, "you are now using me unkindly. You are endeavouring to disarm me by reason, and to convince me against my will. But it will not do. You shall find me as stubborn as you can be artful. I have three unanswerable reasons for disliking Colonel Brandon; he threatened me with rain when I wanted it to be fine; he has found fault with the hanging of my curricle, and I cannot persuade him to buy my brown mare. If it will be any satisfaction to you, however, to be told, that I believe his character to be in other respects irreproachable, I am ready to confess it. And in return for an acknowledgment, which must give me some pain, you cannot deny me the privilege of disliking him as much as ever."

Chapter X

https://web.archive.org/web/20201020004256/https://www.novelguide.com/sense-and-sensibility/summaries/volume1-chapter1-11

Willoughby calls at the cottage the next day to ask after Marianne. The two talk, and she is delighted to find that he shares her love of music and dancing, and her passion for certain authors. After he has left, Elinor expresses concern that Marianne has told Willoughby everything about herself and that there will be nothing left for future occasions. Marianne bridles at this, believing that Elinor is rebuking her for being too open. Marianne recovers. Willoughby continues to visit her every day, and they read, talk, and sing together. Marianne learns that he reads literature aloud with all the sensibility and passion that Edward sadly lacks. Elinor feels that he is too prone to speak his thoughts, without consideration of others or of the situation. Marianne feels that he is everything that she has always wished for in a man. Mrs. Dashwood now expects two marriages, between Marianne and Willoughby, and Elinor and Edward. Elinor notices that Colonel Brandon's spirits seem to be oppressed by past disappointments. Willoughby cruelly dismisses him as the kind of man "whom all are delighted to see, and nobody remembers to talk to," and Marianne agrees. She thinks he lacks "genius" and "spirit

cliffnotes

all_chapterized_books/1232-chapters/11.txt

finished_summaries/cliffnotes/The Prince/section_9_part_0.txt

The Prince.chapter 11

chapter 11

{"name": "Chapter 11", "url": "https://web.archive.org/web/20201108110625/https://www.cliffsnotes.com/literature/p/the-prince/summary-and-analysis/chapter-11", "summary": "The final type of principality to be discussed is the ecclesiastical state. Although this type of principality is gained through ability or luck, their princes stay in power no matter how they act. They do not defend their states or govern their people, and the people never think of getting rid of them. No other state could be so successful. Because these states are ordained by God, Machiavelli says he will not be so foolish as to discuss them. Still, some people may ask how these states became so powerful so quickly. Before Charles invaded Italy, it was controlled by five factions whose goals were to keep out foreign invaders and make sure no one faction became too strong. The short reign of most popes kept them from making any headway against these factions. Then Alexander VI appeared, and he showed what a Pope could accomplish with money and weapons. Though he wanted only to promote Cesare Borgia's power, he ended up making the Church more powerful, which Julius II took advantage of. One hopes that the present Pope Leo will make it as great by his goodness as others have made it by force.", "analysis": "In this chapter, Machiavelli completes his discussion of the different kinds of states and how to acquire them, which he laid out in Chapter 1. The ecclesiastical states he refers to were a unique feature of the Italian political landscape, namely the Papal States. As he notes, they followed none of the rules that would have applied to other kinds of principalities. The popes, as head of the Catholic church, which was arguably the most powerful institution in Europe, had always had power and privilege, and had ruled over their own states around Rome. But the popes of the Italian Renaissance added military conquest and aggressive fund-raising to the mix, becoming not only outrageously powerful but outrageously corrupt as well. The abuses of Alexander VI--who had children by several mistresses, lived a decadent lifestyle, and undertook military campaigns to aggrandize his family--played a significant part in bringing about the backlash of the Protestant Reformation. The collecting of indulgences, a practice Martin Luther protested strongly, was one of the chief sources of income for Alexander's military ventures. Machiavelli's comment that he cannot presume to discuss a state ordained by God fairly drips with sarcasm. Machiavelli was well aware of the thoroughly worldly ambitions of the Renaissance popes and bitterly resented their effect on Italian politics. In his Discourses on Livy, he has harsh words for the Church's lack of religious principle and willingness to promote factionalism in Italy, depriving it of a strong, centralized leadership such as existed in France and Spain. Glossary Pope Leo X Giovanni de Medici . A son of Lorenzo the Magnificent, and therefore uncle of the man to whom The Prince was dedicated. He became Pope in 1513. It was during the general amnesty celebrating his election that Machiavelli had been released from prison. Leo would later excommunicate Martin Luther, the Protestant reformer."}

It only remains now to speak of ecclesiastical principalities, touching which all difficulties are prior to getting possession, because they are acquired either by capacity or good fortune, and they can be held without either; for they are sustained by the ancient ordinances of religion, which are so all-powerful, and of such a character that the principalities may be held no matter how their princes behave and live. These princes alone have states and do not defend them; and they have subjects and do not rule them; and the states, although unguarded, are not taken from them, and the subjects, although not ruled, do not care, and they have neither the desire nor the ability to alienate themselves. Such principalities only are secure and happy. But being upheld by powers, to which the human mind cannot reach, I shall speak no more of them, because, being exalted and maintained by God, it would be the act of a presumptuous and rash man to discuss them. Nevertheless, if any one should ask of me how comes it that the Church has attained such greatness in temporal power, seeing that from Alexander backwards the Italian potentates (not only those who have been called potentates, but every baron and lord, though the smallest) have valued the temporal power very slightly--yet now a king of France trembles before it, and it has been able to drive him from Italy, and to ruin the Venetians--although this may be very manifest, it does not appear to me superfluous to recall it in some measure to memory. Before Charles, King of France, passed into Italy,(*) this country was under the dominion of the Pope, the Venetians, the King of Naples, the Duke of Milan, and the Florentines. These potentates had two principal anxieties: the one, that no foreigner should enter Italy under arms; the other, that none of themselves should seize more territory. Those about whom there was the most anxiety were the Pope and the Venetians. To restrain the Venetians the union of all the others was necessary, as it was for the defence of Ferrara; and to keep down the Pope they made use of the barons of Rome, who, being divided into two factions, Orsini and Colonnesi, had always a pretext for disorder, and, standing with arms in their hands under the eyes of the Pontiff, kept the pontificate weak and powerless. And although there might arise sometimes a courageous pope, such as Sixtus, yet neither fortune nor wisdom could rid him of these annoyances. And the short life of a pope is also a cause of weakness; for in the ten years, which is the average life of a pope, he can with difficulty lower one of the factions; and if, so to speak, one people should almost destroy the Colonnesi, another would arise hostile to the Orsini, who would support their opponents, and yet would not have time to ruin the Orsini. This was the reason why the temporal powers of the pope were little esteemed in Italy. (*) Charles VIII invaded Italy in 1494. Alexander the Sixth arose afterwards, who of all the pontiffs that have ever been showed how a pope with both money and arms was able to prevail; and through the instrumentality of the Duke Valentino, and by reason of the entry of the French, he brought about all those things which I have discussed above in the actions of the duke. And although his intention was not to aggrandize the Church, but the duke, nevertheless, what he did contributed to the greatness of the Church, which, after his death and the ruin of the duke, became the heir to all his labours. Pope Julius came afterwards and found the Church strong, possessing all the Romagna, the barons of Rome reduced to impotence, and, through the chastisements of Alexander, the factions wiped out; he also found the way open to accumulate money in a manner such as had never been practised before Alexander's time. Such things Julius not only followed, but improved upon, and he intended to gain Bologna, to ruin the Venetians, and to drive the French out of Italy. All of these enterprises prospered with him, and so much the more to his credit, inasmuch as he did everything to strengthen the Church and not any private person. He kept also the Orsini and Colonnesi factions within the bounds in which he found them; and although there was among them some mind to make disturbance, nevertheless he held two things firm: the one, the greatness of the Church, with which he terrified them; and the other, not allowing them to have their own cardinals, who caused the disorders among them. For whenever these factions have their cardinals they do not remain quiet for long, because cardinals foster the factions in Rome and out of it, and the barons are compelled to support them, and thus from the ambitions of prelates arise disorders and tumults among the barons. For these reasons his Holiness Pope Leo(*) found the pontificate most powerful, and it is to be hoped that, if others made it great in arms, he will make it still greater and more venerated by his goodness and infinite other virtues.

Chapter 11

https://web.archive.org/web/20201108110625/https://www.cliffsnotes.com/literature/p/the-prince/summary-and-analysis/chapter-11

The final type of principality to be discussed is the ecclesiastical state. Although this type of principality is gained through ability or luck, their princes stay in power no matter how they act. They do not defend their states or govern their people, and the people never think of getting rid of them. No other state could be so successful. Because these states are ordained by God, Machiavelli says he will not be so foolish as to discuss them. Still, some people may ask how these states became so powerful so quickly. Before Charles invaded Italy, it was controlled by five factions whose goals were to keep out foreign invaders and make sure no one faction became too strong. The short reign of most popes kept them from making any headway against these factions. Then Alexander VI appeared, and he showed what a Pope could accomplish with money and weapons. Though he wanted only to promote Cesare Borgia's power, he ended up making the Church more powerful, which Julius II took advantage of. One hopes that the present Pope Leo will make it as great by his goodness as others have made it by force.

In this chapter, Machiavelli completes his discussion of the different kinds of states and how to acquire them, which he laid out in Chapter 1. The ecclesiastical states he refers to were a unique feature of the Italian political landscape, namely the Papal States. As he notes, they followed none of the rules that would have applied to other kinds of principalities. The popes, as head of the Catholic church, which was arguably the most powerful institution in Europe, had always had power and privilege, and had ruled over their own states around Rome. But the popes of the Italian Renaissance added military conquest and aggressive fund-raising to the mix, becoming not only outrageously powerful but outrageously corrupt as well. The abuses of Alexander VI--who had children by several mistresses, lived a decadent lifestyle, and undertook military campaigns to aggrandize his family--played a significant part in bringing about the backlash of the Protestant Reformation. The collecting of indulgences, a practice Martin Luther protested strongly, was one of the chief sources of income for Alexander's military ventures. Machiavelli's comment that he cannot presume to discuss a state ordained by God fairly drips with sarcasm. Machiavelli was well aware of the thoroughly worldly ambitions of the Renaissance popes and bitterly resented their effect on Italian politics. In his Discourses on Livy, he has harsh words for the Church's lack of religious principle and willingness to promote factionalism in Italy, depriving it of a strong, centralized leadership such as existed in France and Spain. Glossary Pope Leo X Giovanni de Medici . A son of Lorenzo the Magnificent, and therefore uncle of the man to whom The Prince was dedicated. He became Pope in 1513. It was during the general amnesty celebrating his election that Machiavelli had been released from prison. Leo would later excommunicate Martin Luther, the Protestant reformer.

cliffnotes

all_chapterized_books/5658-chapters/05.txt

finished_summaries/cliffnotes/Lord Jim/section_4_part_0.txt

Lord Jim.chapter 5

chapter 5

{"name": "Chapter 5", "url": "https://web.archive.org/web/20201219145744/https://www.cliffsnotes.com/literature/l/lord-jim/summary-and-analysis/chapter-5", "summary": "After dinner, while talking to some guests, Marlow recalls more details about the much-discussed \"Patna incident.\" It was his \"guardian devil,\" he says, that caused him to have such a keen interest in the inquiry. It seems that four officers deserted the Patna when they believed it to be sinking, leaving the rest of the crew and the 800 Moslem pilgrims to be cooked alive in the hot steam of the sinking ship, leaving them as though they were \"only natives.\" The Patna, however, did not explode and sink; it arrived safely at Aden, a port on the Red Sea, and now its officers had to stand trial for deserting their ship. Only Jim, however, was available to testify. After the obese captain received a tongue-lashing from the Harbor Master, he squeezed his soft, massive bulk into a tiny carriage and vanished. Marlow talked to the two engineers who were hospitalized, but he was unable to discover any relevant information about the affair. The first engineer swore that there were thousands of pink toads under his hospital bed, and the second engineer swore that the Patna did indeed sink and that it was full of reptiles. Ultimately, it was not Jim's \"crime\" that interested and disturbed Marlow; it was Jim's weakness, for despite Jim's cowardly flaw, and despite the fact that he deserted the Patna, Marlow admits that he himself would have \"trusted the deck\" to Jim \"on the strength of a single glance.\" And yet, \"it wouldn't have been safe.\"", "analysis": "The end of Chapter 4 mentioned an observer named Marlow who was present at Jim's trial, and now that Jim is placed before us as a man on trial, we must begin, through Marlow's eyes, to make judgments about Jim. Marlow will now select and objectify our views of Jim. Marlow is theoretically telling the story to some unnamed listeners , and many readers have questioned this device -- that is, in Conrad's \"Author's Note,\" he writes that critics have \"argued that no man could have been expected to talk all that time, and other men to listen so long.\" Conrad answered the objection by saying that, first, some members of Parliament speak for six hours in Parliament without stopping and that, second, Jim's story is so intriguing that it would hold the attention of the listeners. Chapter 5, however, still does not enlighten the reader as to the true nature of the Patna episode. Rather, Conrad focuses on the four officers from Marlow's point-of-view: the captain is presented as \"the fattest man in the whole blessed tropical belt\" and is elephantine in nature and thoroughly obscene and disgusting in every way. The other three men are all contrasts to the captain. The chief engineer and the second engineer are almost insignificant, and in total contrast to all of them is Jim -- the magnificent, broad-shouldered youth whose very appearance seems to inspire confidence. Most important, however, is the fact that Marlow realized that Jim is \"one of us.\" This phrase, as noted earlier, will become one of the principal themes of the novel. That is, if Jim is \"one of us,\" then any of us readers, finding ourselves in the same predicament as Jim found himself, would probably react exactly as Jim did. Therefore, throughout the novel we should gauge Jim's actions against how we ourselves might likely act in a similar situation. But, as yet, as noted above, we still do not know what the horrible, shameful, disgraceful action was that Jim committed; we know only that everyone reacted violently and with deep resentment and indignation. Marlow prepares us for Jim's remaining all alone in port to testify by emphasizing in great detail how the captain suddenly \"departed, disappeared, vanished, absconded.\" The second engineer is also dispensed with, and the chief engineer drank himself into such a coma that he couldn't testify. These drastic actions intrigue the reader as to the nature of the forthcoming testimony."}

'Oh yes. I attended the inquiry,' he would say, 'and to this day I haven't left off wondering why I went. I am willing to believe each of us has a guardian angel, if you fellows will concede to me that each of us has a familiar devil as well. I want you to own up, because I don't like to feel exceptional in any way, and I know I have him--the devil, I mean. I haven't seen him, of course, but I go upon circumstantial evidence. He is there right enough, and, being malicious, he lets me in for that kind of thing. What kind of thing, you ask? Why, the inquiry thing, the yellow-dog thing--you wouldn't think a mangy, native tyke would be allowed to trip up people in the verandah of a magistrate's court, would you?--the kind of thing that by devious, unexpected, truly diabolical ways causes me to run up against men with soft spots, with hard spots, with hidden plague spots, by Jove! and loosens their tongues at the sight of me for their infernal confidences; as though, forsooth, I had no confidences to make to myself, as though--God help me!--I didn't have enough confidential information about myself to harrow my own soul till the end of my appointed time. And what I have done to be thus favoured I want to know. I declare I am as full of my own concerns as the next man, and I have as much memory as the average pilgrim in this valley, so you see I am not particularly fit to be a receptacle of confessions. Then why? Can't tell--unless it be to make time pass away after dinner. Charley, my dear chap, your dinner was extremely good, and in consequence these men here look upon a quiet rubber as a tumultuous occupation. They wallow in your good chairs and think to themselves, "Hang exertion. Let that Marlow talk." 'Talk? So be it. And it's easy enough to talk of Master Jim, after a good spread, two hundred feet above the sea-level, with a box of decent cigars handy, on a blessed evening of freshness and starlight that would make the best of us forget we are only on sufferance here and got to pick our way in cross lights, watching every precious minute and every irremediable step, trusting we shall manage yet to go out decently in the end--but not so sure of it after all--and with dashed little help to expect from those we touch elbows with right and left. Of course there are men here and there to whom the whole of life is like an after-dinner hour with a cigar; easy, pleasant, empty, perhaps enlivened by some fable of strife to be forgotten before the end is told--before the end is told--even if there happens to be any end to it. 'My eyes met his for the first time at that inquiry. You must know that everybody connected in any way with the sea was there, because the affair had been notorious for days, ever since that mysterious cable message came from Aden to start us all cackling. I say mysterious, because it was so in a sense though it contained a naked fact, about as naked and ugly as a fact can well be. The whole waterside talked of nothing else. First thing in the morning as I was dressing in my state-room, I would hear through the bulkhead my Parsee Dubash jabbering about the Patna with the steward, while he drank a cup of tea, by favour, in the pantry. No sooner on shore I would meet some acquaintance, and the first remark would be, "Did you ever hear of anything to beat this?" and according to his kind the man would smile cynically, or look sad, or let out a swear or two. Complete strangers would accost each other familiarly, just for the sake of easing their minds on the subject: every confounded loafer in the town came in for a harvest of drinks over this affair: you heard of it in the harbour office, at every ship-broker's, at your agent's, from whites, from natives, from half-castes, from the very boatmen squatting half naked on the stone steps as you went up--by Jove! There was some indignation, not a few jokes, and no end of discussions as to what had become of them, you know. This went on for a couple of weeks or more, and the opinion that whatever was mysterious in this affair would turn out to be tragic as well, began to prevail, when one fine morning, as I was standing in the shade by the steps of the harbour office, I perceived four men walking towards me along the quay. I wondered for a while where that queer lot had sprung from, and suddenly, I may say, I shouted to myself, "Here they are!" 'There they were, sure enough, three of them as large as life, and one much larger of girth than any living man has a right to be, just landed with a good breakfast inside of them from an outward-bound Dale Line steamer that had come in about an hour after sunrise. There could be no mistake; I spotted the jolly skipper of the Patna at the first glance: the fattest man in the whole blessed tropical belt clear round that good old earth of ours. Moreover, nine months or so before, I had come across him in Samarang. His steamer was loading in the Roads, and he was abusing the tyrannical institutions of the German empire, and soaking himself in beer all day long and day after day in De Jongh's back-shop, till De Jongh, who charged a guilder for every bottle without as much as the quiver of an eyelid, would beckon me aside, and, with his little leathery face all puckered up, declare confidentially, "Business is business, but this man, captain, he make me very sick. Tfui!" 'I was looking at him from the shade. He was hurrying on a little in advance, and the sunlight beating on him brought out his bulk in a startling way. He made me think of a trained baby elephant walking on hind-legs. He was extravagantly gorgeous too--got up in a soiled sleeping-suit, bright green and deep orange vertical stripes, with a pair of ragged straw slippers on his bare feet, and somebody's cast-off pith hat, very dirty and two sizes too small for him, tied up with a manilla rope-yarn on the top of his big head. You understand a man like that hasn't the ghost of a chance when it comes to borrowing clothes. Very well. On he came in hot haste, without a look right or left, passed within three feet of me, and in the innocence of his heart went on pelting upstairs into the harbour office to make his deposition, or report, or whatever you like to call it. 'It appears he addressed himself in the first instance to the principal shipping-master. Archie Ruthvel had just come in, and, as his story goes, was about to begin his arduous day by giving a dressing-down to his chief clerk. Some of you might have known him--an obliging little Portuguese half-caste with a miserably skinny neck, and always on the hop to get something from the shipmasters in the way of eatables--a piece of salt pork, a bag of biscuits, a few potatoes, or what not. One voyage, I recollect, I tipped him a live sheep out of the remnant of my sea-stock: not that I wanted him to do anything for me--he couldn't, you know--but because his childlike belief in the sacred right to perquisites quite touched my heart. It was so strong as to be almost beautiful. The race--the two races rather--and the climate . . . However, never mind. I know where I have a friend for life. 'Well, Ruthvel says he was giving him a severe lecture--on official morality, I suppose--when he heard a kind of subdued commotion at his back, and turning his head he saw, in his own words, something round and enormous, resembling a sixteen-hundred-weight sugar-hogshead wrapped in striped flannelette, up-ended in the middle of the large floor space in the office. He declares he was so taken aback that for quite an appreciable time he did not realise the thing was alive, and sat still wondering for what purpose and by what means that object had been transported in front of his desk. The archway from the ante-room was crowded with punkah-pullers, sweepers, police peons, the coxswain and crew of the harbour steam-launch, all craning their necks and almost climbing on each other's backs. Quite a riot. By that time the fellow had managed to tug and jerk his hat clear of his head, and advanced with slight bows at Ruthvel, who told me the sight was so discomposing that for some time he listened, quite unable to make out what that apparition wanted. It spoke in a voice harsh and lugubrious but intrepid, and little by little it dawned upon Archie that this was a development of the Patna case. He says that as soon as he understood who it was before him he felt quite unwell--Archie is so sympathetic and easily upset--but pulled himself together and shouted "Stop! I can't listen to you. You must go to the Master Attendant. I can't possibly listen to you. Captain Elliot is the man you want to see. This way, this way." He jumped up, ran round that long counter, pulled, shoved: the other let him, surprised but obedient at first, and only at the door of the private office some sort of animal instinct made him hang back and snort like a frightened bullock. "Look here! what's up? Let go! Look here!" Archie flung open the door without knocking. "The master of the Patna, sir," he shouts. "Go in, captain." He saw the old man lift his head from some writing so sharp that his nose-nippers fell off, banged the door to, and fled to his desk, where he had some papers waiting for his signature: but he says the row that burst out in there was so awful that he couldn't collect his senses sufficiently to remember the spelling of his own name. Archie's the most sensitive shipping-master in the two hemispheres. He declares he felt as though he had thrown a man to a hungry lion. No doubt the noise was great. I heard it down below, and I have every reason to believe it was heard clear across the Esplanade as far as the band-stand. Old father Elliot had a great stock of words and could shout--and didn't mind who he shouted at either. He would have shouted at the Viceroy himself. As he used to tell me: "I am as high as I can get; my pension is safe. I've a few pounds laid by, and if they don't like my notions of duty I would just as soon go home as not. I am an old man, and I have always spoken my mind. All I care for now is to see my girls married before I die." He was a little crazy on that point. His three daughters were awfully nice, though they resembled him amazingly, and on the mornings he woke up with a gloomy view of their matrimonial prospects the office would read it in his eye and tremble, because, they said, he was sure to have somebody for breakfast. However, that morning he did not eat the renegade, but, if I may be allowed to carry on the metaphor, chewed him up very small, so to speak, and--ah! ejected him again. 'Thus in a very few moments I saw his monstrous bulk descend in haste and stand still on the outer steps. He had stopped close to me for the purpose of profound meditation: his large purple cheeks quivered. He was biting his thumb, and after a while noticed me with a sidelong vexed look. The other three chaps that had landed with him made a little group waiting at some distance. There was a sallow-faced, mean little chap with his arm in a sling, and a long individual in a blue flannel coat, as dry as a chip and no stouter than a broomstick, with drooping grey moustaches, who looked about him with an air of jaunty imbecility. The third was an upstanding, broad-shouldered youth, with his hands in his pockets, turning his back on the other two who appeared to be talking together earnestly. He stared across the empty Esplanade. A ramshackle gharry, all dust and venetian blinds, pulled up short opposite the group, and the driver, throwing up his right foot over his knee, gave himself up to the critical examination of his toes. The young chap, making no movement, not even stirring his head, just stared into the sunshine. This was my first view of Jim. He looked as unconcerned and unapproachable as only the young can look. There he stood, clean-limbed, clean-faced, firm on his feet, as promising a boy as the sun ever shone on; and, looking at him, knowing all he knew and a little more too, I was as angry as though I had detected him trying to get something out of me by false pretences. He had no business to look so sound. I thought to myself--well, if this sort can go wrong like that . . . and I felt as though I could fling down my hat and dance on it from sheer mortification, as I once saw the skipper of an Italian barque do because his duffer of a mate got into a mess with his anchors when making a flying moor in a roadstead full of ships. I asked myself, seeing him there apparently so much at ease--is he silly? is he callous? He seemed ready to start whistling a tune. And note, I did not care a rap about the behaviour of the other two. Their persons somehow fitted the tale that was public property, and was going to be the subject of an official inquiry. "That old mad rogue upstairs called me a hound," said the captain of the Patna. I can't tell whether he recognised me--I rather think he did; but at any rate our glances met. He glared--I smiled; hound was the very mildest epithet that had reached me through the open window. "Did he?" I said from some strange inability to hold my tongue. He nodded, bit his thumb again, swore under his breath: then lifting his head and looking at me with sullen and passionate impudence--"Bah! the Pacific is big, my friendt. You damned Englishmen can do your worst; I know where there's plenty room for a man like me: I am well aguaindt in Apia, in Honolulu, in . . ." He paused reflectively, while without effort I could depict to myself the sort of people he was "aguaindt" with in those places. I won't make a secret of it that I had been "aguaindt" with not a few of that sort myself. There are times when a man must act as though life were equally sweet in any company. I've known such a time, and, what's more, I shan't now pretend to pull a long face over my necessity, because a good many of that bad company from want of moral--moral--what shall I say?--posture, or from some other equally profound cause, were twice as instructive and twenty times more amusing than the usual respectable thief of commerce you fellows ask to sit at your table without any real necessity--from habit, from cowardice, from good-nature, from a hundred sneaking and inadequate reasons. '"You Englishmen are all rogues," went on my patriotic Flensborg or Stettin Australian. I really don't recollect now what decent little port on the shores of the Baltic was defiled by being the nest of that precious bird. "What are you to shout? Eh? You tell me? You no better than other people, and that old rogue he make Gottam fuss with me." His thick carcass trembled on its legs that were like a pair of pillars; it trembled from head to foot. "That's what you English always make--make a tam' fuss--for any little thing, because I was not born in your tam' country. Take away my certificate. Take it. I don't want the certificate. A man like me don't want your verfluchte certificate. I shpit on it." He spat. "I vill an Amerigan citizen begome," he cried, fretting and fuming and shuffling his feet as if to free his ankles from some invisible and mysterious grasp that would not let him get away from that spot. He made himself so warm that the top of his bullet head positively smoked. Nothing mysterious prevented me from going away: curiosity is the most obvious of sentiments, and it held me there to see the effect of a full information upon that young fellow who, hands in pockets, and turning his back upon the sidewalk, gazed across the grass-plots of the Esplanade at the yellow portico of the Malabar Hotel with the air of a man about to go for a walk as soon as his friend is ready. That's how he looked, and it was odious. I waited to see him overwhelmed, confounded, pierced through and through, squirming like an impaled beetle--and I was half afraid to see it too--if you understand what I mean. Nothing more awful than to watch a man who has been found out, not in a crime but in a more than criminal weakness. The commonest sort of fortitude prevents us from becoming criminals in a legal sense; it is from weakness unknown, but perhaps suspected, as in some parts of the world you suspect a deadly snake in every bush--from weakness that may lie hidden, watched or unwatched, prayed against or manfully scorned, repressed or maybe ignored more than half a lifetime, not one of us is safe. We are snared into doing things for which we get called names, and things for which we get hanged, and yet the spirit may well survive--survive the condemnation, survive the halter, by Jove! And there are things--they look small enough sometimes too--by which some of us are totally and completely undone. I watched the youngster there. I liked his appearance; I knew his appearance; he came from the right place; he was one of us. He stood there for all the parentage of his kind, for men and women by no means clever or amusing, but whose very existence is based upon honest faith, and upon the instinct of courage. I don't mean military courage, or civil courage, or any special kind of courage. I mean just that inborn ability to look temptations straight in the face--a readiness unintellectual enough, goodness knows, but without pose--a power of resistance, don't you see, ungracious if you like, but priceless--an unthinking and blessed stiffness before the outward and inward terrors, before the might of nature and the seductive corruption of men--backed by a faith invulnerable to the strength of facts, to the contagion of example, to the solicitation of ideas. Hang ideas! They are tramps, vagabonds, knocking at the back-door of your mind, each taking a little of your substance, each carrying away some crumb of that belief in a few simple notions you must cling to if you want to live decently and would like to die easy! 'This has nothing to do with Jim, directly; only he was outwardly so typical of that good, stupid kind we like to feel marching right and left of us in life, of the kind that is not disturbed by the vagaries of intelligence and the perversions of--of nerves, let us say. He was the kind of fellow you would, on the strength of his looks, leave in charge of the deck--figuratively and professionally speaking. I say I would, and I ought to know. Haven't I turned out youngsters enough in my time, for the service of the Red Rag, to the craft of the sea, to the craft whose whole secret could be expressed in one short sentence, and yet must be driven afresh every day into young heads till it becomes the component part of every waking thought--till it is present in every dream of their young sleep! The sea has been good to me, but when I remember all these boys that passed through my hands, some grown up now and some drowned by this time, but all good stuff for the sea, I don't think I have done badly by it either. Were I to go home to-morrow, I bet that before two days passed over my head some sunburnt young chief mate would overtake me at some dock gateway or other, and a fresh deep voice speaking above my hat would ask: "Don't you remember me, sir? Why! little So-and-so. Such and such a ship. It was my first voyage." And I would remember a bewildered little shaver, no higher than the back of this chair, with a mother and perhaps a big sister on the quay, very quiet but too upset to wave their handkerchiefs at the ship that glides out gently between the pier-heads; or perhaps some decent middle-aged father who had come early with his boy to see him off, and stays all the morning, because he is interested in the windlass apparently, and stays too long, and has got to scramble ashore at last with no time at all to say good-bye. The mud pilot on the poop sings out to me in a drawl, "Hold her with the check line for a moment, Mister Mate. There's a gentleman wants to get ashore. . . . Up with you, sir. Nearly got carried off to Talcahuano, didn't you? Now's your time; easy does it. . . . All right. Slack away again forward there." The tugs, smoking like the pit of perdition, get hold and churn the old river into fury; the gentleman ashore is dusting his knees--the benevolent steward has shied his umbrella after him. All very proper. He has offered his bit of sacrifice to the sea, and now he may go home pretending he thinks nothing of it; and the little willing victim shall be very sea-sick before next morning. By-and-by, when he has learned all the little mysteries and the one great secret of the craft, he shall be fit to live or die as the sea may decree; and the man who had taken a hand in this fool game, in which the sea wins every toss, will be pleased to have his back slapped by a heavy young hand, and to hear a cheery sea-puppy voice: "Do you remember me, sir? The little So-and-so." 'I tell you this is good; it tells you that once in your life at least you had gone the right way to work. I have been thus slapped, and I have winced, for the slap was heavy, and I have glowed all day long and gone to bed feeling less lonely in the world by virtue of that hearty thump. Don't I remember the little So-and-so's! I tell you I ought to know the right kind of looks. I would have trusted the deck to that youngster on the strength of a single glance, and gone to sleep with both eyes--and, by Jove! it wouldn't have been safe. There are depths of horror in that thought. He looked as genuine as a new sovereign, but there was some infernal alloy in his metal. How much? The least thing--the least drop of something rare and accursed; the least drop!--but he made you--standing there with his don't-care-hang air--he made you wonder whether perchance he were nothing more rare than brass. 'I couldn't believe it. I tell you I wanted to see him squirm for the honour of the craft. The other two no-account chaps spotted their captain, and began to move slowly towards us. They chatted together as they strolled, and I did not care any more than if they had not been visible to the naked eye. They grinned at each other--might have been exchanging jokes, for all I know. I saw that with one of them it was a case of a broken arm; and as to the long individual with grey moustaches he was the chief engineer, and in various ways a pretty notorious personality. They were nobodies. They approached. The skipper gazed in an inanimate way between his feet: he seemed to be swollen to an unnatural size by some awful disease, by the mysterious action of an unknown poison. He lifted his head, saw the two before him waiting, opened his mouth with an extraordinary, sneering contortion of his puffed face--to speak to them, I suppose--and then a thought seemed to strike him. His thick, purplish lips came together without a sound, he went off in a resolute waddle to the gharry and began to jerk at the door-handle with such a blind brutality of impatience that I expected to see the whole concern overturned on its side, pony and all. The driver, shaken out of his meditation over the sole of his foot, displayed at once all the signs of intense terror, and held with both hands, looking round from his box at this vast carcass forcing its way into his conveyance. The little machine shook and rocked tumultuously, and the crimson nape of that lowered neck, the size of those straining thighs, the immense heaving of that dingy, striped green-and-orange back, the whole burrowing effort of that gaudy and sordid mass, troubled one's sense of probability with a droll and fearsome effect, like one of those grotesque and distinct visions that scare and fascinate one in a fever. He disappeared. I half expected the roof to split in two, the little box on wheels to burst open in the manner of a ripe cotton-pod--but it only sank with a click of flattened springs, and suddenly one venetian blind rattled down. His shoulders reappeared, jammed in the small opening; his head hung out, distended and tossing like a captive balloon, perspiring, furious, spluttering. He reached for the gharry-wallah with vicious flourishes of a fist as dumpy and red as a lump of raw meat. He roared at him to be off, to go on. Where? Into the Pacific, perhaps. The driver lashed; the pony snorted, reared once, and darted off at a gallop. Where? To Apia? To Honolulu? He had 6000 miles of tropical belt to disport himself in, and I did not hear the precise address. A snorting pony snatched him into "Ewigkeit" in the twinkling of an eye, and I never saw him again; and, what's more, I don't know of anybody that ever had a glimpse of him after he departed from my knowledge sitting inside a ramshackle little gharry that fled round the corner in a white smother of dust. He departed, disappeared, vanished, absconded; and absurdly enough it looked as though he had taken that gharry with him, for never again did I come across a sorrel pony with a slit ear and a lackadaisical Tamil driver afflicted by a sore foot. The Pacific is indeed big; but whether he found a place for a display of his talents in it or not, the fact remains he had flown into space like a witch on a broomstick. The little chap with his arm in a sling started to run after the carriage, bleating, "Captain! I say, Captain! I sa-a-ay!"--but after a few steps stopped short, hung his head, and walked back slowly. At the sharp rattle of the wheels the young fellow spun round where he stood. He made no other movement, no gesture, no sign, and remained facing in the new direction after the gharry had swung out of sight. 'All this happened in much less time than it takes to tell, since I am trying to interpret for you into slow speech the instantaneous effect of visual impressions. Next moment the half-caste clerk, sent by Archie to look a little after the poor castaways of the Patna, came upon the scene. He ran out eager and bareheaded, looking right and left, and very full of his mission. It was doomed to be a failure as far as the principal person was concerned, but he approached the others with fussy importance, and, almost immediately, found himself involved in a violent altercation with the chap that carried his arm in a sling, and who turned out to be extremely anxious for a row. He wasn't going to be ordered about--"not he, b'gosh." He wouldn't be terrified with a pack of lies by a cocky half-bred little quill-driver. He was not going to be bullied by "no object of that sort," if the story were true "ever so"! He bawled his wish, his desire, his determination to go to bed. "If you weren't a God-forsaken Portuguee," I heard him yell, "you would know that the hospital is the right place for me." He pushed the fist of his sound arm under the other's nose; a crowd began to collect; the half-caste, flustered, but doing his best to appear dignified, tried to explain his intentions. I went away without waiting to see the end. 'But it so happened that I had a man in the hospital at the time, and going there to see about him the day before the opening of the Inquiry, I saw in the white men's ward that little chap tossing on his back, with his arm in splints, and quite light-headed. To my great surprise the other one, the long individual with drooping white moustache, had also found his way there. I remembered I had seen him slinking away during the quarrel, in a half prance, half shuffle, and trying very hard not to look scared. He was no stranger to the port, it seems, and in his distress was able to make tracks straight for Mariani's billiard-room and grog-shop near the bazaar. That unspeakable vagabond, Mariani, who had known the man and had ministered to his vices in one or two other places, kissed the ground, in a manner of speaking, before him, and shut him up with a supply of bottles in an upstairs room of his infamous hovel. It appears he was under some hazy apprehension as to his personal safety, and wished to be concealed. However, Mariani told me a long time after (when he came on board one day to dun my steward for the price of some cigars) that he would have done more for him without asking any questions, from gratitude for some unholy favour received very many years ago--as far as I could make out. He thumped twice his brawny chest, rolled enormous black-and-white eyes glistening with tears: "Antonio never forget--Antonio never forget!" What was the precise nature of the immoral obligation I never learned, but be it what it may, he had every facility given him to remain under lock and key, with a chair, a table, a mattress in a corner, and a litter of fallen plaster on the floor, in an irrational state of funk, and keeping up his pecker with such tonics as Mariani dispensed. This lasted till the evening of the third day, when, after letting out a few horrible screams, he found himself compelled to seek safety in flight from a legion of centipedes. He burst the door open, made one leap for dear life down the crazy little stairway, landed bodily on Mariani's stomach, picked himself up, and bolted like a rabbit into the streets. The police plucked him off a garbage-heap in the early morning. At first he had a notion they were carrying him off to be hanged, and fought for liberty like a hero, but when I sat down by his bed he had been very quiet for two days. His lean bronzed head, with white moustaches, looked fine and calm on the pillow, like the head of a war-worn soldier with a child-like soul, had it not been for a hint of spectral alarm that lurked in the blank glitter of his glance, resembling a nondescript form of a terror crouching silently behind a pane of glass. He was so extremely calm, that I began to indulge in the eccentric hope of hearing something explanatory of the famous affair from his point of view. Why I longed to go grubbing into the deplorable details of an occurrence which, after all, concerned me no more than as a member of an obscure body of men held together by a community of inglorious toil and by fidelity to a certain standard of conduct, I can't explain. You may call it an unhealthy curiosity if you like; but I have a distinct notion I wished to find something. Perhaps, unconsciously, I hoped I would find that something, some profound and redeeming cause, some merciful explanation, some convincing shadow of an excuse. I see well enough now that I hoped for the impossible--for the laying of what is the most obstinate ghost of man's creation, of the uneasy doubt uprising like a mist, secret and gnawing like a worm, and more chilling than the certitude of death--the doubt of the sovereign power enthroned in a fixed standard of conduct. It is the hardest thing to stumble against; it is the thing that breeds yelling panics and good little quiet villainies; it's the true shadow of calamity. Did I believe in a miracle? and why did I desire it so ardently? Was it for my own sake that I wished to find some shadow of an excuse for that young fellow whom I had never seen before, but whose appearance alone added a touch of personal concern to the thoughts suggested by the knowledge of his weakness--made it a thing of mystery and terror--like a hint of a destructive fate ready for us all whose youth--in its day--had resembled his youth? I fear that such was the secret motive of my prying. I was, and no mistake, looking for a miracle. The only thing that at this distance of time strikes me as miraculous is the extent of my imbecility. I positively hoped to obtain from that battered and shady invalid some exorcism against the ghost of doubt. I must have been pretty desperate too, for, without loss of time, after a few indifferent and friendly sentences which he answered with languid readiness, just as any decent sick man would do, I produced the word Patna wrapped up in a delicate question as in a wisp of floss silk. I was delicate selfishly; I did not want to startle him; I had no solicitude for him; I was not furious with him and sorry for him: his experience was of no importance, his redemption would have had no point for me. He had grown old in minor iniquities, and could no longer inspire aversion or pity. He repeated Patna? interrogatively, seemed to make a short effort of memory, and said: "Quite right. I am an old stager out here. I saw her go down." I made ready to vent my indignation at such a stupid lie, when he added smoothly, "She was full of reptiles." 'This made me pause. What did he mean? The unsteady phantom of terror behind his glassy eyes seemed to stand still and look into mine wistfully. "They turned me out of my bunk in the middle watch to look at her sinking," he pursued in a reflective tone. His voice sounded alarmingly strong all at once. I was sorry for my folly. There was no snowy-winged coif of a nursing sister to be seen flitting in the perspective of the ward; but away in the middle of a long row of empty iron bedsteads an accident case from some ship in the Roads sat up brown and gaunt with a white bandage set rakishly on the forehead. Suddenly my interesting invalid shot out an arm thin like a tentacle and clawed my shoulder. "Only my eyes were good enough to see. I am famous for my eyesight. That's why they called me, I expect. None of them was quick enough to see her go, but they saw that she was gone right enough, and sang out together--like this." . . . A wolfish howl searched the very recesses of my soul. "Oh! make 'im dry up," whined the accident case irritably. "You don't believe me, I suppose," went on the other, with an air of ineffable conceit. "I tell you there are no such eyes as mine this side of the Persian Gulf. Look under the bed." 'Of course I stooped instantly. I defy anybody not to have done so. "What can you see?" he asked. "Nothing," I said, feeling awfully ashamed of myself. He scrutinised my face with wild and withering contempt. "Just so," he said, "but if I were to look I could see--there's no eyes like mine, I tell you." Again he clawed, pulling at me downwards in his eagerness to relieve himself by a confidential communication. "Millions of pink toads. There's no eyes like mine. Millions of pink toads. It's worse than seeing a ship sink. I could look at sinking ships and smoke my pipe all day long. Why don't they give me back my pipe? I would get a smoke while I watched these toads. The ship was full of them. They've got to be watched, you know." He winked facetiously. The perspiration dripped on him off my head, my drill coat clung to my wet back: the afternoon breeze swept impetuously over the row of bedsteads, the stiff folds of curtains stirred perpendicularly, rattling on brass rods, the covers of empty beds blew about noiselessly near the bare floor all along the line, and I shivered to the very marrow. The soft wind of the tropics played in that naked ward as bleak as a winter's gale in an old barn at home. "Don't you let him start his hollering, mister," hailed from afar the accident case in a distressed angry shout that came ringing between the walls like a quavering call down a tunnel. The clawing hand hauled at my shoulder; he leered at me knowingly. "The ship was full of them, you know, and we had to clear out on the strict Q.T.," he whispered with extreme rapidity. "All pink. All pink--as big as mastiffs, with an eye on the top of the head and claws all round their ugly mouths. Ough! Ough!" Quick jerks as of galvanic shocks disclosed under the flat coverlet the outlines of meagre and agitated legs; he let go my shoulder and reached after something in the air; his body trembled tensely like a released harp-string; and while I looked down, the spectral horror in him broke through his glassy gaze. Instantly his face of an old soldier, with its noble and calm outlines, became decomposed before my eyes by the corruption of stealthy cunning, of an abominable caution and of desperate fear. He restrained a cry--"Ssh! what are they doing now down there?" he asked, pointing to the floor with fantastic precautions of voice and gesture, whose meaning, borne upon my mind in a lurid flash, made me very sick of my cleverness. "They are all asleep," I answered, watching him narrowly. That was it. That's what he wanted to hear; these were the exact words that could calm him. He drew a long breath. "Ssh! Quiet, steady. I am an old stager out here. I know them brutes. Bash in the head of the first that stirs. There's too many of them, and she won't swim more than ten minutes." He panted again. "Hurry up," he yelled suddenly, and went on in a steady scream: "They are all awake--millions of them. They are trampling on me! Wait! Oh, wait! I'll smash them in heaps like flies. Wait for me! Help! H-e-elp!" An interminable and sustained howl completed my discomfiture. I saw in the distance the accident case raise deplorably both his hands to his bandaged head; a dresser, aproned to the chin showed himself in the vista of the ward, as if seen in the small end of a telescope. I confessed myself fairly routed, and without more ado, stepping out through one of the long windows, escaped into the outside gallery. The howl pursued me like a vengeance. I turned into a deserted landing, and suddenly all became very still and quiet around me, and I descended the bare and shiny staircase in a silence that enabled me to compose my distracted thoughts. Down below I met one of the resident surgeons who was crossing the courtyard and stopped me. "Been to see your man, Captain? I think we may let him go to-morrow. These fools have no notion of taking care of themselves, though. I say, we've got the chief engineer of that pilgrim ship here. A curious case. D.T.'s of the worst kind. He has been drinking hard in that Greek's or Italian's grog-shop for three days. What can you expect? Four bottles of that kind of brandy a day, I am told. Wonderful, if true. Sheeted with boiler-iron inside I should think. The head, ah! the head, of course, gone, but the curious part is there's some sort of method in his raving. I am trying to find out. Most unusual--that thread of logic in such a delirium. Traditionally he ought to see snakes, but he doesn't. Good old tradition's at a discount nowadays. Eh! His--er--visions are batrachian. Ha! ha! No, seriously, I never remember being so interested in a case of jim-jams before. He ought to be dead, don't you know, after such a festive experiment. Oh! he is a tough object. Four-and-twenty years of the tropics too. You ought really to take a peep at him. Noble-looking old boozer. Most extraordinary man I ever met--medically, of course. Won't you?" 'I have been all along exhibiting the usual polite signs of interest, but now assuming an air of regret I murmured of want of time, and shook hands in a hurry. "I say," he cried after me; "he can't attend that inquiry. Is his evidence material, you think?" '"Not in the least," I called back from the gateway.'

Chapter 5

https://web.archive.org/web/20201219145744/https://www.cliffsnotes.com/literature/l/lord-jim/summary-and-analysis/chapter-5

After dinner, while talking to some guests, Marlow recalls more details about the much-discussed "Patna incident." It was his "guardian devil," he says, that caused him to have such a keen interest in the inquiry. It seems that four officers deserted the Patna when they believed it to be sinking, leaving the rest of the crew and the 800 Moslem pilgrims to be cooked alive in the hot steam of the sinking ship, leaving them as though they were "only natives." The Patna, however, did not explode and sink; it arrived safely at Aden, a port on the Red Sea, and now its officers had to stand trial for deserting their ship. Only Jim, however, was available to testify. After the obese captain received a tongue-lashing from the Harbor Master, he squeezed his soft, massive bulk into a tiny carriage and vanished. Marlow talked to the two engineers who were hospitalized, but he was unable to discover any relevant information about the affair. The first engineer swore that there were thousands of pink toads under his hospital bed, and the second engineer swore that the Patna did indeed sink and that it was full of reptiles. Ultimately, it was not Jim's "crime" that interested and disturbed Marlow; it was Jim's weakness, for despite Jim's cowardly flaw, and despite the fact that he deserted the Patna, Marlow admits that he himself would have "trusted the deck" to Jim "on the strength of a single glance." And yet, "it wouldn't have been safe."

The end of Chapter 4 mentioned an observer named Marlow who was present at Jim's trial, and now that Jim is placed before us as a man on trial, we must begin, through Marlow's eyes, to make judgments about Jim. Marlow will now select and objectify our views of Jim. Marlow is theoretically telling the story to some unnamed listeners , and many readers have questioned this device -- that is, in Conrad's "Author's Note," he writes that critics have "argued that no man could have been expected to talk all that time, and other men to listen so long." Conrad answered the objection by saying that, first, some members of Parliament speak for six hours in Parliament without stopping and that, second, Jim's story is so intriguing that it would hold the attention of the listeners. Chapter 5, however, still does not enlighten the reader as to the true nature of the Patna episode. Rather, Conrad focuses on the four officers from Marlow's point-of-view: the captain is presented as "the fattest man in the whole blessed tropical belt" and is elephantine in nature and thoroughly obscene and disgusting in every way. The other three men are all contrasts to the captain. The chief engineer and the second engineer are almost insignificant, and in total contrast to all of them is Jim -- the magnificent, broad-shouldered youth whose very appearance seems to inspire confidence. Most important, however, is the fact that Marlow realized that Jim is "one of us." This phrase, as noted earlier, will become one of the principal themes of the novel. That is, if Jim is "one of us," then any of us readers, finding ourselves in the same predicament as Jim found himself, would probably react exactly as Jim did. Therefore, throughout the novel we should gauge Jim's actions against how we ourselves might likely act in a similar situation. But, as yet, as noted above, we still do not know what the horrible, shameful, disgraceful action was that Jim committed; we know only that everyone reacted violently and with deep resentment and indignation. Marlow prepares us for Jim's remaining all alone in port to testify by emphasizing in great detail how the captain suddenly "departed, disappeared, vanished, absconded." The second engineer is also dispensed with, and the chief engineer drank himself into such a coma that he couldn't testify. These drastic actions intrigue the reader as to the nature of the forthcoming testimony.

gradesaver

all_chapterized_books/174-chapters/04.txt

finished_summaries/gradesaver/The Picture of Dorian Gray/section_2_part_0.txt

The Picture of Dorian Gray.chapter 4

chapter 4

{"name": "Chapter 4", "url": "https://web.archive.org/web/20210421171214/https://www.gradesaver.com/the-picture-of-dorian-gray/study-guide/summary-chapter-4", "summary": "A month later, Dorian pays a visit to Henry, finding his wife at home. She is pleased to meet the man with whom her husband has become so preoccupied. After Dorian's comment that one is obligated to engage in conversation when bad music is being performed, she remarks that \"that is one of Harry's views...I always hear Harry's views from his friends, that is the only way I get to know them.\" Henry arrives, and his wife exits. Henry tells Dorian never to marry a woman as sentimental as his wife, a trait which he blames on the fairness of her hair. Dorian delivers the news that he has come to share: he is in love with a girl named Sibyl Vane. She is an actress who plays all of the young leading female roles at a theater devoted solely to Shakespeare's works. The theater and the rest of the cast are of very poor quality, but Sibyl is apparently a brilliant actress and stunningly beautiful. Dorian went backstage to meet her after the third performance he had attended, and found her to be completely unaware of her own skill, seemingly unable to separate real life from that of the stage. He tells Henry that she prefers to call him \"Prince Charming,\" because, as Dorian says, \"She regarded me merely as a person in a play. She knows nothing of life.\" This purity and naivete is indescribably charming to Dorian: he has fallen madly in love, and tells Henry that he worships Sibyl and that she is the only thing that matters to him. Dorian convinces Henry to come with him to see her play Juliet in the next day's production. Henry says that he will invite Basil. At the mention of the painter's name, Dorian remarks that he feels guilty for having ignored the painter for several weeks, since he appreciates the masterful portrait despite being \"a little jealous of the picture for being a whole month younger than I am.\" The conversation turns towards the character of artists, and Henry insists that the better the artist, the duller his personality, and that only truly terrible artists are worth spending time with. Dorian eventually takes his leave. Later that night, Henry returns home to find a telegram from Dorian informing him that he and Sibyl are engaged to be married.", "analysis": "This chapter describes a key moment in the development of Dorian's personality. Henry is not jealous of Dorian's fascination with another person, but pays careful attention to Dorian's impression of his own emotional state. Recognizing his influence at work on the boy brings \"a gleam of pleasure into his brown agate eyes\"; he is like an artist proudly admiring his work. Henry's views are elucidated by the statement that \"a complex personality...was indeed, in its way, a real work of art.\" Henry's beliefs are delivered in the voice of the narrator; this technique, called \"free indirect discourse\", is one that Wilde frequently used. The nature of Dorian's love reflects Henry's devotion to life as art. Sibyl is described as almost completely devoid of her own personality, and only able to behave as if she is in a play. Dorian is in love with the characters she plays, with her talent, and with her beauty, but not with her. He values everything superficial about her, as is revealed when she tries to show her true self to him. Early in their conversation, after telling Henry how much he treasures his words and trusts his judgment, Dorian states, \"If ever I did a crime I would confess it to you. You would understand me.\" This boldly foreshadows later events in the novel, and is also an indication of the commencement of Dorian's degradation. The young man that was innocent and good-hearted only a month before now freely considers criminal actions for the sake of having a new sensation, without giving a single thought to the possibility of a guilty conscience. Dorian criticizes Sibyl for treating him like a person in a play, but is blind to the fact that he has fallen in love with the characters she plays, and hardly even knows the girl herself. Dorian has begun to whole-heartedly devote himself to artistic ideals, mistakenly assuming that they are his reality. Indeed, when Sibyl begins to show a glimmer of the person behind her characters, Dorian's reaction is not very pleasant. Earlier, however, he doesn't even hesitate to propose to a girl he hardly knows; a testament to his misguided devotion to artistry and artifice. Henry realizes the error of Dorian's ways, but instead of pointing them out for the sake of his friend's well-being, he anticipates the fun he will have observing the repercussions. Dorian's blossoming self-centeredness is a successful manifestation of Henry's influence. Interestingly, this is the first chapter in which Dorian actually has more dialogue than Henry. Until this point, we have witnessed Dorian's reactions only through Henry's eyes, and through narrative comments. Dorian only actually begins to take the spotlight once his corruption is underway."}

One afternoon, a month later, Dorian Gray was reclining in a luxurious arm-chair, in the little library of Lord Henry's house in Mayfair. It was, in its way, a very charming room, with its high panelled wainscoting of olive-stained oak, its cream-coloured frieze and ceiling of raised plasterwork, and its brickdust felt carpet strewn with silk, long-fringed Persian rugs. On a tiny satinwood table stood a statuette by Clodion, and beside it lay a copy of Les Cent Nouvelles, bound for Margaret of Valois by Clovis Eve and powdered with the gilt daisies that Queen had selected for her device. Some large blue china jars and parrot-tulips were ranged on the mantelshelf, and through the small leaded panes of the window streamed the apricot-coloured light of a summer day in London. Lord Henry had not yet come in. He was always late on principle, his principle being that punctuality is the thief of time. So the lad was looking rather sulky, as with listless fingers he turned over the pages of an elaborately illustrated edition of Manon Lescaut that he had found in one of the book-cases. The formal monotonous ticking of the Louis Quatorze clock annoyed him. Once or twice he thought of going away. At last he heard a step outside, and the door opened. "How late you are, Harry!" he murmured. "I am afraid it is not Harry, Mr. Gray," answered a shrill voice. He glanced quickly round and rose to his feet. "I beg your pardon. I thought--" "You thought it was my husband. It is only his wife. You must let me introduce myself. I know you quite well by your photographs. I think my husband has got seventeen of them." "Not seventeen, Lady Henry?" "Well, eighteen, then. And I saw you with him the other night at the opera." She laughed nervously as she spoke, and watched him with her vague forget-me-not eyes. She was a curious woman, whose dresses always looked as if they had been designed in a rage and put on in a tempest. She was usually in love with somebody, and, as her passion was never returned, she had kept all her illusions. She tried to look picturesque, but only succeeded in being untidy. Her name was Victoria, and she had a perfect mania for going to church. "That was at Lohengrin, Lady Henry, I think?" "Yes; it was at dear Lohengrin. I like Wagner's music better than anybody's. It is so loud that one can talk the whole time without other people hearing what one says. That is a great advantage, don't you think so, Mr. Gray?" The same nervous staccato laugh broke from her thin lips, and her fingers began to play with a long tortoise-shell paper-knife. Dorian smiled and shook his head: "I am afraid I don't think so, Lady Henry. I never talk during music--at least, during good music. If one hears bad music, it is one's duty to drown it in conversation." "Ah! that is one of Harry's views, isn't it, Mr. Gray? I always hear Harry's views from his friends. It is the only way I get to know of them. But you must not think I don't like good music. I adore it, but I am afraid of it. It makes me too romantic. I have simply worshipped pianists--two at a time, sometimes, Harry tells me. I don't know what it is about them. Perhaps it is that they are foreigners. They all are, ain't they? Even those that are born in England become foreigners after a time, don't they? It is so clever of them, and such a compliment to art. Makes it quite cosmopolitan, doesn't it? You have never been to any of my parties, have you, Mr. Gray? You must come. I can't afford orchids, but I spare no expense in foreigners. They make one's rooms look so picturesque. But here is Harry! Harry, I came in to look for you, to ask you something--I forget what it was--and I found Mr. Gray here. We have had such a pleasant chat about music. We have quite the same ideas. No; I think our ideas are quite different. But he has been most pleasant. I am so glad I've seen him." "I am charmed, my love, quite charmed," said Lord Henry, elevating his dark, crescent-shaped eyebrows and looking at them both with an amused smile. "So sorry I am late, Dorian. I went to look after a piece of old brocade in Wardour Street and had to bargain for hours for it. Nowadays people know the price of everything and the value of nothing." "I am afraid I must be going," exclaimed Lady Henry, breaking an awkward silence with her silly sudden laugh. "I have promised to drive with the duchess. Good-bye, Mr. Gray. Good-bye, Harry. You are dining out, I suppose? So am I. Perhaps I shall see you at Lady Thornbury's." "I dare say, my dear," said Lord Henry, shutting the door behind her as, looking like a bird of paradise that had been out all night in the rain, she flitted out of the room, leaving a faint odour of frangipanni. Then he lit a cigarette and flung himself down on the sofa. "Never marry a woman with straw-coloured hair, Dorian," he said after a few puffs. "Why, Harry?" "Because they are so sentimental." "But I like sentimental people." "Never marry at all, Dorian. Men marry because they are tired; women, because they are curious: both are disappointed." "I don't think I am likely to marry, Harry. I am too much in love. That is one of your aphorisms. I am putting it into practice, as I do everything that you say." "Who are you in love with?" asked Lord Henry after a pause. "With an actress," said Dorian Gray, blushing. Lord Henry shrugged his shoulders. "That is a rather commonplace _debut_." "You would not say so if you saw her, Harry." "Who is she?" "Her name is Sibyl Vane." "Never heard of her." "No one has. People will some day, however. She is a genius." "My dear boy, no woman is a genius. Women are a decorative sex. They never have anything to say, but they say it charmingly. Women represent the triumph of matter over mind, just as men represent the triumph of mind over morals." "Harry, how can you?" "My dear Dorian, it is quite true. I am analysing women at present, so I ought to know. The subject is not so abstruse as I thought it was. I find that, ultimately, there are only two kinds of women, the plain and the coloured. The plain women are very useful. If you want to gain a reputation for respectability, you have merely to take them down to supper. The other women are very charming. They commit one mistake, however. They paint in order to try and look young. Our grandmothers painted in order to try and talk brilliantly. _Rouge_ and _esprit_ used to go together. That is all over now. As long as a woman can look ten years younger than her own daughter, she is perfectly satisfied. As for conversation, there are only five women in London worth talking to, and two of these can't be admitted into decent society. However, tell me about your genius. How long have you known her?" "Ah! Harry, your views terrify me." "Never mind that. How long have you known her?" "About three weeks." "And where did you come across her?" "I will tell you, Harry, but you mustn't be unsympathetic about it. After all, it never would have happened if I had not met you. You filled me with a wild desire to know everything about life. For days after I met you, something seemed to throb in my veins. As I lounged in the park, or strolled down Piccadilly, I used to look at every one who passed me and wonder, with a mad curiosity, what sort of lives they led. Some of them fascinated me. Others filled me with terror. There was an exquisite poison in the air. I had a passion for sensations.... Well, one evening about seven o'clock, I determined to go out in search of some adventure. I felt that this grey monstrous London of ours, with its myriads of people, its sordid sinners, and its splendid sins, as you once phrased it, must have something in store for me. I fancied a thousand things. The mere danger gave me a sense of delight. I remembered what you had said to me on that wonderful evening when we first dined together, about the search for beauty being the real secret of life. I don't know what I expected, but I went out and wandered eastward, soon losing my way in a labyrinth of grimy streets and black grassless squares. About half-past eight I passed by an absurd little theatre, with great flaring gas-jets and gaudy play-bills. A hideous Jew, in the most amazing waistcoat I ever beheld in my life, was standing at the entrance, smoking a vile cigar. He had greasy ringlets, and an enormous diamond blazed in the centre of a soiled shirt. 'Have a box, my Lord?' he said, when he saw me, and he took off his hat with an air of gorgeous servility. There was something about him, Harry, that amused me. He was such a monster. You will laugh at me, I know, but I really went in and paid a whole guinea for the stage-box. To the present day I can't make out why I did so; and yet if I hadn't--my dear Harry, if I hadn't--I should have missed the greatest romance of my life. I see you are laughing. It is horrid of you!" "I am not laughing, Dorian; at least I am not laughing at you. But you should not say the greatest romance of your life. You should say the first romance of your life. You will always be loved, and you will always be in love with love. A _grande passion_ is the privilege of people who have nothing to do. That is the one use of the idle classes of a country. Don't be afraid. There are exquisite things in store for you. This is merely the beginning." "Do you think my nature so shallow?" cried Dorian Gray angrily. "No; I think your nature so deep." "How do you mean?" "My dear boy, the people who love only once in their lives are really the shallow people. What they call their loyalty, and their fidelity, I call either the lethargy of custom or their lack of imagination. Faithfulness is to the emotional life what consistency is to the life of the intellect--simply a confession of failure. Faithfulness! I must analyse it some day. The passion for property is in it. There are many things that we would throw away if we were not afraid that others might pick them up. But I don't want to interrupt you. Go on with your story." "Well, I found myself seated in a horrid little private box, with a vulgar drop-scene staring me in the face. I looked out from behind the curtain and surveyed the house. It was a tawdry affair, all Cupids and cornucopias, like a third-rate wedding-cake. The gallery and pit were fairly full, but the two rows of dingy stalls were quite empty, and there was hardly a person in what I suppose they called the dress-circle. Women went about with oranges and ginger-beer, and there was a terrible consumption of nuts going on." "It must have been just like the palmy days of the British drama." "Just like, I should fancy, and very depressing. I began to wonder what on earth I should do when I caught sight of the play-bill. What do you think the play was, Harry?" "I should think 'The Idiot Boy', or 'Dumb but Innocent'. Our fathers used to like that sort of piece, I believe. The longer I live, Dorian, the more keenly I feel that whatever was good enough for our fathers is not good enough for us. In art, as in politics, _les grandperes ont toujours tort_." "This play was good enough for us, Harry. It was Romeo and Juliet. I must admit that I was rather annoyed at the idea of seeing Shakespeare done in such a wretched hole of a place. Still, I felt interested, in a sort of way. At any rate, I determined to wait for the first act. There was a dreadful orchestra, presided over by a young Hebrew who sat at a cracked piano, that nearly drove me away, but at last the drop-scene was drawn up and the play began. Romeo was a stout elderly gentleman, with corked eyebrows, a husky tragedy voice, and a figure like a beer-barrel. Mercutio was almost as bad. He was played by the low-comedian, who had introduced gags of his own and was on most friendly terms with the pit. They were both as grotesque as the scenery, and that looked as if it had come out of a country-booth. But Juliet! Harry, imagine a girl, hardly seventeen years of age, with a little, flowerlike face, a small Greek head with plaited coils of dark-brown hair, eyes that were violet wells of passion, lips that were like the petals of a rose. She was the loveliest thing I had ever seen in my life. You said to me once that pathos left you unmoved, but that beauty, mere beauty, could fill your eyes with tears. I tell you, Harry, I could hardly see this girl for the mist of tears that came across me. And her voice--I never heard such a voice. It was very low at first, with deep mellow notes that seemed to fall singly upon one's ear. Then it became a little louder, and sounded like a flute or a distant hautboy. In the garden-scene it had all the tremulous ecstasy that one hears just before dawn when nightingales are singing. There were moments, later on, when it had the wild passion of violins. You know how a voice can stir one. Your voice and the voice of Sibyl Vane are two things that I shall never forget. When I close my eyes, I hear them, and each of them says something different. I don't know which to follow. Why should I not love her? Harry, I do love her. She is everything to me in life. Night after night I go to see her play. One evening she is Rosalind, and the next evening she is Imogen. I have seen her die in the gloom of an Italian tomb, sucking the poison from her lover's lips. I have watched her wandering through the forest of Arden, disguised as a pretty boy in hose and doublet and dainty cap. She has been mad, and has come into the presence of a guilty king, and given him rue to wear and bitter herbs to taste of. She has been innocent, and the black hands of jealousy have crushed her reedlike throat. I have seen her in every age and in every costume. Ordinary women never appeal to one's imagination. They are limited to their century. No glamour ever transfigures them. One knows their minds as easily as one knows their bonnets. One can always find them. There is no mystery in any of them. They ride in the park in the morning and chatter at tea-parties in the afternoon. They have their stereotyped smile and their fashionable manner. They are quite obvious. But an actress! How different an actress is! Harry! why didn't you tell me that the only thing worth loving is an actress?" "Because I have loved so many of them, Dorian." "Oh, yes, horrid people with dyed hair and painted faces." "Don't run down dyed hair and painted faces. There is an extraordinary charm in them, sometimes," said Lord Henry. "I wish now I had not told you about Sibyl Vane." "You could not have helped telling me, Dorian. All through your life you will tell me everything you do." "Yes, Harry, I believe that is true. I cannot help telling you things. You have a curious influence over me. If I ever did a crime, I would come and confess it to you. You would understand me." "People like you--the wilful sunbeams of life--don't commit crimes, Dorian. But I am much obliged for the compliment, all the same. And now tell me--reach me the matches, like a good boy--thanks--what are your actual relations with Sibyl Vane?" Dorian Gray leaped to his feet, with flushed cheeks and burning eyes. "Harry! Sibyl Vane is sacred!" "It is only the sacred things that are worth touching, Dorian," said Lord Henry, with a strange touch of pathos in his voice. "But why should you be annoyed? I suppose she will belong to you some day. When one is in love, one always begins by deceiving one's self, and one always ends by deceiving others. That is what the world calls a romance. You know her, at any rate, I suppose?" "Of course I know her. On the first night I was at the theatre, the horrid old Jew came round to the box after the performance was over and offered to take me behind the scenes and introduce me to her. I was furious with him, and told him that Juliet had been dead for hundreds of years and that her body was lying in a marble tomb in Verona. I think, from his blank look of amazement, that he was under the impression that I had taken too much champagne, or something." "I am not surprised." "Then he asked me if I wrote for any of the newspapers. I told him I never even read them. He seemed terribly disappointed at that, and confided to me that all the dramatic critics were in a conspiracy against him, and that they were every one of them to be bought." "I should not wonder if he was quite right there. But, on the other hand, judging from their appearance, most of them cannot be at all expensive." "Well, he seemed to think they were beyond his means," laughed Dorian. "By this time, however, the lights were being put out in the theatre, and I had to go. He wanted me to try some cigars that he strongly recommended. I declined. The next night, of course, I arrived at the place again. When he saw me, he made me a low bow and assured me that I was a munificent patron of art. He was a most offensive brute, though he had an extraordinary passion for Shakespeare. He told me once, with an air of pride, that his five bankruptcies were entirely due to 'The Bard,' as he insisted on calling him. He seemed to think it a distinction." "It was a distinction, my dear Dorian--a great distinction. Most people become bankrupt through having invested too heavily in the prose of life. To have ruined one's self over poetry is an honour. But when did you first speak to Miss Sibyl Vane?" "The third night. She had been playing Rosalind. I could not help going round. I had thrown her some flowers, and she had looked at me--at least I fancied that she had. The old Jew was persistent. He seemed determined to take me behind, so I consented. It was curious my not wanting to know her, wasn't it?" "No; I don't think so." "My dear Harry, why?" "I will tell you some other time. Now I want to know about the girl." "Sibyl? Oh, she was so shy and so gentle. There is something of a child about her. Her eyes opened wide in exquisite wonder when I told her what I thought of her performance, and she seemed quite unconscious of her power. I think we were both rather nervous. The old Jew stood grinning at the doorway of the dusty greenroom, making elaborate speeches about us both, while we stood looking at each other like children. He would insist on calling me 'My Lord,' so I had to assure Sibyl that I was not anything of the kind. She said quite simply to me, 'You look more like a prince. I must call you Prince Charming.'" "Upon my word, Dorian, Miss Sibyl knows how to pay compliments." "You don't understand her, Harry. She regarded me merely as a person in a play. She knows nothing of life. She lives with her mother, a faded tired woman who played Lady Capulet in a sort of magenta dressing-wrapper on the first night, and looks as if she had seen better days." "I know that look. It depresses me," murmured Lord Henry, examining his rings. "The Jew wanted to tell me her history, but I said it did not interest me." "You were quite right. There is always something infinitely mean about other people's tragedies." "Sibyl is the only thing I care about. What is it to me where she came from? From her little head to her little feet, she is absolutely and entirely divine. Every night of my life I go to see her act, and every night she is more marvellous." "That is the reason, I suppose, that you never dine with me now. I thought you must have some curious romance on hand. You have; but it is not quite what I expected." "My dear Harry, we either lunch or sup together every day, and I have been to the opera with you several times," said Dorian, opening his blue eyes in wonder. "You always come dreadfully late." "Well, I can't help going to see Sibyl play," he cried, "even if it is only for a single act. I get hungry for her presence; and when I think of the wonderful soul that is hidden away in that little ivory body, I am filled with awe." "You can dine with me to-night, Dorian, can't you?" He shook his head. "To-night she is Imogen," he answered, "and to-morrow night she will be Juliet." "When is she Sibyl Vane?" "Never." "I congratulate you." "How horrid you are! She is all the great heroines of the world in one. She is more than an individual. You laugh, but I tell you she has genius. I love her, and I must make her love me. You, who know all the secrets of life, tell me how to charm Sibyl Vane to love me! I want to make Romeo jealous. I want the dead lovers of the world to hear our laughter and grow sad. I want a breath of our passion to stir their dust into consciousness, to wake their ashes into pain. My God, Harry, how I worship her!" He was walking up and down the room as he spoke. Hectic spots of red burned on his cheeks. He was terribly excited. Lord Henry watched him with a subtle sense of pleasure. How different he was now from the shy frightened boy he had met in Basil Hallward's studio! His nature had developed like a flower, had borne blossoms of scarlet flame. Out of its secret hiding-place had crept his soul, and desire had come to meet it on the way. "And what do you propose to do?" said Lord Henry at last. "I want you and Basil to come with me some night and see her act. I have not the slightest fear of the result. You are certain to acknowledge her genius. Then we must get her out of the Jew's hands. She is bound to him for three years--at least for two years and eight months--from the present time. I shall have to pay him something, of course. When all that is settled, I shall take a West End theatre and bring her out properly. She will make the world as mad as she has made me." "That would be impossible, my dear boy." "Yes, she will. She has not merely art, consummate art-instinct, in her, but she has personality also; and you have often told me that it is personalities, not principles, that move the age." "Well, what night shall we go?" "Let me see. To-day is Tuesday. Let us fix to-morrow. She plays Juliet to-morrow." "All right. The Bristol at eight o'clock; and I will get Basil." "Not eight, Harry, please. Half-past six. We must be there before the curtain rises. You must see her in the first act, where she meets Romeo." "Half-past six! What an hour! It will be like having a meat-tea, or reading an English novel. It must be seven. No gentleman dines before seven. Shall you see Basil between this and then? Or shall I write to him?" "Dear Basil! I have not laid eyes on him for a week. It is rather horrid of me, as he has sent me my portrait in the most wonderful frame, specially designed by himself, and, though I am a little jealous of the picture for being a whole month younger than I am, I must admit that I delight in it. Perhaps you had better write to him. I don't want to see him alone. He says things that annoy me. He gives me good advice." Lord Henry smiled. "People are very fond of giving away what they need most themselves. It is what I call the depth of generosity." "Oh, Basil is the best of fellows, but he seems to me to be just a bit of a Philistine. Since I have known you, Harry, I have discovered that." "Basil, my dear boy, puts everything that is charming in him into his work. The consequence is that he has nothing left for life but his prejudices, his principles, and his common sense. The only artists I have ever known who are personally delightful are bad artists. Good artists exist simply in what they make, and consequently are perfectly uninteresting in what they are. A great poet, a really great poet, is the most unpoetical of all creatures. But inferior poets are absolutely fascinating. The worse their rhymes are, the more picturesque they look. The mere fact of having published a book of second-rate sonnets makes a man quite irresistible. He lives the poetry that he cannot write. The others write the poetry that they dare not realize." "I wonder is that really so, Harry?" said Dorian Gray, putting some perfume on his handkerchief out of a large, gold-topped bottle that stood on the table. "It must be, if you say it. And now I am off. Imogen is waiting for me. Don't forget about to-morrow. Good-bye." As he left the room, Lord Henry's heavy eyelids drooped, and he began to think. Certainly few people had ever interested him so much as Dorian Gray, and yet the lad's mad adoration of some one else caused him not the slightest pang of annoyance or jealousy. He was pleased by it. It made him a more interesting study. He had been always enthralled by the methods of natural science, but the ordinary subject-matter of that science had seemed to him trivial and of no import. And so he had begun by vivisecting himself, as he had ended by vivisecting others. Human life--that appeared to him the one thing worth investigating. Compared to it there was nothing else of any value. It was true that as one watched life in its curious crucible of pain and pleasure, one could not wear over one's face a mask of glass, nor keep the sulphurous fumes from troubling the brain and making the imagination turbid with monstrous fancies and misshapen dreams. There were poisons so subtle that to know their properties one had to sicken of them. There were maladies so strange that one had to pass through them if one sought to understand their nature. And, yet, what a great reward one received! How wonderful the whole world became to one! To note the curious hard logic of passion, and the emotional coloured life of the intellect--to observe where they met, and where they separated, at what point they were in unison, and at what point they were at discord--there was a delight in that! What matter what the cost was? One could never pay too high a price for any sensation. He was conscious--and the thought brought a gleam of pleasure into his brown agate eyes--that it was through certain words of his, musical words said with musical utterance, that Dorian Gray's soul had turned to this white girl and bowed in worship before her. To a large extent the lad was his own creation. He had made him premature. That was something. Ordinary people waited till life disclosed to them its secrets, but to the few, to the elect, the mysteries of life were revealed before the veil was drawn away. Sometimes this was the effect of art, and chiefly of the art of literature, which dealt immediately with the passions and the intellect. But now and then a complex personality took the place and assumed the office of art, was indeed, in its way, a real work of art, life having its elaborate masterpieces, just as poetry has, or sculpture, or painting. Yes, the lad was premature. He was gathering his harvest while it was yet spring. The pulse and passion of youth were in him, but he was becoming self-conscious. It was delightful to watch him. With his beautiful face, and his beautiful soul, he was a thing to wonder at. It was no matter how it all ended, or was destined to end. He was like one of those gracious figures in a pageant or a play, whose joys seem to be remote from one, but whose sorrows stir one's sense of beauty, and whose wounds are like red roses. Soul and body, body and soul--how mysterious they were! There was animalism in the soul, and the body had its moments of spirituality. The senses could refine, and the intellect could degrade. Who could say where the fleshly impulse ceased, or the psychical impulse began? How shallow were the arbitrary definitions of ordinary psychologists! And yet how difficult to decide between the claims of the various schools! Was the soul a shadow seated in the house of sin? Or was the body really in the soul, as Giordano Bruno thought? The separation of spirit from matter was a mystery, and the union of spirit with matter was a mystery also. He began to wonder whether we could ever make psychology so absolute a science that each little spring of life would be revealed to us. As it was, we always misunderstood ourselves and rarely understood others. Experience was of no ethical value. It was merely the name men gave to their mistakes. Moralists had, as a rule, regarded it as a mode of warning, had claimed for it a certain ethical efficacy in the formation of character, had praised it as something that taught us what to follow and showed us what to avoid. But there was no motive power in experience. It was as little of an active cause as conscience itself. All that it really demonstrated was that our future would be the same as our past, and that the sin we had done once, and with loathing, we would do many times, and with joy. It was clear to him that the experimental method was the only method by which one could arrive at any scientific analysis of the passions; and certainly Dorian Gray was a subject made to his hand, and seemed to promise rich and fruitful results. His sudden mad love for Sibyl Vane was a psychological phenomenon of no small interest. There was no doubt that curiosity had much to do with it, curiosity and the desire for new experiences, yet it was not a simple, but rather a very complex passion. What there was in it of the purely sensuous instinct of boyhood had been transformed by the workings of the imagination, changed into something that seemed to the lad himself to be remote from sense, and was for that very reason all the more dangerous. It was the passions about whose origin we deceived ourselves that tyrannized most strongly over us. Our weakest motives were those of whose nature we were conscious. It often happened that when we thought we were experimenting on others we were really experimenting on ourselves. While Lord Henry sat dreaming on these things, a knock came to the door, and his valet entered and reminded him it was time to dress for dinner. He got up and looked out into the street. The sunset had smitten into scarlet gold the upper windows of the houses opposite. The panes glowed like plates of heated metal. The sky above was like a faded rose. He thought of his friend's young fiery-coloured life and wondered how it was all going to end. When he arrived home, about half-past twelve o'clock, he saw a telegram lying on the hall table. He opened it and found it was from Dorian Gray. It was to tell him that he was engaged to be married to Sibyl Vane.

Chapter 4

https://web.archive.org/web/20210421171214/https://www.gradesaver.com/the-picture-of-dorian-gray/study-guide/summary-chapter-4

A month later, Dorian pays a visit to Henry, finding his wife at home. She is pleased to meet the man with whom her husband has become so preoccupied. After Dorian's comment that one is obligated to engage in conversation when bad music is being performed, she remarks that "that is one of Harry's views...I always hear Harry's views from his friends, that is the only way I get to know them." Henry arrives, and his wife exits. Henry tells Dorian never to marry a woman as sentimental as his wife, a trait which he blames on the fairness of her hair. Dorian delivers the news that he has come to share: he is in love with a girl named Sibyl Vane. She is an actress who plays all of the young leading female roles at a theater devoted solely to Shakespeare's works. The theater and the rest of the cast are of very poor quality, but Sibyl is apparently a brilliant actress and stunningly beautiful. Dorian went backstage to meet her after the third performance he had attended, and found her to be completely unaware of her own skill, seemingly unable to separate real life from that of the stage. He tells Henry that she prefers to call him "Prince Charming," because, as Dorian says, "She regarded me merely as a person in a play. She knows nothing of life." This purity and naivete is indescribably charming to Dorian: he has fallen madly in love, and tells Henry that he worships Sibyl and that she is the only thing that matters to him. Dorian convinces Henry to come with him to see her play Juliet in the next day's production. Henry says that he will invite Basil. At the mention of the painter's name, Dorian remarks that he feels guilty for having ignored the painter for several weeks, since he appreciates the masterful portrait despite being "a little jealous of the picture for being a whole month younger than I am." The conversation turns towards the character of artists, and Henry insists that the better the artist, the duller his personality, and that only truly terrible artists are worth spending time with. Dorian eventually takes his leave. Later that night, Henry returns home to find a telegram from Dorian informing him that he and Sibyl are engaged to be married.

This chapter describes a key moment in the development of Dorian's personality. Henry is not jealous of Dorian's fascination with another person, but pays careful attention to Dorian's impression of his own emotional state. Recognizing his influence at work on the boy brings "a gleam of pleasure into his brown agate eyes"; he is like an artist proudly admiring his work. Henry's views are elucidated by the statement that "a complex personality...was indeed, in its way, a real work of art." Henry's beliefs are delivered in the voice of the narrator; this technique, called "free indirect discourse", is one that Wilde frequently used. The nature of Dorian's love reflects Henry's devotion to life as art. Sibyl is described as almost completely devoid of her own personality, and only able to behave as if she is in a play. Dorian is in love with the characters she plays, with her talent, and with her beauty, but not with her. He values everything superficial about her, as is revealed when she tries to show her true self to him. Early in their conversation, after telling Henry how much he treasures his words and trusts his judgment, Dorian states, "If ever I did a crime I would confess it to you. You would understand me." This boldly foreshadows later events in the novel, and is also an indication of the commencement of Dorian's degradation. The young man that was innocent and good-hearted only a month before now freely considers criminal actions for the sake of having a new sensation, without giving a single thought to the possibility of a guilty conscience. Dorian criticizes Sibyl for treating him like a person in a play, but is blind to the fact that he has fallen in love with the characters she plays, and hardly even knows the girl herself. Dorian has begun to whole-heartedly devote himself to artistic ideals, mistakenly assuming that they are his reality. Indeed, when Sibyl begins to show a glimmer of the person behind her characters, Dorian's reaction is not very pleasant. Earlier, however, he doesn't even hesitate to propose to a girl he hardly knows; a testament to his misguided devotion to artistry and artifice. Henry realizes the error of Dorian's ways, but instead of pointing them out for the sake of his friend's well-being, he anticipates the fun he will have observing the repercussions. Dorian's blossoming self-centeredness is a successful manifestation of Henry's influence. Interestingly, this is the first chapter in which Dorian actually has more dialogue than Henry. Until this point, we have witnessed Dorian's reactions only through Henry's eyes, and through narrative comments. Dorian only actually begins to take the spotlight once his corruption is underway.

shmoop

all_chapterized_books/174-chapters/19.txt

finished_summaries/shmoop/The Picture of Dorian Gray/section_18_part_0.txt

The Picture of Dorian Gray.chapter 19

chapter 19

{"name": "Chapter 19", "url": "https://web.archive.org/web/20210304030722/https://www.shmoop.com/study-guides/literature/picture-dorian-gray/summary/chapter-19", "summary": "This whole James Vane incident seems to have shaken Dorian significantly. Back in London, he informs Lord Henry that he's going to become a good person again. Henry doesn't believe it, nor does he think Dorian should change at all. In his view, his friend is perfect. For about the thousandth time, we think about how warped Lord Henry is. Apparently, the day before, Dorian was staying out in the countryside by himself, and Henry comments that it's a lot easier to be good out there, since there's nothing to do. Dorian continues, saying that he's altered . Lord Henry demands to know what Dorian's done that's so great. Dorian tells Henry about a young girl that he met and fell in love with in the countryside. She reminded him of Sibyl Vane, and she totally fell for him. However, instead of corrupting her and destroying her life, he decided to let her go--he leaves her in her innocent state. Dorian thinks this good deed is enough to set him on the path to righteousness, despite Henry's doubts. Lord Henry continues to mock Dorian's fantasies. Dorian abruptly changes the subject, and asks Henry what's going on around town. Apparently, the gossip around their club is all about Basil--people are still discussing his disappearance. We also hear in passing that Alan Campbell committed suicide . Dorian plays it cool, and asks Henry what he thinks happened to Basil; Lord Henry's basically like, \"Screw Basil! Listen to me talk about my life.\" But Dorian doesn't want to let it go. He asks Henry if he's ever wondered if Basil was murdered--or, for that matter, if anyone else thinks that. Henry's just not that concerned; besides, he doesn't think Basil was interesting enough to get himself murdered. Dorian asks an interesting hypothetical question: what would Henry think if he said that he had killed Basil? Henry basically laughs this off, too, saying that crime is for the lower classes. He honestly just doesn't care, and even jokes that Basil probably drowned in the river Seine. Since Basil's paintings haven't been that great lately, Henry doesn't think there's anything to be sad about. Henry brings up the portrait, which he identifies as one of Basil's great works. Apparently Dorian told him that it was either lost or stolen. They discuss the painting a bit more, and Dorian confesses that he never liked it . Lord Henry changes the topic slightly to souls--what might it be like to sell one's soul? Little does he know that he's talking to the one person who knows... Dorian tells Henry that that he's sure that everyone has a soul, for better or worse. Languidly, Henry asks Dorian to play some Chopin on the piano. As Dorian plays, Henry muses at length about Dorian's youth and beauty, and his own lost youth. He tells Dorian that he's led an amazing, full life, and mistakenly praises him for still being the same. Dorian corrects him, saying that he's not the same, but Henry doesn't believe it. He thinks that Dorian is perfect. Henry goes on, saying that Dorian has always been loved by the world, even when it denounced him; he says that Dorian is the ideal of their time, and that, though he's never created anything, his whole life has been art. Dorian stops playing and tells Henry again that things are going to be different from now on. He resists Henry's praise of him. After insisting that he's going to change, Dorian reminds Lord Henry that the older man poisoned him with the yellow book, all those years ago. Henry doesn't buy it, saying that art doesn't influence real life. Dorian says his goodbyes and extricates himself from Henry, after wearily promising to see him the next day.", "analysis": ""}

"There is no use your telling me that you are going to be good," cried Lord Henry, dipping his white fingers into a red copper bowl filled with rose-water. "You are quite perfect. Pray, don't change." Dorian Gray shook his head. "No, Harry, I have done too many dreadful things in my life. I am not going to do any more. I began my good actions yesterday." "Where were you yesterday?" "In the country, Harry. I was staying at a little inn by myself." "My dear boy," said Lord Henry, smiling, "anybody can be good in the country. There are no temptations there. That is the reason why people who live out of town are so absolutely uncivilized. Civilization is not by any means an easy thing to attain to. There are only two ways by which man can reach it. One is by being cultured, the other by being corrupt. Country people have no opportunity of being either, so they stagnate." "Culture and corruption," echoed Dorian. "I have known something of both. It seems terrible to me now that they should ever be found together. For I have a new ideal, Harry. I am going to alter. I think I have altered." "You have not yet told me what your good action was. Or did you say you had done more than one?" asked his companion as he spilled into his plate a little crimson pyramid of seeded strawberries and, through a perforated, shell-shaped spoon, snowed white sugar upon them. "I can tell you, Harry. It is not a story I could tell to any one else. I spared somebody. It sounds vain, but you understand what I mean. She was quite beautiful and wonderfully like Sibyl Vane. I think it was that which first attracted me to her. You remember Sibyl, don't you? How long ago that seems! Well, Hetty was not one of our own class, of course. She was simply a girl in a village. But I really loved her. I am quite sure that I loved her. All during this wonderful May that we have been having, I used to run down and see her two or three times a week. Yesterday she met me in a little orchard. The apple-blossoms kept tumbling down on her hair, and she was laughing. We were to have gone away together this morning at dawn. Suddenly I determined to leave her as flowerlike as I had found her." "I should think the novelty of the emotion must have given you a thrill of real pleasure, Dorian," interrupted Lord Henry. "But I can finish your idyll for you. You gave her good advice and broke her heart. That was the beginning of your reformation." "Harry, you are horrible! You mustn't say these dreadful things. Hetty's heart is not broken. Of course, she cried and all that. But there is no disgrace upon her. She can live, like Perdita, in her garden of mint and marigold." "And weep over a faithless Florizel," said Lord Henry, laughing, as he leaned back in his chair. "My dear Dorian, you have the most curiously boyish moods. Do you think this girl will ever be really content now with any one of her own rank? I suppose she will be married some day to a rough carter or a grinning ploughman. Well, the fact of having met you, and loved you, will teach her to despise her husband, and she will be wretched. From a moral point of view, I cannot say that I think much of your great renunciation. Even as a beginning, it is poor. Besides, how do you know that Hetty isn't floating at the present moment in some starlit mill-pond, with lovely water-lilies round her, like Ophelia?" "I can't bear this, Harry! You mock at everything, and then suggest the most serious tragedies. I am sorry I told you now. I don't care what you say to me. I know I was right in acting as I did. Poor Hetty! As I rode past the farm this morning, I saw her white face at the window, like a spray of jasmine. Don't let us talk about it any more, and don't try to persuade me that the first good action I have done for years, the first little bit of self-sacrifice I have ever known, is really a sort of sin. I want to be better. I am going to be better. Tell me something about yourself. What is going on in town? I have not been to the club for days." "The people are still discussing poor Basil's disappearance." "I should have thought they had got tired of that by this time," said Dorian, pouring himself out some wine and frowning slightly. "My dear boy, they have only been talking about it for six weeks, and the British public are really not equal to the mental strain of having more than one topic every three months. They have been very fortunate lately, however. They have had my own divorce-case and Alan Campbell's suicide. Now they have got the mysterious disappearance of an artist. Scotland Yard still insists that the man in the grey ulster who left for Paris by the midnight train on the ninth of November was poor Basil, and the French police declare that Basil never arrived in Paris at all. I suppose in about a fortnight we shall be told that he has been seen in San Francisco. It is an odd thing, but every one who disappears is said to be seen at San Francisco. It must be a delightful city, and possess all the attractions of the next world." "What do you think has happened to Basil?" asked Dorian, holding up his Burgundy against the light and wondering how it was that he could discuss the matter so calmly. "I have not the slightest idea. If Basil chooses to hide himself, it is no business of mine. If he is dead, I don't want to think about him. Death is the only thing that ever terrifies me. I hate it." "Why?" said the younger man wearily. "Because," said Lord Henry, passing beneath his nostrils the gilt trellis of an open vinaigrette box, "one can survive everything nowadays except that. Death and vulgarity are the only two facts in the nineteenth century that one cannot explain away. Let us have our coffee in the music-room, Dorian. You must play Chopin to me. The man with whom my wife ran away played Chopin exquisitely. Poor Victoria! I was very fond of her. The house is rather lonely without her. Of course, married life is merely a habit, a bad habit. But then one regrets the loss even of one's worst habits. Perhaps one regrets them the most. They are such an essential part of one's personality." Dorian said nothing, but rose from the table, and passing into the next room, sat down to the piano and let his fingers stray across the white and black ivory of the keys. After the coffee had been brought in, he stopped, and looking over at Lord Henry, said, "Harry, did it ever occur to you that Basil was murdered?" Lord Henry yawned. "Basil was very popular, and always wore a Waterbury watch. Why should he have been murdered? He was not clever enough to have enemies. Of course, he had a wonderful genius for painting. But a man can paint like Velasquez and yet be as dull as possible. Basil was really rather dull. He only interested me once, and that was when he told me, years ago, that he had a wild adoration for you and that you were the dominant motive of his art." "I was very fond of Basil," said Dorian with a note of sadness in his voice. "But don't people say that he was murdered?" "Oh, some of the papers do. It does not seem to me to be at all probable. I know there are dreadful places in Paris, but Basil was not the sort of man to have gone to them. He had no curiosity. It was his chief defect." "What would you say, Harry, if I told you that I had murdered Basil?" said the younger man. He watched him intently after he had spoken. "I would say, my dear fellow, that you were posing for a character that doesn't suit you. All crime is vulgar, just as all vulgarity is crime. It is not in you, Dorian, to commit a murder. I am sorry if I hurt your vanity by saying so, but I assure you it is true. Crime belongs exclusively to the lower orders. I don't blame them in the smallest degree. I should fancy that crime was to them what art is to us, simply a method of procuring extraordinary sensations." "A method of procuring sensations? Do you think, then, that a man who has once committed a murder could possibly do the same crime again? Don't tell me that." "Oh! anything becomes a pleasure if one does it too often," cried Lord Henry, laughing. "That is one of the most important secrets of life. I should fancy, however, that murder is always a mistake. One should never do anything that one cannot talk about after dinner. But let us pass from poor Basil. I wish I could believe that he had come to such a really romantic end as you suggest, but I can't. I dare say he fell into the Seine off an omnibus and that the conductor hushed up the scandal. Yes: I should fancy that was his end. I see him lying now on his back under those dull-green waters, with the heavy barges floating over him and long weeds catching in his hair. Do you know, I don't think he would have done much more good work. During the last ten years his painting had gone off very much." Dorian heaved a sigh, and Lord Henry strolled across the room and began to stroke the head of a curious Java parrot, a large, grey-plumaged bird with pink crest and tail, that was balancing itself upon a bamboo perch. As his pointed fingers touched it, it dropped the white scurf of crinkled lids over black, glasslike eyes and began to sway backwards and forwards. "Yes," he continued, turning round and taking his handkerchief out of his pocket; "his painting had quite gone off. It seemed to me to have lost something. It had lost an ideal. When you and he ceased to be great friends, he ceased to be a great artist. What was it separated you? I suppose he bored you. If so, he never forgave you. It's a habit bores have. By the way, what has become of that wonderful portrait he did of you? I don't think I have ever seen it since he finished it. Oh! I remember your telling me years ago that you had sent it down to Selby, and that it had got mislaid or stolen on the way. You never got it back? What a pity! it was really a masterpiece. I remember I wanted to buy it. I wish I had now. It belonged to Basil's best period. Since then, his work was that curious mixture of bad painting and good intentions that always entitles a man to be called a representative British artist. Did you advertise for it? You should." "I forget," said Dorian. "I suppose I did. But I never really liked it. I am sorry I sat for it. The memory of the thing is hateful to me. Why do you talk of it? It used to remind me of those curious lines in some play--Hamlet, I think--how do they run?-- "Like the painting of a sorrow, A face without a heart." Yes: that is what it was like." Lord Henry laughed. "If a man treats life artistically, his brain is his heart," he answered, sinking into an arm-chair. Dorian Gray shook his head and struck some soft chords on the piano. "'Like the painting of a sorrow,'" he repeated, "'a face without a heart.'" The elder man lay back and looked at him with half-closed eyes. "By the way, Dorian," he said after a pause, "'what does it profit a man if he gain the whole world and lose--how does the quotation run?--his own soul'?" The music jarred, and Dorian Gray started and stared at his friend. "Why do you ask me that, Harry?" "My dear fellow," said Lord Henry, elevating his eyebrows in surprise, "I asked you because I thought you might be able to give me an answer. That is all. I was going through the park last Sunday, and close by the Marble Arch there stood a little crowd of shabby-looking people listening to some vulgar street-preacher. As I passed by, I heard the man yelling out that question to his audience. It struck me as being rather dramatic. London is very rich in curious effects of that kind. A wet Sunday, an uncouth Christian in a mackintosh, a ring of sickly white faces under a broken roof of dripping umbrellas, and a wonderful phrase flung into the air by shrill hysterical lips--it was really very good in its way, quite a suggestion. I thought of telling the prophet that art had a soul, but that man had not. I am afraid, however, he would not have understood me." "Don't, Harry. The soul is a terrible reality. It can be bought, and sold, and bartered away. It can be poisoned, or made perfect. There is a soul in each one of us. I know it." "Do you feel quite sure of that, Dorian?" "Quite sure." "Ah! then it must be an illusion. The things one feels absolutely certain about are never true. That is the fatality of faith, and the lesson of romance. How grave you are! Don't be so serious. What have you or I to do with the superstitions of our age? No: we have given up our belief in the soul. Play me something. Play me a nocturne, Dorian, and, as you play, tell me, in a low voice, how you have kept your youth. You must have some secret. I am only ten years older than you are, and I am wrinkled, and worn, and yellow. You are really wonderful, Dorian. You have never looked more charming than you do to-night. You remind me of the day I saw you first. You were rather cheeky, very shy, and absolutely extraordinary. You have changed, of course, but not in appearance. I wish you would tell me your secret. To get back my youth I would do anything in the world, except take exercise, get up early, or be respectable. Youth! There is nothing like it. It's absurd to talk of the ignorance of youth. The only people to whose opinions I listen now with any respect are people much younger than myself. They seem in front of me. Life has revealed to them her latest wonder. As for the aged, I always contradict the aged. I do it on principle. If you ask them their opinion on something that happened yesterday, they solemnly give you the opinions current in 1820, when people wore high stocks, believed in everything, and knew absolutely nothing. How lovely that thing you are playing is! I wonder, did Chopin write it at Majorca, with the sea weeping round the villa and the salt spray dashing against the panes? It is marvellously romantic. What a blessing it is that there is one art left to us that is not imitative! Don't stop. I want music to-night. It seems to me that you are the young Apollo and that I am Marsyas listening to you. I have sorrows, Dorian, of my own, that even you know nothing of. The tragedy of old age is not that one is old, but that one is young. I am amazed sometimes at my own sincerity. Ah, Dorian, how happy you are! What an exquisite life you have had! You have drunk deeply of everything. You have crushed the grapes against your palate. Nothing has been hidden from you. And it has all been to you no more than the sound of music. It has not marred you. You are still the same." "I am not the same, Harry." "Yes, you are the same. I wonder what the rest of your life will be. Don't spoil it by renunciations. At present you are a perfect type. Don't make yourself incomplete. You are quite flawless now. You need not shake your head: you know you are. Besides, Dorian, don't deceive yourself. Life is not governed by will or intention. Life is a question of nerves, and fibres, and slowly built-up cells in which thought hides itself and passion has its dreams. You may fancy yourself safe and think yourself strong. But a chance tone of colour in a room or a morning sky, a particular perfume that you had once loved and that brings subtle memories with it, a line from a forgotten poem that you had come across again, a cadence from a piece of music that you had ceased to play--I tell you, Dorian, that it is on things like these that our lives depend. Browning writes about that somewhere; but our own senses will imagine them for us. There are moments when the odour of _lilas blanc_ passes suddenly across me, and I have to live the strangest month of my life over again. I wish I could change places with you, Dorian. The world has cried out against us both, but it has always worshipped you. It always will worship you. You are the type of what the age is searching for, and what it is afraid it has found. I am so glad that you have never done anything, never carved a statue, or painted a picture, or produced anything outside of yourself! Life has been your art. You have set yourself to music. Your days are your sonnets." Dorian rose up from the piano and passed his hand through his hair. "Yes, life has been exquisite," he murmured, "but I am not going to have the same life, Harry. And you must not say these extravagant things to me. You don't know everything about me. I think that if you did, even you would turn from me. You laugh. Don't laugh." "Why have you stopped playing, Dorian? Go back and give me the nocturne over again. Look at that great, honey-coloured moon that hangs in the dusky air. She is waiting for you to charm her, and if you play she will come closer to the earth. You won't? Let us go to the club, then. It has been a charming evening, and we must end it charmingly. There is some one at White's who wants immensely to know you--young Lord Poole, Bournemouth's eldest son. He has already copied your neckties, and has begged me to introduce him to you. He is quite delightful and rather reminds me of you." "I hope not," said Dorian with a sad look in his eyes. "But I am tired to-night, Harry. I shan't go to the club. It is nearly eleven, and I want to go to bed early." "Do stay. You have never played so well as to-night. There was something in your touch that was wonderful. It had more expression than I had ever heard from it before." "It is because I am going to be good," he answered, smiling. "I am a little changed already." "You cannot change to me, Dorian," said Lord Henry. "You and I will always be friends." "Yet you poisoned me with a book once. I should not forgive that. Harry, promise me that you will never lend that book to any one. It does harm." "My dear boy, you are really beginning to moralize. You will soon be going about like the converted, and the revivalist, warning people against all the sins of which you have grown tired. You are much too delightful to do that. Besides, it is no use. You and I are what we are, and will be what we will be. As for being poisoned by a book, there is no such thing as that. Art has no influence upon action. It annihilates the desire to act. It is superbly sterile. The books that the world calls immoral are books that show the world its own shame. That is all. But we won't discuss literature. Come round to-morrow. I am going to ride at eleven. We might go together, and I will take you to lunch afterwards with Lady Branksome. She is a charming woman, and wants to consult you about some tapestries she is thinking of buying. Mind you come. Or shall we lunch with our little duchess? She says she never sees you now. Perhaps you are tired of Gladys? I thought you would be. Her clever tongue gets on one's nerves. Well, in any case, be here at eleven." "Must I really come, Harry?" "Certainly. The park is quite lovely now. I don't think there have been such lilacs since the year I met you." "Very well. I shall be here at eleven," said Dorian. "Good night, Harry." As he reached the door, he hesitated for a moment, as if he had something more to say. Then he sighed and went out.

Chapter 19

https://web.archive.org/web/20210304030722/https://www.shmoop.com/study-guides/literature/picture-dorian-gray/summary/chapter-19

This whole James Vane incident seems to have shaken Dorian significantly. Back in London, he informs Lord Henry that he's going to become a good person again. Henry doesn't believe it, nor does he think Dorian should change at all. In his view, his friend is perfect. For about the thousandth time, we think about how warped Lord Henry is. Apparently, the day before, Dorian was staying out in the countryside by himself, and Henry comments that it's a lot easier to be good out there, since there's nothing to do. Dorian continues, saying that he's altered . Lord Henry demands to know what Dorian's done that's so great. Dorian tells Henry about a young girl that he met and fell in love with in the countryside. She reminded him of Sibyl Vane, and she totally fell for him. However, instead of corrupting her and destroying her life, he decided to let her go--he leaves her in her innocent state. Dorian thinks this good deed is enough to set him on the path to righteousness, despite Henry's doubts. Lord Henry continues to mock Dorian's fantasies. Dorian abruptly changes the subject, and asks Henry what's going on around town. Apparently, the gossip around their club is all about Basil--people are still discussing his disappearance. We also hear in passing that Alan Campbell committed suicide . Dorian plays it cool, and asks Henry what he thinks happened to Basil; Lord Henry's basically like, "Screw Basil! Listen to me talk about my life." But Dorian doesn't want to let it go. He asks Henry if he's ever wondered if Basil was murdered--or, for that matter, if anyone else thinks that. Henry's just not that concerned; besides, he doesn't think Basil was interesting enough to get himself murdered. Dorian asks an interesting hypothetical question: what would Henry think if he said that he had killed Basil? Henry basically laughs this off, too, saying that crime is for the lower classes. He honestly just doesn't care, and even jokes that Basil probably drowned in the river Seine. Since Basil's paintings haven't been that great lately, Henry doesn't think there's anything to be sad about. Henry brings up the portrait, which he identifies as one of Basil's great works. Apparently Dorian told him that it was either lost or stolen. They discuss the painting a bit more, and Dorian confesses that he never liked it . Lord Henry changes the topic slightly to souls--what might it be like to sell one's soul? Little does he know that he's talking to the one person who knows... Dorian tells Henry that that he's sure that everyone has a soul, for better or worse. Languidly, Henry asks Dorian to play some Chopin on the piano. As Dorian plays, Henry muses at length about Dorian's youth and beauty, and his own lost youth. He tells Dorian that he's led an amazing, full life, and mistakenly praises him for still being the same. Dorian corrects him, saying that he's not the same, but Henry doesn't believe it. He thinks that Dorian is perfect. Henry goes on, saying that Dorian has always been loved by the world, even when it denounced him; he says that Dorian is the ideal of their time, and that, though he's never created anything, his whole life has been art. Dorian stops playing and tells Henry again that things are going to be different from now on. He resists Henry's praise of him. After insisting that he's going to change, Dorian reminds Lord Henry that the older man poisoned him with the yellow book, all those years ago. Henry doesn't buy it, saying that art doesn't influence real life. Dorian says his goodbyes and extricates himself from Henry, after wearily promising to see him the next day.

gradesaver

all_chapterized_books/161-chapters/39.txt

finished_summaries/gradesaver/Sense and Sensibility/section_3_part_9.txt

Sense and Sensibility.chapter 39

chapter 39

{"name": "Chapter 39", "url": "https://web.archive.org/web/20210419170735/https://www.gradesaver.com/sense-and-sensibility/study-guide/summary-chapters-31-40", "summary": "Marianne is desperate to finally be gone from London; but they are to stay until they go to the Palmers' with Mrs. Jennings, which is part of the way home from London. Marianne refuses to go there, however, because of the proximity to Willoughby's estate, although Elinor convinces her that this is the best plan. Mrs. Jennings is convinced by an overheard conversation between Elinor and the Colonel that they will soon be a match; but, their conversation has nothing to do with themselves, but rather Edward's difficult situation. The Colonel, although he barely knows Edward, generously offers the parish at Delaford to him, though it will hardly enable him to marry; Elinor is to convey the offer to Edward, to see if he will accept.", "analysis": "Despite Elinor and the Colonel's friendship, it seems quite obvious at this point that they will not become a couple, although ironically, they are considered to be almost betrothed by many. Ironically, the conversation they have is not about themselves, as Mrs. Jennings figures it is, but about Edward, despite the fact that the Colonel is little acquainted with him. The Colonel's generous, good spirit is again demonstrated through his concern for Edward. Even more of an irony is that Elinor is to offer Edward some means for him to get married, when she is the last person who wishes this to happen"}

The Miss Dashwoods had now been rather more than two months in town, and Marianne's impatience to be gone increased every day. She sighed for the air, the liberty, the quiet of the country; and fancied that if any place could give her ease, Barton must do it. Elinor was hardly less anxious than herself for their removal, and only so much less bent on its being effected immediately, as that she was conscious of the difficulties of so long a journey, which Marianne could not be brought to acknowledge. She began, however, seriously to turn her thoughts towards its accomplishment, and had already mentioned their wishes to their kind hostess, who resisted them with all the eloquence of her good-will, when a plan was suggested, which, though detaining them from home yet a few weeks longer, appeared to Elinor altogether much more eligible than any other. The Palmers were to remove to Cleveland about the end of March, for the Easter holidays; and Mrs. Jennings, with both her friends, received a very warm invitation from Charlotte to go with them. This would not, in itself, have been sufficient for the delicacy of Miss Dashwood;--but it was inforced with so much real politeness by Mr. Palmer himself, as, joined to the very great amendment of his manners towards them since her sister had been known to be unhappy, induced her to accept it with pleasure. When she told Marianne what she had done, however, her first reply was not very auspicious. "Cleveland!"--she cried, with great agitation. "No, I cannot go to Cleveland."-- "You forget," said Elinor gently, "that its situation is not...that it is not in the neighbourhood of..." "But it is in Somersetshire.--I cannot go into Somersetshire.--There, where I looked forward to going...No, Elinor, you cannot expect me to go there." Elinor would not argue upon the propriety of overcoming such feelings;--she only endeavoured to counteract them by working on others;--represented it, therefore, as a measure which would fix the time of her returning to that dear mother, whom she so much wished to see, in a more eligible, more comfortable manner, than any other plan could do, and perhaps without any greater delay. From Cleveland, which was within a few miles of Bristol, the distance to Barton was not beyond one day, though a long day's journey; and their mother's servant might easily come there to attend them down; and as there could be no occasion of their staying above a week at Cleveland, they might now be at home in little more than three weeks' time. As Marianne's affection for her mother was sincere, it must triumph with little difficulty, over the imaginary evils she had started. Mrs. Jennings was so far from being weary of her guests, that she pressed them very earnestly to return with her again from Cleveland. Elinor was grateful for the attention, but it could not alter her design; and their mother's concurrence being readily gained, every thing relative to their return was arranged as far as it could be;--and Marianne found some relief in drawing up a statement of the hours that were yet to divide her from Barton. "Ah! Colonel, I do not know what you and I shall do without the Miss Dashwoods;"--was Mrs. Jennings's address to him when he first called on her, after their leaving her was settled--"for they are quite resolved upon going home from the Palmers;--and how forlorn we shall be, when I come back!--Lord! we shall sit and gape at one another as dull as two cats." Perhaps Mrs. Jennings was in hopes, by this vigorous sketch of their future ennui, to provoke him to make that offer, which might give himself an escape from it;--and if so, she had soon afterwards good reason to think her object gained; for, on Elinor's moving to the window to take more expeditiously the dimensions of a print, which she was going to copy for her friend, he followed her to it with a look of particular meaning, and conversed with her there for several minutes. The effect of his discourse on the lady too, could not escape her observation, for though she was too honorable to listen, and had even changed her seat, on purpose that she might NOT hear, to one close by the piano forte on which Marianne was playing, she could not keep herself from seeing that Elinor changed colour, attended with agitation, and was too intent on what he said to pursue her employment.-- Still farther in confirmation of her hopes, in the interval of Marianne's turning from one lesson to another, some words of the Colonel's inevitably reached her ear, in which he seemed to be apologising for the badness of his house. This set the matter beyond a doubt. She wondered, indeed, at his thinking it necessary to do so; but supposed it to be the proper etiquette. What Elinor said in reply she could not distinguish, but judged from the motion of her lips, that she did not think THAT any material objection;--and Mrs. Jennings commended her in her heart for being so honest. They then talked on for a few minutes longer without her catching a syllable, when another lucky stop in Marianne's performance brought her these words in the Colonel's calm voice,-- "I am afraid it cannot take place very soon." Astonished and shocked at so unlover-like a speech, she was almost ready to cry out, "Lord! what should hinder it?"--but checking her desire, confined herself to this silent ejaculation. "This is very strange!--sure he need not wait to be older." This delay on the Colonel's side, however, did not seem to offend or mortify his fair companion in the least, for on their breaking up the conference soon afterwards, and moving different ways, Mrs. Jennings very plainly heard Elinor say, and with a voice which shewed her to feel what she said, "I shall always think myself very much obliged to you." Mrs. Jennings was delighted with her gratitude, and only wondered that after hearing such a sentence, the Colonel should be able to take leave of them, as he immediately did, with the utmost sang-froid, and go away without making her any reply!--She had not thought her old friend could have made so indifferent a suitor. What had really passed between them was to this effect. "I have heard," said he, with great compassion, "of the injustice your friend Mr. Ferrars has suffered from his family; for if I understand the matter right, he has been entirely cast off by them for persevering in his engagement with a very deserving young woman.-- Have I been rightly informed?--Is it so?--" Elinor told him that it was. "The cruelty, the impolitic cruelty,"--he replied, with great feeling,--"of dividing, or attempting to divide, two young people long attached to each other, is terrible.-- Mrs. Ferrars does not know what she may be doing--what she may drive her son to. I have seen Mr. Ferrars two or three times in Harley Street, and am much pleased with him. He is not a young man with whom one can be intimately acquainted in a short time, but I have seen enough of him to wish him well for his own sake, and as a friend of yours, I wish it still more. I understand that he intends to take orders. Will you be so good as to tell him that the living of Delaford, now just vacant, as I am informed by this day's post, is his, if he think it worth his acceptance--but THAT, perhaps, so unfortunately circumstanced as he is now, it may be nonsense to appear to doubt; I only wish it were more valuable.-- It is a rectory, but a small one; the late incumbent, I believe, did not make more than 200 L per annum, and though it is certainly capable of improvement, I fear, not to such an amount as to afford him a very comfortable income. Such as it is, however, my pleasure in presenting it to him, will be very great. Pray assure him of it." Elinor's astonishment at this commission could hardly have been greater, had the Colonel been really making her an offer of his hand. The preferment, which only two days before she had considered as hopeless for Edward, was already provided to enable him to marry;--and SHE, of all people in the world, was fixed on to bestow it!--Her emotion was such as Mrs. Jennings had attributed to a very different cause;--but whatever minor feelings less pure, less pleasing, might have a share in that emotion, her esteem for the general benevolence, and her gratitude for the particular friendship, which together prompted Colonel Brandon to this act, were strongly felt, and warmly expressed. She thanked him for it with all her heart, spoke of Edward's principles and disposition with that praise which she knew them to deserve; and promised to undertake the commission with pleasure, if it were really his wish to put off so agreeable an office to another. But at the same time, she could not help thinking that no one could so well perform it as himself. It was an office in short, from which, unwilling to give Edward the pain of receiving an obligation from HER, she would have been very glad to be spared herself;-- but Colonel Brandon, on motives of equal delicacy, declining it likewise, still seemed so desirous of its being given through her means, that she would not on any account make farther opposition. Edward, she believed, was still in town, and fortunately she had heard his address from Miss Steele. She could undertake therefore to inform him of it, in the course of the day. After this had been settled, Colonel Brandon began to talk of his own advantage in securing so respectable and agreeable a neighbour, and THEN it was that he mentioned with regret, that the house was small and indifferent;--an evil which Elinor, as Mrs. Jennings had supposed her to do, made very light of, at least as far as regarded its size. "The smallness of the house," said she, "I cannot imagine any inconvenience to them, for it will be in proportion to their family and income." By which the Colonel was surprised to find that SHE was considering Mr. Ferrars's marriage as the certain consequence of the presentation; for he did not suppose it possible that Delaford living could supply such an income, as anybody in his style of life would venture to settle on--and he said so. "This little rectory CAN do no more than make Mr. Ferrars comfortable as a bachelor; it cannot enable him to marry. I am sorry to say that my patronage ends with this; and my interest is hardly more extensive. If, however, by an unforeseen chance it should be in my power to serve him farther, I must think very differently of him from what I now do, if I am not as ready to be useful to him then as I sincerely wish I could be at present. What I am now doing indeed, seems nothing at all, since it can advance him so little towards what must be his principal, his only object of happiness. His marriage must still be a distant good;--at least, I am afraid it cannot take place very soon.--" Such was the sentence which, when misunderstood, so justly offended the delicate feelings of Mrs. Jennings; but after this narration of what really passed between Colonel Brandon and Elinor, while they stood at the window, the gratitude expressed by the latter on their parting, may perhaps appear in general, not less reasonably excited, nor less properly worded than if it had arisen from an offer of marriage.

Chapter 39

https://web.archive.org/web/20210419170735/https://www.gradesaver.com/sense-and-sensibility/study-guide/summary-chapters-31-40

Marianne is desperate to finally be gone from London; but they are to stay until they go to the Palmers' with Mrs. Jennings, which is part of the way home from London. Marianne refuses to go there, however, because of the proximity to Willoughby's estate, although Elinor convinces her that this is the best plan. Mrs. Jennings is convinced by an overheard conversation between Elinor and the Colonel that they will soon be a match; but, their conversation has nothing to do with themselves, but rather Edward's difficult situation. The Colonel, although he barely knows Edward, generously offers the parish at Delaford to him, though it will hardly enable him to marry; Elinor is to convey the offer to Edward, to see if he will accept.

Despite Elinor and the Colonel's friendship, it seems quite obvious at this point that they will not become a couple, although ironically, they are considered to be almost betrothed by many. Ironically, the conversation they have is not about themselves, as Mrs. Jennings figures it is, but about Edward, despite the fact that the Colonel is little acquainted with him. The Colonel's generous, good spirit is again demonstrated through his concern for Edward. Even more of an irony is that Elinor is to offer Edward some means for him to get married, when she is the last person who wishes this to happen

novelguide

all_chapterized_books/161-chapters/04.txt

finished_summaries/novelguide/Sense and Sensibility/section_1_part_4.txt

Sense and Sensibility.chapter iv

chapter iv

{"name": "Chapter IV", "url": "https://web.archive.org/web/20201020004256/https://www.novelguide.com/sense-and-sensibility/summaries/volume1-chapter1-11", "summary": "Elinor and Marianne discuss Edward. Elinor admits that she respects and likes him, but is unwilling to say the word \"love\" until she knows that he feels the same. Marianne indignantly accuses her of cold-heartedness. Elinor points out that Edward is not independent of his mother, and she suspects that Mrs. Ferrars wants him to marry a rich or high-ranking woman. Marianne is amazed to hear that Edward and Elinor are not already engaged. Fanny Dashwood notices her brother's liking for Elinor and warns Mrs. Dashwood that Mrs. Ferrars expects a prosperous match for Edward. Mrs. Dashwood is so offended by Fanny's rudeness that she is delighted to receive a letter from a distant relative, Sir John Middleton, offering at a reasonable rent a house called Barton Cottage on his estate in Devonshire. Mrs. Dashwood immediately accepts the offer", "analysis": ""}

"What a pity it is, Elinor," said Marianne, "that Edward should have no taste for drawing." "No taste for drawing!" replied Elinor, "why should you think so? He does not draw himself, indeed, but he has great pleasure in seeing the performances of other people, and I assure you he is by no means deficient in natural taste, though he has not had opportunities of improving it. Had he ever been in the way of learning, I think he would have drawn very well. He distrusts his own judgment in such matters so much, that he is always unwilling to give his opinion on any picture; but he has an innate propriety and simplicity of taste, which in general direct him perfectly right." Marianne was afraid of offending, and said no more on the subject; but the kind of approbation which Elinor described as excited in him by the drawings of other people, was very far from that rapturous delight, which, in her opinion, could alone be called taste. Yet, though smiling within herself at the mistake, she honoured her sister for that blind partiality to Edward which produced it. "I hope, Marianne," continued Elinor, "you do not consider him as deficient in general taste. Indeed, I think I may say that you cannot, for your behaviour to him is perfectly cordial, and if THAT were your opinion, I am sure you could never be civil to him." Marianne hardly knew what to say. She would not wound the feelings of her sister on any account, and yet to say what she did not believe was impossible. At length she replied: "Do not be offended, Elinor, if my praise of him is not in every thing equal to your sense of his merits. I have not had so many opportunities of estimating the minuter propensities of his mind, his inclinations and tastes, as you have; but I have the highest opinion in the world of his goodness and sense. I think him every thing that is worthy and amiable." "I am sure," replied Elinor, with a smile, "that his dearest friends could not be dissatisfied with such commendation as that. I do not perceive how you could express yourself more warmly." Marianne was rejoiced to find her sister so easily pleased. "Of his sense and his goodness," continued Elinor, "no one can, I think, be in doubt, who has seen him often enough to engage him in unreserved conversation. The excellence of his understanding and his principles can be concealed only by that shyness which too often keeps him silent. You know enough of him to do justice to his solid worth. But of his minuter propensities, as you call them you have from peculiar circumstances been kept more ignorant than myself. He and I have been at times thrown a good deal together, while you have been wholly engrossed on the most affectionate principle by my mother. I have seen a great deal of him, have studied his sentiments and heard his opinion on subjects of literature and taste; and, upon the whole, I venture to pronounce that his mind is well-informed, enjoyment of books exceedingly great, his imagination lively, his observation just and correct, and his taste delicate and pure. His abilities in every respect improve as much upon acquaintance as his manners and person. At first sight, his address is certainly not striking; and his person can hardly be called handsome, till the expression of his eyes, which are uncommonly good, and the general sweetness of his countenance, is perceived. At present, I know him so well, that I think him really handsome; or at least, almost so. What say you, Marianne?" "I shall very soon think him handsome, Elinor, if I do not now. When you tell me to love him as a brother, I shall no more see imperfection in his face, than I now do in his heart." Elinor started at this declaration, and was sorry for the warmth she had been betrayed into, in speaking of him. She felt that Edward stood very high in her opinion. She believed the regard to be mutual; but she required greater certainty of it to make Marianne's conviction of their attachment agreeable to her. She knew that what Marianne and her mother conjectured one moment, they believed the next--that with them, to wish was to hope, and to hope was to expect. She tried to explain the real state of the case to her sister. "I do not attempt to deny," said she, "that I think very highly of him--that I greatly esteem, that I like him." Marianne here burst forth with indignation-- "Esteem him! Like him! Cold-hearted Elinor! Oh! worse than cold-hearted! Ashamed of being otherwise. Use those words again, and I will leave the room this moment." Elinor could not help laughing. "Excuse me," said she; "and be assured that I meant no offence to you, by speaking, in so quiet a way, of my own feelings. Believe them to be stronger than I have declared; believe them, in short, to be such as his merit, and the suspicion--the hope of his affection for me may warrant, without imprudence or folly. But farther than this you must not believe. I am by no means assured of his regard for me. There are moments when the extent of it seems doubtful; and till his sentiments are fully known, you cannot wonder at my wishing to avoid any encouragement of my own partiality, by believing or calling it more than it is. In my heart I feel little--scarcely any doubt of his preference. But there are other points to be considered besides his inclination. He is very far from being independent. What his mother really is we cannot know; but, from Fanny's occasional mention of her conduct and opinions, we have never been disposed to think her amiable; and I am very much mistaken if Edward is not himself aware that there would be many difficulties in his way, if he were to wish to marry a woman who had not either a great fortune or high rank." Marianne was astonished to find how much the imagination of her mother and herself had outstripped the truth. "And you really are not engaged to him!" said she. "Yet it certainly soon will happen. But two advantages will proceed from this delay. I shall not lose you so soon, and Edward will have greater opportunity of improving that natural taste for your favourite pursuit which must be so indispensably necessary to your future felicity. Oh! if he should be so far stimulated by your genius as to learn to draw himself, how delightful it would be!" Elinor had given her real opinion to her sister. She could not consider her partiality for Edward in so prosperous a state as Marianne had believed it. There was, at times, a want of spirits about him which, if it did not denote indifference, spoke of something almost as unpromising. A doubt of her regard, supposing him to feel it, need not give him more than inquietude. It would not be likely to produce that dejection of mind which frequently attended him. A more reasonable cause might be found in the dependent situation which forbade the indulgence of his affection. She knew that his mother neither behaved to him so as to make his home comfortable at present, nor to give him any assurance that he might form a home for himself, without strictly attending to her views for his aggrandizement. With such a knowledge as this, it was impossible for Elinor to feel easy on the subject. She was far from depending on that result of his preference of her, which her mother and sister still considered as certain. Nay, the longer they were together the more doubtful seemed the nature of his regard; and sometimes, for a few painful minutes, she believed it to be no more than friendship. But, whatever might really be its limits, it was enough, when perceived by his sister, to make her uneasy, and at the same time, (which was still more common,) to make her uncivil. She took the first opportunity of affronting her mother-in-law on the occasion, talking to her so expressively of her brother's great expectations, of Mrs. Ferrars's resolution that both her sons should marry well, and of the danger attending any young woman who attempted to DRAW HIM IN; that Mrs. Dashwood could neither pretend to be unconscious, nor endeavor to be calm. She gave her an answer which marked her contempt, and instantly left the room, resolving that, whatever might be the inconvenience or expense of so sudden a removal, her beloved Elinor should not be exposed another week to such insinuations. In this state of her spirits, a letter was delivered to her from the post, which contained a proposal particularly well timed. It was the offer of a small house, on very easy terms, belonging to a relation of her own, a gentleman of consequence and property in Devonshire. The letter was from this gentleman himself, and written in the true spirit of friendly accommodation. He understood that she was in need of a dwelling; and though the house he now offered her was merely a cottage, he assured her that everything should be done to it which she might think necessary, if the situation pleased her. He earnestly pressed her, after giving the particulars of the house and garden, to come with her daughters to Barton Park, the place of his own residence, from whence she might judge, herself, whether Barton Cottage, for the houses were in the same parish, could, by any alteration, be made comfortable to her. He seemed really anxious to accommodate them and the whole of his letter was written in so friendly a style as could not fail of giving pleasure to his cousin; more especially at a moment when she was suffering under the cold and unfeeling behaviour of her nearer connections. She needed no time for deliberation or inquiry. Her resolution was formed as she read. The situation of Barton, in a county so far distant from Sussex as Devonshire, which, but a few hours before, would have been a sufficient objection to outweigh every possible advantage belonging to the place, was now its first recommendation. To quit the neighbourhood of Norland was no longer an evil; it was an object of desire; it was a blessing, in comparison of the misery of continuing her daughter-in-law's guest; and to remove for ever from that beloved place would be less painful than to inhabit or visit it while such a woman was its mistress. She instantly wrote Sir John Middleton her acknowledgment of his kindness, and her acceptance of his proposal; and then hastened to shew both letters to her daughters, that she might be secure of their approbation before her answer were sent. Elinor had always thought it would be more prudent for them to settle at some distance from Norland, than immediately amongst their present acquaintance. On THAT head, therefore, it was not for her to oppose her mother's intention of removing into Devonshire. The house, too, as described by Sir John, was on so simple a scale, and the rent so uncommonly moderate, as to leave her no right of objection on either point; and, therefore, though it was not a plan which brought any charm to her fancy, though it was a removal from the vicinity of Norland beyond her wishes, she made no attempt to dissuade her mother from sending a letter of acquiescence.

Chapter IV

https://web.archive.org/web/20201020004256/https://www.novelguide.com/sense-and-sensibility/summaries/volume1-chapter1-11

Elinor and Marianne discuss Edward. Elinor admits that she respects and likes him, but is unwilling to say the word "love" until she knows that he feels the same. Marianne indignantly accuses her of cold-heartedness. Elinor points out that Edward is not independent of his mother, and she suspects that Mrs. Ferrars wants him to marry a rich or high-ranking woman. Marianne is amazed to hear that Edward and Elinor are not already engaged. Fanny Dashwood notices her brother's liking for Elinor and warns Mrs. Dashwood that Mrs. Ferrars expects a prosperous match for Edward. Mrs. Dashwood is so offended by Fanny's rudeness that she is delighted to receive a letter from a distant relative, Sir John Middleton, offering at a reasonable rent a house called Barton Cottage on his estate in Devonshire. Mrs. Dashwood immediately accepts the offer

gradesaver

all_chapterized_books/151-chapters/4.txt

finished_summaries/gradesaver/The Rime of the Ancient Mariner/section_3_part_0.txt

The Rime of the Ancient Mariner.part 4

part 4

{"name": "Part 4", "url": "https://web.archive.org/web/20210422155712/https://www.gradesaver.com/the-rime-of-the-ancient-mariner/study-guide/summary-part-4", "summary": "The Wedding Guest proclaims that he fears the Ancient Mariner because he is unnaturally skinny, so tanned and wrinkled that he resembles the sand, and possesses a \"glittering eye.\" The Ancient Mariner assures him that he has not returned from the dead; he is the only sailor who did not die on his ship, but rather drifted in lonely, scorching agony. His only living company was the plethora of \"slimy\" creatures in the ocean. He tried to pray, but could produce only a muffled curse. For seven days and nights the Ancient Mariner remained alone on the ship. The dead sailors, who miraculously did not rot, continued to curse him with their open eyes. Only the sight of beautiful water snakes frolicking beside the boat lifted the Ancient Mariner's spirits. They cheered him so much that he blessed them \"unawares\"; finally, he was able to pray. At that very moment, the Albatross fell off his neck and sank heavily into the ocean.", "analysis": "As the Ancient Mariner drifts on the ocean, the natural world becomes more threatening. His surroundings - the ship, the ocean, and the creatures within it - are \"rotting\" in the heat and sun, but he is the one who is rotten on the inside. Meanwhile the sailors' corpses refuse to rot, and their open eyes curse him continuously, giving the Ancient Mariner a visible manifestation of the living death that awaits him. He will age, but his body will never rot enough to release his soul; his eye will glitter forever with the horror of damnation. As the Ancient Mariner floats, he becomes delirious, unable to escape his overwhelming loneliness even by sleeping: \"I closed my lids, and kept them close, / And the balls like pulses beat; / For the sky and the sea, and the sea and the sky / Lay like a load on my weary eye...\" His depravity has even denied him the comfort of prayer. Ironically, it is the \"slimy\", \"rotten\" creatures themselves that finally comfort the Ancient Mariner and allow him to pray. Until this moment, Coleridge's imagery has underscored the overbearing nature of the Ancient Mariner's environment: it is hot, salty, pungent, and \"rotten.\" However, his surroundings - and the imagery that accompanies them - turn cool in the moonlight. Coleridge compares the moonlight to a gentle frost, connecting it to the serenity of the \"rime\": \" beams bemocked the sultry main, / Like April hoar-frost spread.\" Aglow in the moonlight, the sea creatures begin frolicking, rather than churning nastily; creatures of a beautiful, supernatural world, they \"moved in tracks of shining white, / And when they reared, the elfish light / Fell off in hoary flakes...I watched their rich attire; / Blue, glossy green, and velvet black, / They coiled and swam; and every track / Was a flash of golden fire.\" Whereas Coleridge's descriptions of the ghost ship, sun, and sailors are replete with spare, harsh imagery, he describes the water-snakes in decadent, lush terms. Only when the Ancient Mariner is able to appreciate the beauty of the natural world is he granted the ability to pray - and, it is implied, eventually redeem himself. Earlier in the work, the desiccated setting represented the Ancient Mariner's moral drought, but the moment he begins to view the natural world benevolently, his spiritual thirst is quenched: \"A spring of love gushed from my heart.\" As a sign that his burden has been lifted, the Albatross - the burden of sin - falls from his neck: it is no longer his cross to bear."}

PART THE FOURTH. "I fear thee, ancient Mariner! I fear thy skinny hand! And thou art long, and lank, and brown, As is the ribbed sea-sand. "I fear thee and thy glittering eye, And thy skinny hand, so brown."-- Fear not, fear not, thou Wedding-Guest! This body dropt not down. Alone, alone, all, all alone, Alone on a wide wide sea! And never a saint took pity on My soul in agony. The many men, so beautiful! And they all dead did lie: And a thousand thousand slimy things Lived on; and so did I. I looked upon the rotting sea, And drew my eyes away; I looked upon the rotting deck, And there the dead men lay. I looked to Heaven, and tried to pray: But or ever a prayer had gusht, A wicked whisper came, and made my heart as dry as dust. I closed my lids, and kept them close, And the balls like pulses beat; For the sky and the sea, and the sea and the sky Lay like a load on my weary eye, And the dead were at my feet. The cold sweat melted from their limbs, Nor rot nor reek did they: The look with which they looked on me Had never passed away. An orphan's curse would drag to Hell A spirit from on high; But oh! more horrible than that Is a curse in a dead man's eye! Seven days, seven nights, I saw that curse, And yet I could not die. The moving Moon went up the sky, And no where did abide: Softly she was going up, And a star or two beside. Her beams bemocked the sultry main, Like April hoar-frost spread; But where the ship's huge shadow lay, The charmed water burnt alway A still and awful red. Beyond the shadow of the ship, I watched the water-snakes: They moved in tracks of shining white, And when they reared, the elfish light Fell off in hoary flakes. Within the shadow of the ship I watched their rich attire: Blue, glossy green, and velvet black, They coiled and swam; and every track Was a flash of golden fire. O happy living things! no tongue Their beauty might declare: A spring of love gushed from my heart, And I blessed them unaware: Sure my kind saint took pity on me, And I blessed them unaware. The self same moment I could pray; And from my neck so free The Albatross fell off, and sank Like lead into the sea.

Part 4

https://web.archive.org/web/20210422155712/https://www.gradesaver.com/the-rime-of-the-ancient-mariner/study-guide/summary-part-4

The Wedding Guest proclaims that he fears the Ancient Mariner because he is unnaturally skinny, so tanned and wrinkled that he resembles the sand, and possesses a "glittering eye." The Ancient Mariner assures him that he has not returned from the dead; he is the only sailor who did not die on his ship, but rather drifted in lonely, scorching agony. His only living company was the plethora of "slimy" creatures in the ocean. He tried to pray, but could produce only a muffled curse. For seven days and nights the Ancient Mariner remained alone on the ship. The dead sailors, who miraculously did not rot, continued to curse him with their open eyes. Only the sight of beautiful water snakes frolicking beside the boat lifted the Ancient Mariner's spirits. They cheered him so much that he blessed them "unawares"; finally, he was able to pray. At that very moment, the Albatross fell off his neck and sank heavily into the ocean.

As the Ancient Mariner drifts on the ocean, the natural world becomes more threatening. His surroundings - the ship, the ocean, and the creatures within it - are "rotting" in the heat and sun, but he is the one who is rotten on the inside. Meanwhile the sailors' corpses refuse to rot, and their open eyes curse him continuously, giving the Ancient Mariner a visible manifestation of the living death that awaits him. He will age, but his body will never rot enough to release his soul; his eye will glitter forever with the horror of damnation. As the Ancient Mariner floats, he becomes delirious, unable to escape his overwhelming loneliness even by sleeping: "I closed my lids, and kept them close, / And the balls like pulses beat; / For the sky and the sea, and the sea and the sky / Lay like a load on my weary eye..." His depravity has even denied him the comfort of prayer. Ironically, it is the "slimy", "rotten" creatures themselves that finally comfort the Ancient Mariner and allow him to pray. Until this moment, Coleridge's imagery has underscored the overbearing nature of the Ancient Mariner's environment: it is hot, salty, pungent, and "rotten." However, his surroundings - and the imagery that accompanies them - turn cool in the moonlight. Coleridge compares the moonlight to a gentle frost, connecting it to the serenity of the "rime": " beams bemocked the sultry main, / Like April hoar-frost spread." Aglow in the moonlight, the sea creatures begin frolicking, rather than churning nastily; creatures of a beautiful, supernatural world, they "moved in tracks of shining white, / And when they reared, the elfish light / Fell off in hoary flakes...I watched their rich attire; / Blue, glossy green, and velvet black, / They coiled and swam; and every track / Was a flash of golden fire." Whereas Coleridge's descriptions of the ghost ship, sun, and sailors are replete with spare, harsh imagery, he describes the water-snakes in decadent, lush terms. Only when the Ancient Mariner is able to appreciate the beauty of the natural world is he granted the ability to pray - and, it is implied, eventually redeem himself. Earlier in the work, the desiccated setting represented the Ancient Mariner's moral drought, but the moment he begins to view the natural world benevolently, his spiritual thirst is quenched: "A spring of love gushed from my heart." As a sign that his burden has been lifted, the Albatross - the burden of sin - falls from his neck: it is no longer his cross to bear.

shmoop

all_chapterized_books/110-chapters/51.txt

finished_summaries/shmoop/Tess of the D'Urbervilles/section_49_part_0.txt

Tess of the D'Urbervilles.chapter 50

chapter 50

{"name": "Phase VI: \"The Convert,\" Chapter Fifty", "url": "https://web.archive.org/web/20210424232301/http://www.shmoop.com/study-guides/literature/tess-of-the-durbervilles/summary/chapter-50", "summary": "Tess walks all the way back to Marlott, and passes all the old scenes of her childhood on her way. She arrives in the middle of the night, and opens the door of the family house as quietly as she can so that she won't wake anybody up. The next morning, her father tells her of his bright idea to get money without having to work: he'll send a letter around to all the historians in the area, and ask them to contribute money to a fund to save the D'Urbervilles. He figures they'd be happy to do it, since the D'Urbervilles are such an important old family. Tess doesn't argue with him, but persuades him to start working in the garden so that they'll have something to eat that summer. She herself starts working in an additional garden plot that they rented from a landowner nearby. The extra plot has tough soil, and requires a lot of digging and weeding to get it ready for planting. Tess works on it every evening. After spending all day indoors taking care of her sick mother, it's a relief to work outside, even after dark. There are a lot of plots close together, and various other families work there in the evenings, too. One evening, Tess and 'Liza-Lu are working together at dusk. It's chilly, but there's enough warmth still in the air that they're happy to continue working. Tess sings to herself , and notices that a man working the plot next to theirs is slowly working his way closer to her. After a while, Tess realizes that it's Alec. Alec asks after her husband, and she bitterly answers that she doesn't have one. He then offers his help again, and again she refuses. He offers to help her family, and she refuses that, too. He leaves in a huff, and Tess is too agitated to continue working. When she gets home, the house is in an uproar--she assumes that her mother must be dead, but their mother is on the mend. It's their father. He died suddenly of a heart attack.", "analysis": ""}

She plunged into the chilly equinoctial darkness as the clock struck ten, for her fifteen miles' walk under the steely stars. In lonely districts night is a protection rather than a danger to a noiseless pedestrian, and knowing this, Tess pursued the nearest course along by-lanes that she would almost have feared in the day-time; but marauders were wanting now, and spectral fears were driven out of her mind by thoughts of her mother. Thus she proceeded mile after mile, ascending and descending till she came to Bulbarrow, and about midnight looked from that height into the abyss of chaotic shade which was all that revealed itself of the vale on whose further side she was born. Having already traversed about five miles on the upland, she had now some ten or eleven in the lowland before her journey would be finished. The winding road downwards became just visible to her under the wan starlight as she followed it, and soon she paced a soil so contrasting with that above it that the difference was perceptible to the tread and to the smell. It was the heavy clay land of Blackmoor Vale, and a part of the Vale to which turnpike-roads had never penetrated. Superstitions linger longest on these heavy soils. Having once been forest, at this shadowy time it seemed to assert something of its old character, the far and the near being blended, and every tree and tall hedge making the most of its presence. The harts that had been hunted here, the witches that had been pricked and ducked, the green-spangled fairies that "whickered" at you as you passed;--the place teemed with beliefs in them still, and they formed an impish multitude now. At Nuttlebury she passed the village inn, whose sign creaked in response to the greeting of her footsteps, which not a human soul heard but herself. Under the thatched roofs her mind's eye beheld relaxed tendons and flaccid muscles, spread out in the darkness beneath coverlets made of little purple patchwork squares, and undergoing a bracing process at the hands of sleep for renewed labour on the morrow, as soon as a hint of pink nebulosity appeared on Hambledon Hill. At three she turned the last corner of the maze of lanes she had threaded, and entered Marlott, passing the field in which as a club-girl she had first seen Angel Clare, when he had not danced with her; the sense of disappointment remained with her yet. In the direction of her mother's house she saw a light. It came from the bedroom window, and a branch waved in front of it and made it wink at her. As soon as she could discern the outline of the house--newly thatched with her money--it had all its old effect upon Tess's imagination. Part of her body and life it ever seemed to be; the slope of its dormers, the finish of its gables, the broken courses of brick which topped the chimney, all had something in common with her personal character. A stupefaction had come into these features, to her regard; it meant the illness of her mother. She opened the door so softly as to disturb nobody; the lower room was vacant, but the neighbour who was sitting up with her mother came to the top of the stairs, and whispered that Mrs Durbeyfield was no better, though she was sleeping just then. Tess prepared herself a breakfast, and then took her place as nurse in her mother's chamber. In the morning, when she contemplated the children, they had all a curiously elongated look; although she had been away little more than a year, their growth was astounding; and the necessity of applying herself heart and soul to their needs took her out of her own cares. Her father's ill-health was the same indefinite kind, and he sat in his chair as usual. But the day after her arrival he was unusually bright. He had a rational scheme for living, and Tess asked him what it was. "I'm thinking of sending round to all the old antiqueerians in this part of England," he said, "asking them to subscribe to a fund to maintain me. I'm sure they'd see it as a romantical, artistical, and proper thing to do. They spend lots o' money in keeping up old ruins, and finding the bones o' things, and such like; and living remains must be more interesting to 'em still, if they only knowed of me. Would that somebody would go round and tell 'em what there is living among 'em, and they thinking nothing of him! If Pa'son Tringham, who discovered me, had lived, he'd ha' done it, I'm sure." Tess postponed her arguments on this high project till she had grappled with pressing matters in hand, which seemed little improved by her remittances. When indoor necessities had been eased, she turned her attention to external things. It was now the season for planting and sowing; many gardens and allotments of the villagers had already received their spring tillage; but the garden and the allotment of the Durbeyfields were behindhand. She found, to her dismay, that this was owing to their having eaten all the seed potatoes,--that last lapse of the improvident. At the earliest moment she obtained what others she could procure, and in a few days her father was well enough to see to the garden, under Tess's persuasive efforts: while she herself undertook the allotment-plot which they rented in a field a couple of hundred yards out of the village. She liked doing it after the confinement of the sick chamber, where she was not now required by reason of her mother's improvement. Violent motion relieved thought. The plot of ground was in a high, dry, open enclosure, where there were forty or fifty such pieces, and where labour was at its briskest when the hired labour of the day had ended. Digging began usually at six o'clock and extended indefinitely into the dusk or moonlight. Just now heaps of dead weeds and refuse were burning on many of the plots, the dry weather favouring their combustion. One fine day Tess and 'Liza-Lu worked on here with their neighbours till the last rays of the sun smote flat upon the white pegs that divided the plots. As soon as twilight succeeded to sunset the flare of the couch-grass and cabbage-stalk fires began to light up the allotments fitfully, their outlines appearing and disappearing under the dense smoke as wafted by the wind. When a fire glowed, banks of smoke, blown level along the ground, would themselves become illuminated to an opaque lustre, screening the workpeople from one another; and the meaning of the "pillar of a cloud", which was a wall by day and a light by night, could be understood. As evening thickened, some of the gardening men and women gave over for the night, but the greater number remained to get their planting done, Tess being among them, though she sent her sister home. It was on one of the couch-burning plots that she laboured with her fork, its four shining prongs resounding against the stones and dry clods in little clicks. Sometimes she was completely involved in the smoke of her fire; then it would leave her figure free, irradiated by the brassy glare from the heap. She was oddly dressed to-night, and presented a somewhat staring aspect, her attire being a gown bleached by many washings, with a short black jacket over it, the effect of the whole being that of a wedding and funeral guest in one. The women further back wore white aprons, which, with their pale faces, were all that could be seen of them in the gloom, except when at moments they caught a flash from the flames. Westward, the wiry boughs of the bare thorn hedge which formed the boundary of the field rose against the pale opalescence of the lower sky. Above, Jupiter hung like a full-blown jonquil, so bright as almost to throw a shade. A few small nondescript stars were appearing elsewhere. In the distance a dog barked, and wheels occasionally rattled along the dry road. Still the prongs continued to click assiduously, for it was not late; and though the air was fresh and keen there was a whisper of spring in it that cheered the workers on. Something in the place, the hours, the crackling fires, the fantastic mysteries of light and shade, made others as well as Tess enjoy being there. Nightfall, which in the frost of winter comes as a fiend and in the warmth of summer as a lover, came as a tranquillizer on this March day. Nobody looked at his or her companions. The eyes of all were on the soil as its turned surface was revealed by the fires. Hence as Tess stirred the clods and sang her foolish little songs with scarce now a hope that Clare would ever hear them, she did not for a long time notice the person who worked nearest to her--a man in a long smockfrock who, she found, was forking the same plot as herself, and whom she supposed her father had sent there to advance the work. She became more conscious of him when the direction of his digging brought him closer. Sometimes the smoke divided them; then it swerved, and the two were visible to each other but divided from all the rest. Tess did not speak to her fellow-worker, nor did he speak to her. Nor did she think of him further than to recollect that he had not been there when it was broad daylight, and that she did not know him as any one of the Marlott labourers, which was no wonder, her absences having been so long and frequent of late years. By-and-by he dug so close to her that the fire-beams were reflected as distinctly from the steel prongs of his fork as from her own. On going up to the fire to throw a pitch of dead weeds upon it, she found that he did the same on the other side. The fire flared up, and she beheld the face of d'Urberville. The unexpectedness of his presence, the grotesqueness of his appearance in a gathered smockfrock, such as was now worn only by the most old-fashioned of the labourers, had a ghastly comicality that chilled her as to its bearing. D'Urberville emitted a low, long laugh. "If I were inclined to joke, I should say, How much this seems like Paradise!" he remarked whimsically, looking at her with an inclined head. "What do you say?" she weakly asked. "A jester might say this is just like Paradise. You are Eve, and I am the old Other One come to tempt you in the disguise of an inferior animal. I used to be quite up in that scene of Milton's when I was theological. Some of it goes-- "'Empress, the way is ready, and not long, Beyond a row of myrtles... ... If thou accept My conduct, I can bring thee thither soon.' 'Lead then,' said Eve. "And so on. My dear Tess, I am only putting this to you as a thing that you might have supposed or said quite untruly, because you think so badly of me." "I never said you were Satan, or thought it. I don't think of you in that way at all. My thoughts of you are quite cold, except when you affront me. What, did you come digging here entirely because of me?" "Entirely. To see you; nothing more. The smockfrock, which I saw hanging for sale as I came along, was an afterthought, that I mightn't be noticed. I come to protest against your working like this." "But I like doing it--it is for my father." "Your engagement at the other place is ended?" "Yes." "Where are you going to next? To join your dear husband?" She could not bear the humiliating reminder. "O--I don't know!" she said bitterly. "I have no husband!" "It is quite true--in the sense you mean. But you have a friend, and I have determined that you shall be comfortable in spite of yourself. When you get down to your house you will see what I have sent there for you." "O, Alec, I wish you wouldn't give me anything at all! I cannot take it from you! I don't like--it is not right!" "It IS right!" he cried lightly. "I am not going to see a woman whom I feel so tenderly for as I do for you in trouble without trying to help her." "But I am very well off! I am only in trouble about--about--not about living at all!" She turned, and desperately resumed her digging, tears dripping upon the fork-handle and upon the clods. "About the children--your brothers and sisters," he resumed. "I've been thinking of them." Tess's heart quivered--he was touching her in a weak place. He had divined her chief anxiety. Since returning home her soul had gone out to those children with an affection that was passionate. "If your mother does not recover, somebody ought to do something for them; since your father will not be able to do much, I suppose?" "He can with my assistance. He must!" "And with mine." "No, sir!" "How damned foolish this is!" burst out d'Urberville. "Why, he thinks we are the same family; and will be quite satisfied!" "He don't. I've undeceived him." "The more fool you!" D'Urberville in anger retreated from her to the hedge, where he pulled off the long smockfrock which had disguised him; and rolling it up and pushing it into the couch-fire, went away. Tess could not get on with her digging after this; she felt restless; she wondered if he had gone back to her father's house; and taking the fork in her hand proceeded homewards. Some twenty yards from the house she was met by one of her sisters. "O, Tessy--what do you think! 'Liza-Lu is a-crying, and there's a lot of folk in the house, and mother is a good deal better, but they think father is dead!" The child realized the grandeur of the news; but not as yet its sadness, and stood looking at Tess with round-eyed importance till, beholding the effect produced upon her, she said-- "What, Tess, shan't we talk to father never no more?" "But father was only a little bit ill!" exclaimed Tess distractedly. 'Liza-Lu came up. "He dropped down just now, and the doctor who was there for mother said there was no chance for him, because his heart was growed in." Yes; the Durbeyfield couple had changed places; the dying one was out of danger, and the indisposed one was dead. The news meant even more than it sounded. Her father's life had a value apart from his personal achievements, or perhaps it would not have had much. It was the last of the three lives for whose duration the house and premises were held under a lease; and it had long been coveted by the tenant-farmer for his regular labourers, who were stinted in cottage accommodation. Moreover, "liviers" were disapproved of in villages almost as much as little freeholders, because of their independence of manner, and when a lease determined it was never renewed. Thus the Durbeyfields, once d'Urbervilles, saw descending upon them the destiny which, no doubt, when they were among the Olympians of the county, they had caused to descend many a time, and severely enough, upon the heads of such landless ones as they themselves were now. So do flux and reflux--the rhythm of change--alternate and persist in everything under the sky.

Phase VI: "The Convert," Chapter Fifty

https://web.archive.org/web/20210424232301/http://www.shmoop.com/study-guides/literature/tess-of-the-durbervilles/summary/chapter-50

Tess walks all the way back to Marlott, and passes all the old scenes of her childhood on her way. She arrives in the middle of the night, and opens the door of the family house as quietly as she can so that she won't wake anybody up. The next morning, her father tells her of his bright idea to get money without having to work: he'll send a letter around to all the historians in the area, and ask them to contribute money to a fund to save the D'Urbervilles. He figures they'd be happy to do it, since the D'Urbervilles are such an important old family. Tess doesn't argue with him, but persuades him to start working in the garden so that they'll have something to eat that summer. She herself starts working in an additional garden plot that they rented from a landowner nearby. The extra plot has tough soil, and requires a lot of digging and weeding to get it ready for planting. Tess works on it every evening. After spending all day indoors taking care of her sick mother, it's a relief to work outside, even after dark. There are a lot of plots close together, and various other families work there in the evenings, too. One evening, Tess and 'Liza-Lu are working together at dusk. It's chilly, but there's enough warmth still in the air that they're happy to continue working. Tess sings to herself , and notices that a man working the plot next to theirs is slowly working his way closer to her. After a while, Tess realizes that it's Alec. Alec asks after her husband, and she bitterly answers that she doesn't have one. He then offers his help again, and again she refuses. He offers to help her family, and she refuses that, too. He leaves in a huff, and Tess is too agitated to continue working. When she gets home, the house is in an uproar--she assumes that her mother must be dead, but their mother is on the mend. It's their father. He died suddenly of a heart attack.

cliffnotes

all_chapterized_books/107-chapters/30.txt

finished_summaries/cliffnotes/Far from the Madding Crowd/section_29_part_0.txt

Far from the Madding Crowd.chapter 30

chapter 30

{"name": "Chapter 30", "url": "https://web.archive.org/web/20201101052914/https://www.cliffsnotes.com/literature/f/far-from-the-madding-crowd/summary-and-analysis/chapter-30", "summary": "Despite her promise not to reject Boldwood before his return, Bathsheba could not wait. \"The farewell words of Troy, who had accompanied her to her very door, still lingered in her ears. He had bidden her adieu for two days, which were, so he stated, to be spent in Bath visiting some friends. He had also kissed her a second time.\" Restless and perturbed, Bathsheba impulsively wrote to Boldwood that she could not marry him. Taking the letter to the kitchen for one of the maids to mail, she overheard the servants gossiping about her latest romance. Furiously insisting that she hated Troy, but with the next breath defending him, she forbade their gossip. Alone with Liddy, Bathsheba confided her love, begging reassurance that all the stories circulating about Troy were not true. Eager to please her mistress, Liddy agreed with all her statements. Bathsheba turned on her: \"Mind this, Lydia Smallbury, if you repeat anywhere a single word of what I have said to you inside this closed door, I'll never trust you, or love you, or have you with me a moment longer -- not a moment!\" \"'I don't want to repeat anything,' said Liddy, with womanly dignity of a diminutive order; 'but I don't wish to stay with you. And, if you please, I'll go at the end of the harvest, or this week, or today . . . I don't see that I deserve to be put upon and stormed at for nothing!'\" Liddy's words led to a tearful reconciliation; she promised always to be Bathsheba's friend, shedding a few more tears \"not from any particular necessity, but from an artistic sense of making herself in keeping with the remainder of the picture.\"", "analysis": "Hardy's portrait of feminine frailty and women's weapons is not without humor. Bathsheba does not wish to think ill of Troy, does not want to believe the stories about him, and fights against the possibility of their truth. Liddy envies her mistress her femininity and her conquests. She is also proud of her position and dignity. Both girls enjoy having a good cry. They agree that \"God likes us to be good friends.\" Liddy assures her mistress that, while Bathsheba is a match for any man, she is not mannish. \"O no, not mannish; but so almighty womanish that 'tis getting on that way sometimes. I wish I had half your failing that way. 'Tis a great protection to a poor maid in these illegit'mate days!\""}

HOT CHEEKS AND TEARFUL EYES Half an hour later Bathsheba entered her own house. There burnt upon her face when she met the light of the candles the flush and excitement which were little less than chronic with her now. The farewell words of Troy, who had accompanied her to the very door, still lingered in her ears. He had bidden her adieu for two days, which were, so he stated, to be spent at Bath in visiting some friends. He had also kissed her a second time. It is only fair to Bathsheba to explain here a little fact which did not come to light till a long time afterwards: that Troy's presentation of himself so aptly at the roadside this evening was not by any distinctly preconcerted arrangement. He had hinted--she had forbidden; and it was only on the chance of his still coming that she had dismissed Oak, fearing a meeting between them just then. She now sank down into a chair, wild and perturbed by all these new and fevering sequences. Then she jumped up with a manner of decision, and fetched her desk from a side table. In three minutes, without pause or modification, she had written a letter to Boldwood, at his address beyond Casterbridge, saying mildly but firmly that she had well considered the whole subject he had brought before her and kindly given her time to decide upon; that her final decision was that she could not marry him. She had expressed to Oak an intention to wait till Boldwood came home before communicating to him her conclusive reply. But Bathsheba found that she could not wait. It was impossible to send this letter till the next day; yet to quell her uneasiness by getting it out of her hands, and so, as it were, setting the act in motion at once, she arose to take it to any one of the women who might be in the kitchen. She paused in the passage. A dialogue was going on in the kitchen, and Bathsheba and Troy were the subject of it. "If he marry her, she'll gie up farming." "'Twill be a gallant life, but may bring some trouble between the mirth--so say I." "Well, I wish I had half such a husband." Bathsheba had too much sense to mind seriously what her servitors said about her; but too much womanly redundance of speech to leave alone what was said till it died the natural death of unminded things. She burst in upon them. "Who are you speaking of?" she asked. There was a pause before anybody replied. At last Liddy said frankly, "What was passing was a bit of a word about yourself, miss." "I thought so! Maryann and Liddy and Temperance--now I forbid you to suppose such things. You know I don't care the least for Mr. Troy--not I. Everybody knows how much I hate him.--Yes," repeated the froward young person, "HATE him!" "We know you do, miss," said Liddy; "and so do we all." "I hate him too," said Maryann. "Maryann--Oh you perjured woman! How can you speak that wicked story!" said Bathsheba, excitedly. "You admired him from your heart only this morning in the very world, you did. Yes, Maryann, you know it!" "Yes, miss, but so did you. He is a wild scamp now, and you are right to hate him." "He's NOT a wild scamp! How dare you to my face! I have no right to hate him, nor you, nor anybody. But I am a silly woman! What is it to me what he is? You know it is nothing. I don't care for him; I don't mean to defend his good name, not I. Mind this, if any of you say a word against him you'll be dismissed instantly!" She flung down the letter and surged back into the parlour, with a big heart and tearful eyes, Liddy following her. "Oh miss!" said mild Liddy, looking pitifully into Bathsheba's face. "I am sorry we mistook you so! I did think you cared for him; but I see you don't now." "Shut the door, Liddy." Liddy closed the door, and went on: "People always say such foolery, miss. I'll make answer hencefor'ard, 'Of course a lady like Miss Everdene can't love him'; I'll say it out in plain black and white." Bathsheba burst out: "O Liddy, are you such a simpleton? Can't you read riddles? Can't you see? Are you a woman yourself?" Liddy's clear eyes rounded with wonderment. "Yes; you must be a blind thing, Liddy!" she said, in reckless abandonment and grief. "Oh, I love him to very distraction and misery and agony! Don't be frightened at me, though perhaps I am enough to frighten any innocent woman. Come closer--closer." She put her arms round Liddy's neck. "I must let it out to somebody; it is wearing me away! Don't you yet know enough of me to see through that miserable denial of mine? O God, what a lie it was! Heaven and my Love forgive me. And don't you know that a woman who loves at all thinks nothing of perjury when it is balanced against her love? There, go out of the room; I want to be quite alone." Liddy went towards the door. "Liddy, come here. Solemnly swear to me that he's not a fast man; that it is all lies they say about him!" "But, miss, how can I say he is not if--" "You graceless girl! How can you have the cruel heart to repeat what they say? Unfeeling thing that you are.... But I'LL see if you or anybody else in the village, or town either, dare do such a thing!" She started off, pacing from fireplace to door, and back again. "No, miss. I don't--I know it is not true!" said Liddy, frightened at Bathsheba's unwonted vehemence. "I suppose you only agree with me like that to please me. But, Liddy, he CANNOT BE bad, as is said. Do you hear?" "Yes, miss, yes." "And you don't believe he is?" "I don't know what to say, miss," said Liddy, beginning to cry. "If I say No, you don't believe me; and if I say Yes, you rage at me!" "Say you don't believe it--say you don't!" "I don't believe him to be so bad as they make out." "He is not bad at all.... My poor life and heart, how weak I am!" she moaned, in a relaxed, desultory way, heedless of Liddy's presence. "Oh, how I wish I had never seen him! Loving is misery for women always. I shall never forgive God for making me a woman, and dearly am I beginning to pay for the honour of owning a pretty face." She freshened and turned to Liddy suddenly. "Mind this, Lydia Smallbury, if you repeat anywhere a single word of what I have said to you inside this closed door, I'll never trust you, or love you, or have you with me a moment longer--not a moment!" "I don't want to repeat anything," said Liddy, with womanly dignity of a diminutive order; "but I don't wish to stay with you. And, if you please, I'll go at the end of the harvest, or this week, or to-day.... I don't see that I deserve to be put upon and stormed at for nothing!" concluded the small woman, bigly. "No, no, Liddy; you must stay!" said Bathsheba, dropping from haughtiness to entreaty with capricious inconsequence. "You must not notice my being in a taking just now. You are not as a servant--you are a companion to me. Dear, dear--I don't know what I am doing since this miserable ache of my heart has weighted and worn upon me so! What shall I come to! I suppose I shall get further and further into troubles. I wonder sometimes if I am doomed to die in the Union. I am friendless enough, God knows!" "I won't notice anything, nor will I leave you!" sobbed Liddy, impulsively putting up her lips to Bathsheba's, and kissing her. Then Bathsheba kissed Liddy, and all was smooth again. "I don't often cry, do I, Lidd? but you have made tears come into my eyes," she said, a smile shining through the moisture. "Try to think him a good man, won't you, dear Liddy?" "I will, miss, indeed." "He is a sort of steady man in a wild way, you know. That's better than to be as some are, wild in a steady way. I am afraid that's how I am. And promise me to keep my secret--do, Liddy! And do not let them know that I have been crying about him, because it will be dreadful for me, and no good to him, poor thing!" "Death's head himself shan't wring it from me, mistress, if I've a mind to keep anything; and I'll always be your friend," replied Liddy, emphatically, at the same time bringing a few more tears into her own eyes, not from any particular necessity, but from an artistic sense of making herself in keeping with the remainder of the picture, which seems to influence women at such times. "I think God likes us to be good friends, don't you?" "Indeed I do." "And, dear miss, you won't harry me and storm at me, will you? because you seem to swell so tall as a lion then, and it frightens me! Do you know, I fancy you would be a match for any man when you are in one o' your takings." "Never! do you?" said Bathsheba, slightly laughing, though somewhat seriously alarmed by this Amazonian picture of herself. "I hope I am not a bold sort of maid--mannish?" she continued with some anxiety. "Oh no, not mannish; but so almighty womanish that 'tis getting on that way sometimes. Ah! miss," she said, after having drawn her breath very sadly in and sent it very sadly out, "I wish I had half your failing that way. 'Tis a great protection to a poor maid in these illegit'mate days!"

Chapter 30

https://web.archive.org/web/20201101052914/https://www.cliffsnotes.com/literature/f/far-from-the-madding-crowd/summary-and-analysis/chapter-30

Despite her promise not to reject Boldwood before his return, Bathsheba could not wait. "The farewell words of Troy, who had accompanied her to her very door, still lingered in her ears. He had bidden her adieu for two days, which were, so he stated, to be spent in Bath visiting some friends. He had also kissed her a second time." Restless and perturbed, Bathsheba impulsively wrote to Boldwood that she could not marry him. Taking the letter to the kitchen for one of the maids to mail, she overheard the servants gossiping about her latest romance. Furiously insisting that she hated Troy, but with the next breath defending him, she forbade their gossip. Alone with Liddy, Bathsheba confided her love, begging reassurance that all the stories circulating about Troy were not true. Eager to please her mistress, Liddy agreed with all her statements. Bathsheba turned on her: "Mind this, Lydia Smallbury, if you repeat anywhere a single word of what I have said to you inside this closed door, I'll never trust you, or love you, or have you with me a moment longer -- not a moment!" "'I don't want to repeat anything,' said Liddy, with womanly dignity of a diminutive order; 'but I don't wish to stay with you. And, if you please, I'll go at the end of the harvest, or this week, or today . . . I don't see that I deserve to be put upon and stormed at for nothing!'" Liddy's words led to a tearful reconciliation; she promised always to be Bathsheba's friend, shedding a few more tears "not from any particular necessity, but from an artistic sense of making herself in keeping with the remainder of the picture."

Hardy's portrait of feminine frailty and women's weapons is not without humor. Bathsheba does not wish to think ill of Troy, does not want to believe the stories about him, and fights against the possibility of their truth. Liddy envies her mistress her femininity and her conquests. She is also proud of her position and dignity. Both girls enjoy having a good cry. They agree that "God likes us to be good friends." Liddy assures her mistress that, while Bathsheba is a match for any man, she is not mannish. "O no, not mannish; but so almighty womanish that 'tis getting on that way sometimes. I wish I had half your failing that way. 'Tis a great protection to a poor maid in these illegit'mate days!"

shmoop

all_chapterized_books/44747-chapters/74.txt

finished_summaries/shmoop/The Red and the Black/section_73_part_0.txt

The Red and the Black.part 2.chapter 44

part 2, chapter 44

{"name": "Part 2, Chapter 44", "url": "https://web.archive.org/web/20200920104425/https://www.shmoop.com/study-guides/literature/red-and-the-black/summary/part-2-chapter-44", "summary": "After Madame de Renal has left his cell, Julien can hear Mathilde coming to visit. He wishes that he didn't have to see her. Everything she does is now irritating to him. Horror of horrors, Julien's estranged father visits him and berates him for being such a miserable coward and a failure. The visit seems to break whatever spirit is left in Julien, because after this he's not as eager to seek an appeal for his conviction. Julien spends the rest of his days tolerating visits from Mathilde and philosophizing about the meaning of his life. His final verdict isn't a good one. He concludes that life is mostly absurd and that the world is run by a bunch of hypocrites.", "analysis": ""}

CHAPTER LXXIV As soon as he had gone out Julien wept desperately and for a long time. He gradually admitted to himself that if madame de Renal had been at Besancon he would have confessed his weakness to her. The moment when he was regretting the absence of this beloved woman he heard Mathilde's step. "The worst evil of being in prison," he thought "is one's inability to close one's door." All Mathilde said only irritated him. She told him that M. de Valenod had had his nomination to the prefectship in his pocket on the day of his trial, and had consequently dared to defy M. de Frilair and give himself the pleasure of condemning him to death. "Why did your friend take it into his head," M. de Frilair just said to me, "to awaken and attack the petty vanity of that bourgeois aristocracy. Why talk about caste? He pointed out to them what they ought to do in their own political interest; the fools had not been giving it a thought and were quite ready to weep. That caste interest intervened and blinded their eyes to the horror of condemning a man to death. One must admit that M. Sorel is very inexperienced. If we do not succeed in saving him by a petition for a reprieve, his death will be a kind of suicide." Mathilde was careful not to tell Julien a matter concerning which she had now no longer any doubts; it was that the abbe de Frilair seeing that Julien was ruined, had thought that it would further his ambitious projects to try and become his successor. "Go and listen to a mass for me," he said to Mathilde, almost beside himself with vexation and impotent rage, and leave me a moment in peace. Mathilde who was already very jealous of madame de Renal's visits and who had just learned of her departure realised the cause of Julien's bad temper and burst into tears. Her grief was real; Julien saw this and was only the more irritated. He had a crying need of solitude, and how was he to get it? Eventually Mathilde, after having tried to melt him by every possible argument, left him alone. But almost at the same moment, Fouque presented himself. "I need to be alone," he said, to this faithful friend, and as he saw him hesitate: "I am composing a memorial for my petition for pardon ... one thing more ... do me a favour, and never speak to me about death. If I have need of any especial services on that day, let me be the first to speak to you about it." When Julien had eventually procured solitude, he found himself more prostrate and more cowardly than he had been before. The little force which this enfeebled soul still possessed had all been spent in concealing his condition from mademoiselle de la Mole. Towards the evening he found consolation in this idea. "If at the very moment this morning, when death seemed so ugly to me, I had been given notice of my execution, the public eye would have acted as a spur to glory, my demeanour would perhaps have had a certain stiffness about it, like a nervous fop entering a salon. A few penetrating people, if there are any amongst these provincial might have managed to divine my weakness.... But no one would have seen it." And he felt relieved of part of his unhappiness. "I am a coward at this very moment," he sang to himself, "but no one will know it." An even more unpleasant episode awaited him on the following day. His father had been announcing that he would come and see him for some time past: the old white-haired carpenter appeared in Julien's cell before he woke up. Julien felt weak, he was anticipating the most unpleasant reproaches. His painful emotion was intensified by the fact that on this particular morning he felt a keen remorse for not loving his father. "Chance placed us next to each other in the world," he said to himself, while the turnkey was putting the cell a little in order, "and we have practically done each other all the harm we possibly could. He has come to administer the final blow at the moment of my death." As soon as they were without witnesses, the old man commenced his stern reproaches. Julien could not restrain his tears. "What an unworthy weakness," he said to himself querulously. "He will go about everywhere exaggerating my lack of courage: what a triumph for the Valenod, and for all the fatuous hypocrites who rule in Verrieres! They are very great in France, they combine all the social advantages. But hitherto, I could at any rate say to myself, it is true they are in receipt of money, and that all the honours lavished on them, but I have a noble heart. "But here is a witness whom everyone will believe, and who will testify to the whole of Verrieres that I shewed weakness when confronted with death, and who will exaggerate it into the bargain! I shall be taken for a coward in an ordeal which comes home to all!" Julien was nearly desperate. He did not know how to get rid of his father. He felt it absolutely beyond his strength to invent a ruse capable of deceiving so shrewd an old man. His mind rapidly reviewed all the alternatives. "I have saved some money," he suddenly exclaimed. This inspiration produced a change in the expression of the old man and in Julien's own condition. "How ought I to dispose of it?" continued Julien more quietly. The result had freed him from any feeling of inferiority. The old carpenter was burning not to let the money slip by him, but it seemed that Julien wanted to leave part of it to his brothers. He talked at length and with animation. Julien felt cynical. "Well, the Lord has given me a message with regard to my will. I will give a thousand francs to each of my brothers and the rest to you." "Very good," said the old man. "The rest is due to me: but since God has been gracious enough to touch your heart, your debts ought to be paid if you wish to die like a good Christian. There are, moreover, the expenses of your board and your education, which I advanced to you, but which you are not thinking of." "Such is paternal love," repeated Julien to himself, dejectedly, when he was at last alone. Soon the gaoler appeared. "Monsieur, I always bring my visitors a good bottle of champagne after near relations have come to see them. It is a little dear, six francs a bottle, but it rejoices the heart." "Bring three glasses," said Julien to him, with a childish eagerness, "and bring in two of the prisoners whom I have heard walking about in the corridor." The gaoler brought two men into him who had once been condemned to the gallows, and had now been convicted of the same offence again, and were preparing to return to penal servitude. They were very cheerful scoundrels, and really very remarkable by reason of their subtlety, their courage, and their coolness. "If you give me twenty francs," said one of them to Julien, "I will tell you the story of my life in detail. It's rich." "But you will lie," said Julien. "Not me," he answered, "my friend there, who is jealous of my twenty francs will give me away if I say anything untrue." His history was atrocious. It was evidence of a courageous heart which had only one passion--that of money. After their departure Julien was no longer the same man. All his anger with himself had disappeared. The awful grief which had been poisoned and rendered more acute by the weakness of which he had been a victim since madame de Renal's departure had turned to melancholy. "If I had been less taken in by appearances," he said to himself, "I would have had a better chance of seeing that the Paris salons are full of honest men like my father, or clever scoundrels like those felons. They are right. The men in the salons never get up in the morning with this poignant thought in their minds, how am I going to get my dinner? They boast about their honesty and when they are summoned on the jury, they take pride in convicting the man who has stolen a silver dish because he felt starving. "But if there is a court, and it's a question of losing or winning a portfolio, my worthy salon people will commit crimes exactly similar to those, which the need of getting a dinner inspired those two felons to perpetrate. "There is no such thing as natural law, the expression is nothing more than a silly anachronism well worthy of the advocate-general who harried me the other day, and whose grandfather was enriched by one of the confiscations of Louis XIV. There is no such thing as right, except when there is a law to forbid a certain thing under pain of punishment. "Before law existed, the only natural thing was the strength of the lion, or the need of a creature who was cold or hungry, to put it in one word, need. No, the people whom the world honours are merely villains who have had the good fortune not to have been caught red-handed. The prosecutor whom society put on my track was enriched by an infamous act. I have committed a murder, and I am justly condemned, but the Valenod who has condemned me, is by reason alone of that very deed, a hundred times more harmful to society. "Well," added Julien sadly but not angrily, "in spite of his avarice, my father is worth more than all those men. He never loved me. The disgrace I bring upon him by an infamous death has proved the last straw. That fear of lacking money, that distorted view of the wickedness of mankind, which is called avarice, make him find a tremendous consolation and sense of security in a sum of three or four hundred louis, which I have been able to leave him. Some Sunday, after dinner, he will shew his gold to all the envious men in Verrieres. 'Which of you would not be delighted to have a son guillotined at a price like this,' will be the message they will read in his eyes." This philosophy might be true, but it was of such a character as to make him wish for death. In this way five long days went by. He was polite and gentle to Mathilde, whom he saw was exasperated by the most violent jealousy. One evening Julien seriously thought of taking his own life. His soul was demoralised by the deep unhappiness in which madame de Renal's departure had thrown him. He could no longer find pleasure in anything, either in real life or in the sphere of the imagination. Lack of exercise began to affect his health, and to produce in him all the weakness and exaltation of a young German student. He began to lose that virile disdain which repels with a drastic oath certain undignified ideas which besiege the soul of the unhappy. "I loved truth.... Where is it? Hypocrisy everywhere or at any rate charlatanism. Even in the most virtuous, even in the greatest," and his lips assumed an expression of disgust. "No, man cannot trust man." "Madame de ---- when she was making a collection for her poor orphans, used to tell me that such and such a prince had just given ten louis, a sheer lie. But what am I talking about. Napoleon at St. Helena ... Pure charlatanism like the proclamation in favour of the king of Rome. "Great God! If a man like that at a time when misfortune ought to summon him sternly to his duty will sink to charlatanism, what is one to expect from the rest of the human species?" "Where is truth? In religion. Yes," he added, with a bitter smile of utter contempt. "In the mouth of the Maslons, the Frilairs, the Castanedes--perhaps in that true Christianity whose priests were not paid any more than were the apostles. But St. Paul was paid by the pleasure of commanding, speaking, getting himself talked about." "Oh, if there were only a true religion. Fool that I am. I see a Gothic cathedral and venerable stained-glass windows, and my weak heart conjures up the priest to fit the scene. My soul would understand him, my soul has need of him. I only find a nincompoop with dirty hair. About as comforting as a chevalier de Beauvoisis. "But a true priest, a Massillon, a Fenelon. Massillon sacrificed Dubois. Saint-Simon's memoirs have spoilt the illusion of Fenelon, but he was a true priest anyway. In those days, tender souls could have a place in the world where they could meet together. We should not then have been isolated. That good priest would have talked to us of God. But what God? Not the one of the Bible, a cruel petty despot, full of vindictiveness, but the God of Voltaire, just, good, infinite." He was troubled by all the memories of that Bible which he knew by heart. "But how on earth, when the deity is three people all at the same time, is one to believe in the great name of GOD, after the frightful way in which our priests have abused it." "Living alone. What a torture." "I am growing mad and unreasonable," said Julien to himself, striking his forehead. "I am alone here in this cell, but I have not lived alone on earth. I had the powerful idea of duty. The duty which rightly or wrongly I laid down for myself, has been to me like the trunk of a solid tree which I could lean on during the storm, I stumbled, I was agitated. After all I was only a man, but I was not swept away. "It must be the damp air of this cell which made me think of being alone. "Why should I still play the hypocrite by cursing hypocrisy? It is neither death, nor the cell, nor the damp air, but madame de Renal's absence which prostrates me. If, in order to see her at Verrieres, I had to live whole weeks at Verrieres concealed in the cellars of her house, would I complain?" "The influence of my contemporaries wins the day," he said aloud, with a bitter laugh. "Though I am talking to myself and within an ace of death, I still play the hypocrite. Oh you nineteenth century! A hunter fires a gun shot in the forest, his quarry falls, he hastens forward to seize it. His foot knocks against a two-foot anthill, knocks down the dwelling place of the ants, and scatters the ants and their eggs far and wide. The most philosophic among the ants will never be able to understand that black, gigantic and terrifying body, the hunter's boot, which suddenly invaded their home with incredible rapidity, preceded by a frightful noise, and accompanied by flashes of reddish fire." "In the same way, death, life and eternity, are very simple things for anyone who has organs sufficiently vast to conceive them. An ephemeral fly is born at nine o'clock in the morning in the long summer days, to die at five o'clock in the evening. How is it to understand the word 'night'?" "Give it five more hours of existence, and it will see night, and understand its meaning." "So, in my case, I shall die at the age of twenty-three. Give me five more years of life in order to live with madame de Renal." He began to laugh like Mephistopheles. How foolish to debate these great problems. "(1). I am as hypocritical as though there were someone there to listen to me. "(2). I am forgetting to live and to love when I have so few days left to live. Alas, madame de Renal is absent; perhaps her husband will not let her come back to Besancon any more, to go on compromising her honour." "That is what makes me lonely, and not the absence of a God who is just, good and omnipotent, devoid of malice, and in no wise greedy of vengeance." "Oh, if He did exist. Alas I should fall at His feet. I have deserved death, I should say to Him, but oh Thou great God, good God, indulgent God, give me back her whom I love!" By this time the night was far advanced. After an hour or two of peaceful sleep, Fouque arrived. Julien felt strongly resolute, like a man who sees to the bottom of his soul.

Part 2, Chapter 44

https://web.archive.org/web/20200920104425/https://www.shmoop.com/study-guides/literature/red-and-the-black/summary/part-2-chapter-44

After Madame de Renal has left his cell, Julien can hear Mathilde coming to visit. He wishes that he didn't have to see her. Everything she does is now irritating to him. Horror of horrors, Julien's estranged father visits him and berates him for being such a miserable coward and a failure. The visit seems to break whatever spirit is left in Julien, because after this he's not as eager to seek an appeal for his conviction. Julien spends the rest of his days tolerating visits from Mathilde and philosophizing about the meaning of his life. His final verdict isn't a good one. He concludes that life is mostly absurd and that the world is run by a bunch of hypocrites.

cliffnotes

all_chapterized_books/161-chapters/49.txt

finished_summaries/cliffnotes/Sense and Sensibility/section_33_part_0.txt

Sense and Sensibility.chapter 49

chapter 49

{"name": "Chapter 49", "url": "https://web.archive.org/web/20201101060302/https://www.cliffsnotes.com/literature/s/sense-and-sensibility/summary-and-analysis/chapter-49", "summary": "That very afternoon the couple became engaged. Edward explained to Elinor how he had happened to become engaged to Lucy Steele, and how \"it was not, at the time, an unnatural or inexcusable piece of folly.\" He then showed her the letter that he had received from Lucy informing him that she felt he didn't really love her and that she had found someone who could in Robert. Colonel Brandon came for a short time, and letters from Mrs. Jennings and John Dashwood brought news once again of Robert's marriage to Lucy. John felt that Edward should send a letter of apology to Mrs. Ferrars, but Edward decided to go to London in person to see his sister Fanny and \"personally intreat her good offices in his favour,\" hoping that she might be able to bring about a reconciliation with his mother.", "analysis": "By a strange twist of fare, it is the sensible sister, Elinor, who marries her first love and is willing to share his life on the small salary of a country parson. With love, Elinor develops sensibility; her feelings when Edward at last proposes to her are as strong as any which Marianne has experienced, for \"she was oppressed, she was overcome by her own felicity.\""}

Unaccountable, however, as the circumstances of his release might appear to the whole family, it was certain that Edward was free; and to what purpose that freedom would be employed was easily pre-determined by all;--for after experiencing the blessings of ONE imprudent engagement, contracted without his mother's consent, as he had already done for more than four years, nothing less could be expected of him in the failure of THAT, than the immediate contraction of another. His errand at Barton, in fact, was a simple one. It was only to ask Elinor to marry him;--and considering that he was not altogether inexperienced in such a question, it might be strange that he should feel so uncomfortable in the present case as he really did, so much in need of encouragement and fresh air. How soon he had walked himself into the proper resolution, however, how soon an opportunity of exercising it occurred, in what manner he expressed himself, and how he was received, need not be particularly told. This only need be said;--that when they all sat down to table at four o'clock, about three hours after his arrival, he had secured his lady, engaged her mother's consent, and was not only in the rapturous profession of the lover, but, in the reality of reason and truth, one of the happiest of men. His situation indeed was more than commonly joyful. He had more than the ordinary triumph of accepted love to swell his heart, and raise his spirits. He was released without any reproach to himself, from an entanglement which had long formed his misery, from a woman whom he had long ceased to love;--and elevated at once to that security with another, which he must have thought of almost with despair, as soon as he had learnt to consider it with desire. He was brought, not from doubt or suspense, but from misery to happiness;--and the change was openly spoken in such a genuine, flowing, grateful cheerfulness, as his friends had never witnessed in him before. His heart was now open to Elinor, all its weaknesses, all its errors confessed, and his first boyish attachment to Lucy treated with all the philosophic dignity of twenty-four. "It was a foolish, idle inclination on my side," said he, "the consequence of ignorance of the world--and want of employment. Had my mother given me some active profession when I was removed at eighteen from the care of Mr. Pratt, I think--nay, I am sure, it would never have happened; for though I left Longstaple with what I thought, at the time, a most unconquerable preference for his niece, yet had I then had any pursuit, any object to engage my time and keep me at a distance from her for a few months, I should very soon have outgrown the fancied attachment, especially by mixing more with the world, as in such case I must have done. But instead of having any thing to do, instead of having any profession chosen for me, or being allowed to chuse any myself, I returned home to be completely idle; and for the first twelvemonth afterwards I had not even the nominal employment, which belonging to the university would have given me; for I was not entered at Oxford till I was nineteen. I had therefore nothing in the world to do, but to fancy myself in love; and as my mother did not make my home in every respect comfortable, as I had no friend, no companion in my brother, and disliked new acquaintance, it was not unnatural for me to be very often at Longstaple, where I always felt myself at home, and was always sure of a welcome; and accordingly I spent the greatest part of my time there from eighteen to nineteen: Lucy appeared everything that was amiable and obliging. She was pretty too--at least I thought so THEN; and I had seen so little of other women, that I could make no comparisons, and see no defects. Considering everything, therefore, I hope, foolish as our engagement was, foolish as it has since in every way been proved, it was not at the time an unnatural or an inexcusable piece of folly." The change which a few hours had wrought in the minds and the happiness of the Dashwoods, was such--so great--as promised them all, the satisfaction of a sleepless night. Mrs. Dashwood, too happy to be comfortable, knew not how to love Edward, nor praise Elinor enough, how to be enough thankful for his release without wounding his delicacy, nor how at once to give them leisure for unrestrained conversation together, and yet enjoy, as she wished, the sight and society of both. Marianne could speak HER happiness only by tears. Comparisons would occur--regrets would arise;--and her joy, though sincere as her love for her sister, was of a kind to give her neither spirits nor language. But Elinor--how are HER feelings to be described?--From the moment of learning that Lucy was married to another, that Edward was free, to the moment of his justifying the hopes which had so instantly followed, she was every thing by turns but tranquil. But when the second moment had passed, when she found every doubt, every solicitude removed, compared her situation with what so lately it had been,--saw him honourably released from his former engagement, saw him instantly profiting by the release, to address herself and declare an affection as tender, as constant as she had ever supposed it to be,--she was oppressed, she was overcome by her own felicity;--and happily disposed as is the human mind to be easily familiarized with any change for the better, it required several hours to give sedateness to her spirits, or any degree of tranquillity to her heart. Edward was now fixed at the cottage at least for a week;--for whatever other claims might be made on him, it was impossible that less than a week should be given up to the enjoyment of Elinor's company, or suffice to say half that was to be said of the past, the present, and the future;--for though a very few hours spent in the hard labor of incessant talking will despatch more subjects than can really be in common between any two rational creatures, yet with lovers it is different. Between THEM no subject is finished, no communication is even made, till it has been made at least twenty times over. Lucy's marriage, the unceasing and reasonable wonder among them all, formed of course one of the earliest discussions of the lovers;--and Elinor's particular knowledge of each party made it appear to her in every view, as one of the most extraordinary and unaccountable circumstances she had ever heard. How they could be thrown together, and by what attraction Robert could be drawn on to marry a girl, of whose beauty she had herself heard him speak without any admiration,--a girl too already engaged to his brother, and on whose account that brother had been thrown off by his family--it was beyond her comprehension to make out. To her own heart it was a delightful affair, to her imagination it was even a ridiculous one, but to her reason, her judgment, it was completely a puzzle. Edward could only attempt an explanation by supposing, that, perhaps, at first accidentally meeting, the vanity of the one had been so worked on by the flattery of the other, as to lead by degrees to all the rest. Elinor remembered what Robert had told her in Harley Street, of his opinion of what his own mediation in his brother's affairs might have done, if applied to in time. She repeated it to Edward. "THAT was exactly like Robert,"--was his immediate observation.--"And THAT," he presently added, "might perhaps be in HIS head when the acquaintance between them first began. And Lucy perhaps at first might think only of procuring his good offices in my favour. Other designs might afterward arise." How long it had been carrying on between them, however, he was equally at a loss with herself to make out; for at Oxford, where he had remained for choice ever since his quitting London, he had had no means of hearing of her but from herself, and her letters to the very last were neither less frequent, nor less affectionate than usual. Not the smallest suspicion, therefore, had ever occurred to prepare him for what followed;--and when at last it burst on him in a letter from Lucy herself, he had been for some time, he believed, half stupified between the wonder, the horror, and the joy of such a deliverance. He put the letter into Elinor's hands. "DEAR SIR, "Being very sure I have long lost your affections, I have thought myself at liberty to bestow my own on another, and have no doubt of being as happy with him as I once used to think I might be with you; but I scorn to accept a hand while the heart was another's. Sincerely wish you happy in your choice, and it shall not be my fault if we are not always good friends, as our near relationship now makes proper. I can safely say I owe you no ill-will, and am sure you will be too generous to do us any ill offices. Your brother has gained my affections entirely, and as we could not live without one another, we are just returned from the altar, and are now on our way to Dawlish for a few weeks, which place your dear brother has great curiosity to see, but thought I would first trouble you with these few lines, and shall always remain, "Your sincere well-wisher, friend, and sister, "LUCY FERRARS. "I have burnt all your letters, and will return your picture the first opportunity. Please to destroy my scrawls--but the ring with my hair you are very welcome to keep." Elinor read and returned it without any comment. "I will not ask your opinion of it as a composition," said Edward.--"For worlds would not I have had a letter of hers seen by YOU in former days.--In a sister it is bad enough, but in a wife!--how I have blushed over the pages of her writing!--and I believe I may say that since the first half year of our foolish--business--this is the only letter I ever received from her, of which the substance made me any amends for the defect of the style." "However it may have come about," said Elinor, after a pause,--"they are certainly married. And your mother has brought on herself a most appropriate punishment. The independence she settled on Robert, through resentment against you, has put it in his power to make his own choice; and she has actually been bribing one son with a thousand a-year, to do the very deed which she disinherited the other for intending to do. She will hardly be less hurt, I suppose, by Robert's marrying Lucy, than she would have been by your marrying her." "She will be more hurt by it, for Robert always was her favourite.--She will be more hurt by it, and on the same principle will forgive him much sooner." In what state the affair stood at present between them, Edward knew not, for no communication with any of his family had yet been attempted by him. He had quitted Oxford within four and twenty hours after Lucy's letter arrived, and with only one object before him, the nearest road to Barton, had had no leisure to form any scheme of conduct, with which that road did not hold the most intimate connection. He could do nothing till he were assured of his fate with Miss Dashwood; and by his rapidity in seeking THAT fate, it is to be supposed, in spite of the jealousy with which he had once thought of Colonel Brandon, in spite of the modesty with which he rated his own deserts, and the politeness with which he talked of his doubts, he did not, upon the whole, expect a very cruel reception. It was his business, however, to say that he DID, and he said it very prettily. What he might say on the subject a twelvemonth after, must be referred to the imagination of husbands and wives. That Lucy had certainly meant to deceive, to go off with a flourish of malice against him in her message by Thomas, was perfectly clear to Elinor; and Edward himself, now thoroughly enlightened on her character, had no scruple in believing her capable of the utmost meanness of wanton ill-nature. Though his eyes had been long opened, even before his acquaintance with Elinor began, to her ignorance and a want of liberality in some of her opinions--they had been equally imputed, by him, to her want of education; and till her last letter reached him, he had always believed her to be a well-disposed, good-hearted girl, and thoroughly attached to himself. Nothing but such a persuasion could have prevented his putting an end to an engagement, which, long before the discovery of it laid him open to his mother's anger, had been a continual source of disquiet and regret to him. "I thought it my duty," said he, "independent of my feelings, to give her the option of continuing the engagement or not, when I was renounced by my mother, and stood to all appearance without a friend in the world to assist me. In such a situation as that, where there seemed nothing to tempt the avarice or the vanity of any living creature, how could I suppose, when she so earnestly, so warmly insisted on sharing my fate, whatever it might be, that any thing but the most disinterested affection was her inducement? And even now, I cannot comprehend on what motive she acted, or what fancied advantage it could be to her, to be fettered to a man for whom she had not the smallest regard, and who had only two thousand pounds in the world. She could not foresee that Colonel Brandon would give me a living." "No; but she might suppose that something would occur in your favour; that your own family might in time relent. And at any rate, she lost nothing by continuing the engagement, for she has proved that it fettered neither her inclination nor her actions. The connection was certainly a respectable one, and probably gained her consideration among her friends; and, if nothing more advantageous occurred, it would be better for her to marry YOU than be single." Edward was, of course, immediately convinced that nothing could have been more natural than Lucy's conduct, nor more self-evident than the motive of it. Elinor scolded him, harshly as ladies always scold the imprudence which compliments themselves, for having spent so much time with them at Norland, when he must have felt his own inconstancy. "Your behaviour was certainly very wrong," said she; "because--to say nothing of my own conviction, our relations were all led away by it to fancy and expect WHAT, as you were THEN situated, could never be." He could only plead an ignorance of his own heart, and a mistaken confidence in the force of his engagement. "I was simple enough to think, that because my FAITH was plighted to another, there could be no danger in my being with you; and that the consciousness of my engagement was to keep my heart as safe and sacred as my honour. I felt that I admired you, but I told myself it was only friendship; and till I began to make comparisons between yourself and Lucy, I did not know how far I was got. After that, I suppose, I WAS wrong in remaining so much in Sussex, and the arguments with which I reconciled myself to the expediency of it, were no better than these:--The danger is my own; I am doing no injury to anybody but myself." Elinor smiled, and shook her head. Edward heard with pleasure of Colonel Brandon's being expected at the Cottage, as he really wished not only to be better acquainted with him, but to have an opportunity of convincing him that he no longer resented his giving him the living of Delaford--"Which, at present," said he, "after thanks so ungraciously delivered as mine were on the occasion, he must think I have never forgiven him for offering." NOW he felt astonished himself that he had never yet been to the place. But so little interest had he taken in the matter, that he owed all his knowledge of the house, garden, and glebe, extent of the parish, condition of the land, and rate of the tithes, to Elinor herself, who had heard so much of it from Colonel Brandon, and heard it with so much attention, as to be entirely mistress of the subject. One question after this only remained undecided, between them, one difficulty only was to be overcome. They were brought together by mutual affection, with the warmest approbation of their real friends; their intimate knowledge of each other seemed to make their happiness certain--and they only wanted something to live upon. Edward had two thousand pounds, and Elinor one, which, with Delaford living, was all that they could call their own; for it was impossible that Mrs. Dashwood should advance anything; and they were neither of them quite enough in love to think that three hundred and fifty pounds a-year would supply them with the comforts of life. Edward was not entirely without hopes of some favourable change in his mother towards him; and on THAT he rested for the residue of their income. But Elinor had no such dependence; for since Edward would still be unable to marry Miss Morton, and his chusing herself had been spoken of in Mrs. Ferrars's flattering language as only a lesser evil than his chusing Lucy Steele, she feared that Robert's offence would serve no other purpose than to enrich Fanny. About four days after Edward's arrival Colonel Brandon appeared, to complete Mrs. Dashwood's satisfaction, and to give her the dignity of having, for the first time since her living at Barton, more company with her than her house would hold. Edward was allowed to retain the privilege of first comer, and Colonel Brandon therefore walked every night to his old quarters at the Park; from whence he usually returned in the morning, early enough to interrupt the lovers' first tete-a-tete before breakfast. A three weeks' residence at Delaford, where, in his evening hours at least, he had little to do but to calculate the disproportion between thirty-six and seventeen, brought him to Barton in a temper of mind which needed all the improvement in Marianne's looks, all the kindness of her welcome, and all the encouragement of her mother's language, to make it cheerful. Among such friends, however, and such flattery, he did revive. No rumour of Lucy's marriage had yet reached him:--he knew nothing of what had passed; and the first hours of his visit were consequently spent in hearing and in wondering. Every thing was explained to him by Mrs. Dashwood, and he found fresh reason to rejoice in what he had done for Mr. Ferrars, since eventually it promoted the interest of Elinor. It would be needless to say, that the gentlemen advanced in the good opinion of each other, as they advanced in each other's acquaintance, for it could not be otherwise. Their resemblance in good principles and good sense, in disposition and manner of thinking, would probably have been sufficient to unite them in friendship, without any other attraction; but their being in love with two sisters, and two sisters fond of each other, made that mutual regard inevitable and immediate, which might otherwise have waited the effect of time and judgment. The letters from town, which a few days before would have made every nerve in Elinor's body thrill with transport, now arrived to be read with less emotion than mirth. Mrs. Jennings wrote to tell the wonderful tale, to vent her honest indignation against the jilting girl, and pour forth her compassion towards poor Mr. Edward, who, she was sure, had quite doted upon the worthless hussy, and was now, by all accounts, almost broken-hearted, at Oxford.-- "I do think," she continued, "nothing was ever carried on so sly; for it was but two days before Lucy called and sat a couple of hours with me. Not a soul suspected anything of the matter, not even Nancy, who, poor soul! came crying to me the day after, in a great fright for fear of Mrs. Ferrars, as well as not knowing how to get to Plymouth; for Lucy it seems borrowed all her money before she went off to be married, on purpose we suppose to make a show with, and poor Nancy had not seven shillings in the world;--so I was very glad to give her five guineas to take her down to Exeter, where she thinks of staying three or four weeks with Mrs. Burgess, in hopes, as I tell her, to fall in with the Doctor again. And I must say that Lucy's crossness not to take them along with them in the chaise is worse than all. Poor Mr. Edward! I cannot get him out of my head, but you must send for him to Barton, and Miss Marianne must try to comfort him." Mr. Dashwood's strains were more solemn. Mrs. Ferrars was the most unfortunate of women--poor Fanny had suffered agonies of sensibility--and he considered the existence of each, under such a blow, with grateful wonder. Robert's offence was unpardonable, but Lucy's was infinitely worse. Neither of them were ever again to be mentioned to Mrs. Ferrars; and even, if she might hereafter be induced to forgive her son, his wife should never be acknowledged as her daughter, nor be permitted to appear in her presence. The secrecy with which everything had been carried on between them, was rationally treated as enormously heightening the crime, because, had any suspicion of it occurred to the others, proper measures would have been taken to prevent the marriage; and he called on Elinor to join with him in regretting that Lucy's engagement with Edward had not rather been fulfilled, than that she should thus be the means of spreading misery farther in the family.-- He thus continued: "Mrs. Ferrars has never yet mentioned Edward's name, which does not surprise us; but, to our great astonishment, not a line has been received from him on the occasion. Perhaps, however, he is kept silent by his fear of offending, and I shall, therefore, give him a hint, by a line to Oxford, that his sister and I both think a letter of proper submission from him, addressed perhaps to Fanny, and by her shewn to her mother, might not be taken amiss; for we all know the tenderness of Mrs. Ferrars's heart, and that she wishes for nothing so much as to be on good terms with her children." This paragraph was of some importance to the prospects and conduct of Edward. It determined him to attempt a reconciliation, though not exactly in the manner pointed out by their brother and sister. "A letter of proper submission!" repeated he; "would they have me beg my mother's pardon for Robert's ingratitude to HER, and breach of honour to ME?--I can make no submission--I am grown neither humble nor penitent by what has passed.--I am grown very happy; but that would not interest.--I know of no submission that IS proper for me to make." "You may certainly ask to be forgiven," said Elinor, "because you have offended;--and I should think you might NOW venture so far as to profess some concern for having ever formed the engagement which drew on you your mother's anger." He agreed that he might. "And when she has forgiven you, perhaps a little humility may be convenient while acknowledging a second engagement, almost as imprudent in HER eyes as the first." He had nothing to urge against it, but still resisted the idea of a letter of proper submission; and therefore, to make it easier to him, as he declared a much greater willingness to make mean concessions by word of mouth than on paper, it was resolved that, instead of writing to Fanny, he should go to London, and personally intreat her good offices in his favour.-- "And if they really DO interest themselves," said Marianne, in her new character of candour, "in bringing about a reconciliation, I shall think that even John and Fanny are not entirely without merit." After a visit on Colonel Brandon's side of only three or four days, the two gentlemen quitted Barton together.-- They were to go immediately to Delaford, that Edward might have some personal knowledge of his future home, and assist his patron and friend in deciding on what improvements were needed to it; and from thence, after staying there a couple of nights, he was to proceed on his journey to town.

Chapter 49

https://web.archive.org/web/20201101060302/https://www.cliffsnotes.com/literature/s/sense-and-sensibility/summary-and-analysis/chapter-49

That very afternoon the couple became engaged. Edward explained to Elinor how he had happened to become engaged to Lucy Steele, and how "it was not, at the time, an unnatural or inexcusable piece of folly." He then showed her the letter that he had received from Lucy informing him that she felt he didn't really love her and that she had found someone who could in Robert. Colonel Brandon came for a short time, and letters from Mrs. Jennings and John Dashwood brought news once again of Robert's marriage to Lucy. John felt that Edward should send a letter of apology to Mrs. Ferrars, but Edward decided to go to London in person to see his sister Fanny and "personally intreat her good offices in his favour," hoping that she might be able to bring about a reconciliation with his mother.

By a strange twist of fare, it is the sensible sister, Elinor, who marries her first love and is willing to share his life on the small salary of a country parson. With love, Elinor develops sensibility; her feelings when Edward at last proposes to her are as strong as any which Marianne has experienced, for "she was oppressed, she was overcome by her own felicity."

sparknotes

all_chapterized_books/161-chapters/chapters_46_to_50.txt

finished_summaries/sparknotes/Sense and Sensibility/section_10_part_0.txt

Sense and Sensibility.chapters 46-50

chapters 46-50

{"name": "Chapters 46-50", "url": "https://web.archive.org/web/20210123003206/https://www.sparknotes.com/lit/sensibility/section11/", "summary": "The Dashwoods return to Barton Cottage, and Marianne continues to recover from her illness. While she and Elinor are taking a walk one day, the subject of Willoughby is broached once again. Marianne admits that she behaved imprudently in her relations with him, but Elinor consoles her by relating Willoughby's confession. Marianne feels much better knowing that his abandonment of her was not the final revelation of a long-standing deceit, but rather the result of his financial straits, and was thus not entirely willed. Marianne also acknowledges that she would never have been happy with him anyway; he has proved himself rather lacking in integrity. Elinor shares Willoughby's confession with Mrs. Dashwood as well, who pities the man but cannot fully forgive him for his treatment of Marianne. Thomas, the Dashwoods' manservant, arrives from town with the news that \"Mr. Ferrars\" has married Lucy Steele. This news distresses both Elinor and Marianne: Marianne falls into a fit of hysterics, and Elinor appears deeply disappointed. Witnessing her eldest daughter's grief, Mrs. Dashwood wonders whether she ought to have paid closer attention to Elinor's feelings over the past several months. Not long after, Elinor thinks she sees Colonel Brandon approaching Barton Cottage on horseback, but upon closer look, she realizes that the visitor is actually Edward Ferrars. When he enters the house, and she and Marianne inquire about his recent marriage, he realizes the misunderstanding and assures them that it was Robert who married Lucy Steele. Elinor is so overcome by relief that she runs out of the room, unable to contain her tears of joy. Within the next three hours, Edward proposes to Elinor and she accepts, of course, with great happiness. Over dinner that evening, he explains the unfortunate circumstances that first led to his engagement to Lucy. Edward also shares with the Dashwood sisters a note from Lucy in which she informed him of her engagement to Robert and severed all romantic ties with him. When Colonel Brandon arrives at Barton and hears the news of their engagement, he graciously offers to improve the parsonage at Delaford to accommodate the couple comfortably. Mrs. Ferrars ultimately reconciles herself to Edward's new situation, though she continues to favor Robert as if he were her eldest son. Elinor and Edward live together at Delaford and frequently invite both Marianne and Colonel Brandon to visit, in the hope that the two will form an attachment with one another. Their plan is successful, for the Colonel and the younger sister become engaged and move in with Elinor and Edward at Delaford. The sisters continue to maintain close ties with their mother and Margaret at Barton Cottage, and the families live happily ever after.", "analysis": "Commentary When the servant Thomas first announces the news of \"Mr. Ferrars's\" marriage to Lucy Steele, Marianne bursts out in hysterics while Elinor maintains her composure in spite of her deep disappointment. Their reactions are ironic on two levels. First, Elinor was the sister with a close attachment to Edward, and thus, she has far more cause to break down in tears. Second, not only do the sisters' reactions seem reversed from what they should be, but the reactions of the men under discussion are reversed as well : it is actually Robert, not Edward, who is engaged to Lucy Steele. Several critics have objected to the implausibility of the match between Marianne and Colonel Brandon. Brandon is characterized as a clear-headed, dependable, practical man--the total opposite of the romantic and impetuous Marianne. Thus, Marianne's final acceptance of him seems completely out of character, since the marriage requires her to abandon her romantic ideals entirely. Moreover, Marianne and Colonel Brandon barely interact in the novel, especially in the concluding chapters. Thus, it seems unlikely that Marianne would come to love Brandon as she had loved Willoughby; she hardly knows him. Nonetheless, by closing the novel with their marriage, Austen shows the extent of Marianne's transformation: she writes, \"She was born to discover the falsehood of her own opinions, and to counteract by her conduct her most favourite maxims. \" If Marianne's ability to love Brandon is unconvincing, it is because of Austen's great faith in the ability of the individual to remake herself in light of shifting circumstances. The novel closes with a reminder that the most important attachment in the novel is not that between any man and woman, but between the two sisters. The sisters decide to live side-by-side together with their husbands at Delaford, thereby affirming the mutual respect and affection, which has kept them close throughout the entire novel. Ultimately, both sisters end up married to the novel's only second sons. Edward Ferrars, although strictly speaking the firstborn, is disinherited by his mother; as John Dashwood remarks, \"Robert will now to all intents and purposes be considered as the eldest son. \" We know that Colonel Brandon is a second son because he has an older brother who married his old sweetheart, Eliza, many years before the novel's plot begins. Whereas these characters are the heroes of the novel, all the eldest sons, including John Dashwood, Robert Ferrars, and Colonel Brandon's older brother, are cast in a negative light. In Austen's day, the eldest sons were the ones who inherited all the family property according to the laws of male primogeniture. However, in spite of these inheritance laws, it is the second sons who ultimately find contentment in the novel; thus, they make happy lives for themselves despite societal and financial constraints."}

Marianne's illness, though weakening in its kind, had not been long enough to make her recovery slow; and with youth, natural strength, and her mother's presence in aid, it proceeded so smoothly as to enable her to remove, within four days after the arrival of the latter, into Mrs. Palmer's dressing-room. When there, at her own particular request, for she was impatient to pour forth her thanks to him for fetching her mother, Colonel Brandon was invited to visit her. His emotion on entering the room, in seeing her altered looks, and in receiving the pale hand which she immediately held out to him, was such, as, in Elinor's conjecture, must arise from something more than his affection for Marianne, or the consciousness of its being known to others; and she soon discovered in his melancholy eye and varying complexion as he looked at her sister, the probable recurrence of many past scenes of misery to his mind, brought back by that resemblance between Marianne and Eliza already acknowledged, and now strengthened by the hollow eye, the sickly skin, the posture of reclining weakness, and the warm acknowledgment of peculiar obligation. Mrs. Dashwood, not less watchful of what passed than her daughter, but with a mind very differently influenced, and therefore watching to very different effect, saw nothing in the Colonel's behaviour but what arose from the most simple and self-evident sensations, while in the actions and words of Marianne she persuaded herself to think that something more than gratitude already dawned. At the end of another day or two, Marianne growing visibly stronger every twelve hours, Mrs. Dashwood, urged equally by her own and her daughter's wishes, began to talk of removing to Barton. On HER measures depended those of her two friends; Mrs. Jennings could not quit Cleveland during the Dashwoods' stay; and Colonel Brandon was soon brought, by their united request, to consider his own abode there as equally determinate, if not equally indispensable. At his and Mrs. Jennings's united request in return, Mrs. Dashwood was prevailed on to accept the use of his carriage on her journey back, for the better accommodation of her sick child; and the Colonel, at the joint invitation of Mrs. Dashwood and Mrs. Jennings, whose active good-nature made her friendly and hospitable for other people as well as herself, engaged with pleasure to redeem it by a visit at the cottage, in the course of a few weeks. The day of separation and departure arrived; and Marianne, after taking so particular and lengthened a leave of Mrs. Jennings, one so earnestly grateful, so full of respect and kind wishes as seemed due to her own heart from a secret acknowledgment of past inattention, and bidding Colonel Brandon farewell with a cordiality of a friend, was carefully assisted by him into the carriage, of which he seemed anxious that she should engross at least half. Mrs. Dashwood and Elinor then followed, and the others were left by themselves, to talk of the travellers, and feel their own dullness, till Mrs. Jennings was summoned to her chaise to take comfort in the gossip of her maid for the loss of her two young companions; and Colonel Brandon immediately afterwards took his solitary way to Delaford. The Dashwoods were two days on the road, and Marianne bore her journey on both, without essential fatigue. Every thing that the most zealous affection, the most solicitous care could do to render her comfortable, was the office of each watchful companion, and each found their reward in her bodily ease, and her calmness of spirits. To Elinor, the observation of the latter was particularly grateful. She, who had seen her week after week so constantly suffering, oppressed by anguish of heart which she had neither courage to speak of, nor fortitude to conceal, now saw with a joy, which no other could equally share, an apparent composure of mind, which, in being the result as she trusted of serious reflection, must eventually lead her to contentment and cheerfulness. As they approached Barton, indeed, and entered on scenes of which every field and every tree brought some peculiar, some painful recollection, she grew silent and thoughtful, and turning away her face from their notice, sat earnestly gazing through the window. But here, Elinor could neither wonder nor blame; and when she saw, as she assisted Marianne from the carriage, that she had been crying, she saw only an emotion too natural in itself to raise any thing less tender than pity, and in its unobtrusiveness entitled to praise. In the whole of her subsequent manner, she traced the direction of a mind awakened to reasonable exertion; for no sooner had they entered their common sitting-room, than Marianne turned her eyes around it with a look of resolute firmness, as if determined at once to accustom herself to the sight of every object with which the remembrance of Willoughby could be connected.--She said little, but every sentence aimed at cheerfulness, and though a sigh sometimes escaped her, it never passed away without the atonement of a smile. After dinner she would try her piano-forte. She went to it; but the music on which her eye first rested was an opera, procured for her by Willoughby, containing some of their favourite duets, and bearing on its outward leaf her own name in his hand-writing.--That would not do.--She shook her head, put the music aside, and after running over the keys for a minute, complained of feebleness in her fingers, and closed the instrument again; declaring however with firmness as she did so, that she should in future practice much. The next morning produced no abatement in these happy symptoms. On the contrary, with a mind and body alike strengthened by rest, she looked and spoke with more genuine spirit, anticipating the pleasure of Margaret's return, and talking of the dear family party which would then be restored, of their mutual pursuits and cheerful society, as the only happiness worth a wish. "When the weather is settled, and I have recovered my strength," said she, "we will take long walks together every day. We will walk to the farm at the edge of the down, and see how the children go on; we will walk to Sir John's new plantations at Barton Cross, and the Abbeyland; and we will often go to the old ruins of the Priory, and try to trace its foundations as far as we are told they once reached. I know we shall be happy. I know the summer will pass happily away. I mean never to be later in rising than six, and from that time till dinner I shall divide every moment between music and reading. I have formed my plan, and am determined to enter on a course of serious study. Our own library is too well known to me, to be resorted to for any thing beyond mere amusement. But there are many works well worth reading at the Park; and there are others of more modern production which I know I can borrow of Colonel Brandon. By reading only six hours a-day, I shall gain in the course of a twelve-month a great deal of instruction which I now feel myself to want." Elinor honoured her for a plan which originated so nobly as this; though smiling to see the same eager fancy which had been leading her to the extreme of languid indolence and selfish repining, now at work in introducing excess into a scheme of such rational employment and virtuous self-control. Her smile however changed to a sigh when she remembered that promise to Willoughby was yet unfulfilled, and feared she had that to communicate which might again unsettle the mind of Marianne, and ruin at least for a time this fair prospect of busy tranquillity. Willing therefore to delay the evil hour, she resolved to wait till her sister's health were more secure, before she appointed it. But the resolution was made only to be broken. Marianne had been two or three days at home, before the weather was fine enough for an invalid like herself to venture out. But at last a soft, genial morning appeared; such as might tempt the daughter's wishes and the mother's confidence; and Marianne, leaning on Elinor's arm, was authorised to walk as long as she could without fatigue, in the lane before the house. The sisters set out at a pace, slow as the feebleness of Marianne in an exercise hitherto untried since her illness required;--and they had advanced only so far beyond the house as to admit a full view of the hill, the important hill behind, when pausing with her eyes turned towards it, Marianne calmly said, "There, exactly there,"--pointing with one hand, "on that projecting mound,--there I fell; and there I first saw Willoughby." Her voice sunk with the word, but presently reviving she added, "I am thankful to find that I can look with so little pain on the spot!--shall we ever talk on that subject, Elinor?"--hesitatingly it was said.--"Or will it be wrong?--I can talk of it now, I hope, as I ought to do."-- Elinor tenderly invited her to be open. "As for regret," said Marianne, "I have done with that, as far as HE is concerned. I do not mean to talk to you of what my feelings have been for him, but what they are NOW.--At present, if I could be satisfied on one point, if I could be allowed to think that he was not ALWAYS acting a part, not ALWAYS deceiving me;--but above all, if I could be assured that he never was so VERY wicked as my fears have sometimes fancied him, since the story of that unfortunate girl"-- She stopt. Elinor joyfully treasured her words as she answered, "If you could be assured of that, you think you should be easy." "Yes. My peace of mind is doubly involved in it;--for not only is it horrible to suspect a person, who has been what HE has been to ME, of such designs,--but what must it make me appear to myself?--What in a situation like mine, but a most shamefully unguarded affection could expose me to"-- "How then," asked her sister, "would you account for his behaviour?" "I would suppose him,--Oh, how gladly would I suppose him, only fickle, very, very fickle." Elinor said no more. She was debating within herself on the eligibility of beginning her story directly, or postponing it till Marianne were in stronger health;--and they crept on for a few minutes in silence. "I am not wishing him too much good," said Marianne at last with a sigh, "when I wish his secret reflections may be no more unpleasant than my own. He will suffer enough in them." "Do you compare your conduct with his?" "No. I compare it with what it ought to have been; I compare it with yours." "Our situations have borne little resemblance." "They have borne more than our conduct.--Do not, my dearest Elinor, let your kindness defend what I know your judgment must censure. My illness has made me think-- It has given me leisure and calmness for serious recollection. Long before I was enough recovered to talk, I was perfectly able to reflect. I considered the past: I saw in my own behaviour, since the beginning of our acquaintance with him last autumn, nothing but a series of imprudence towards myself, and want of kindness to others. I saw that my own feelings had prepared my sufferings, and that my want of fortitude under them had almost led me to the grave. My illness, I well knew, had been entirely brought on by myself by such negligence of my own health, as I had felt even at the time to be wrong. Had I died,--it would have been self-destruction. I did not know my danger till the danger was removed; but with such feelings as these reflections gave me, I wonder at my recovery,--wonder that the very eagerness of my desire to live, to have time for atonement to my God, and to you all, did not kill me at once. Had I died,--in what peculiar misery should I have left you, my nurse, my friend, my sister!--You, who had seen all the fretful selfishness of my latter days; who had known all the murmurings of my heart!--How should I have lived in YOUR remembrance!--My mother too! How could you have consoled her!--I cannot express my own abhorrence of myself. Whenever I looked towards the past, I saw some duty neglected, or some failing indulged. Every body seemed injured by me. The kindness, the unceasing kindness of Mrs. Jennings, I had repaid with ungrateful contempt. To the Middletons, to the Palmers, the Steeles, to every common acquaintance even, I had been insolent and unjust; with a heart hardened against their merits, and a temper irritated by their very attention.--To John, to Fanny,--yes, even to them, little as they deserve, I had given less than their due. But you,--you above all, above my mother, had been wronged by me. I, and only I, knew your heart and its sorrows; yet to what did it influence me?--not to any compassion that could benefit you or myself.--Your example was before me; but to what avail?--Was I more considerate of you and your comfort? Did I imitate your forbearance, or lessen your restraints, by taking any part in those offices of general complaisance or particular gratitude which you had hitherto been left to discharge alone?--No;--not less when I knew you to be unhappy, than when I had believed you at ease, did I turn away from every exertion of duty or friendship; scarcely allowing sorrow to exist but with me, regretting only THAT heart which had deserted and wronged me, and leaving you, for whom I professed an unbounded affection, to be miserable for my sake." Here ceased the rapid flow of her self-reproving spirit; and Elinor, impatient to soothe, though too honest to flatter, gave her instantly that praise and support which her frankness and her contrition so well deserved. Marianne pressed her hand and replied, "You are very good.--The future must be my proof. I have laid down my plan, and if I am capable of adhering to it--my feelings shall be governed and my temper improved. They shall no longer worry others, nor torture myself. I shall now live solely for my family. You, my mother, and Margaret, must henceforth be all the world to me; you will share my affections entirely between you. From you, from my home, I shall never again have the smallest incitement to move; and if I do mix in other society, it will be only to shew that my spirit is humbled, my heart amended, and that I can practise the civilities, the lesser duties of life, with gentleness and forbearance. As for Willoughby--to say that I shall soon or that I shall ever forget him, would be idle. His remembrance can be overcome by no change of circumstances or opinions. But it shall be regulated, it shall be checked by religion, by reason, by constant employment." She paused--and added in a low voice, "If I could but know HIS heart, everything would become easy." Elinor, who had now been for some time reflecting on the propriety or impropriety of speedily hazarding her narration, without feeling at all nearer decision than at first, heard this; and perceiving that as reflection did nothing, resolution must do all, soon found herself leading to the fact. She managed the recital, as she hoped, with address; prepared her anxious listener with caution; related simply and honestly the chief points on which Willoughby grounded his apology; did justice to his repentance, and softened only his protestations of present regard. Marianne said not a word.--She trembled, her eyes were fixed on the ground, and her lips became whiter than even sickness had left them. A thousand inquiries sprung up from her heart, but she dared not urge one. She caught every syllable with panting eagerness; her hand, unknowingly to herself, closely pressed her sister's, and tears covered her cheeks. Elinor, dreading her being tired, led her towards home; and till they reached the door of the cottage, easily conjecturing what her curiosity must be though no question was suffered to speak it, talked of nothing but Willoughby, and their conversation together; and was carefully minute in every particular of speech and look, where minuteness could be safely indulged. As soon as they entered the house, Marianne with a kiss of gratitude and these two words just articulate through her tears, "Tell mama," withdrew from her sister and walked slowly up stairs. Elinor would not attempt to disturb a solitude so reasonable as what she now sought; and with a mind anxiously pre-arranging its result, and a resolution of reviving the subject again, should Marianne fail to do it, she turned into the parlour to fulfill her parting injunction. Mrs. Dashwood did not hear unmoved the vindication of her former favourite. She rejoiced in his being cleared from some part of his imputed guilt;--she was sorry for him;--she wished him happy. But the feelings of the past could not be recalled.--Nothing could restore him with a faith unbroken--a character unblemished, to Marianne. Nothing could do away the knowledge of what the latter had suffered through his means, nor remove the guilt of his conduct towards Eliza. Nothing could replace him, therefore, in her former esteem, nor injure the interests of Colonel Brandon. Had Mrs. Dashwood, like her daughter, heard Willoughby's story from himself--had she witnessed his distress, and been under the influence of his countenance and his manner, it is probable that her compassion would have been greater. But it was neither in Elinor's power, nor in her wish, to rouse such feelings in another, by her retailed explanation, as had at first been called forth in herself. Reflection had given calmness to her judgment, and sobered her own opinion of Willoughby's deserts;--she wished, therefore, to declare only the simple truth, and lay open such facts as were really due to his character, without any embellishment of tenderness to lead the fancy astray. In the evening, when they were all three together, Marianne began voluntarily to speak of him again;--but that it was not without an effort, the restless, unquiet thoughtfulness in which she had been for some time previously sitting--her rising colour, as she spoke,--and her unsteady voice, plainly shewed. "I wish to assure you both," said she, "that I see every thing--as you can desire me to do." Mrs. Dashwood would have interrupted her instantly with soothing tenderness, had not Elinor, who really wished to hear her sister's unbiased opinion, by an eager sign, engaged her silence. Marianne slowly continued-- "It is a great relief to me--what Elinor told me this morning--I have now heard exactly what I wished to hear."--For some moments her voice was lost; but recovering herself, she added, and with greater calmness than before--"I am now perfectly satisfied, I wish for no change. I never could have been happy with him, after knowing, as sooner or later I must have known, all this.--I should have had no confidence, no esteem. Nothing could have done it away to my feelings." "I know it--I know it," cried her mother. "Happy with a man of libertine practices!--With one who so injured the peace of the dearest of our friends, and the best of men!--No--my Marianne has not a heart to be made happy with such a man!--Her conscience, her sensitive conscience, would have felt all that the conscience of her husband ought to have felt." Marianne sighed, and repeated, "I wish for no change." "You consider the matter," said Elinor, "exactly as a good mind and a sound understanding must consider it; and I dare say you perceive, as well as myself, not only in this, but in many other circumstances, reason enough to be convinced that your marriage must have involved you in many certain troubles and disappointments, in which you would have been poorly supported by an affection, on his side, much less certain. Had you married, you must have been always poor. His expensiveness is acknowledged even by himself, and his whole conduct declares that self-denial is a word hardly understood by him. His demands and your inexperience together, on a small, very small income, must have brought on distresses which would not be the LESS grievous to you, from having been entirely unknown and unthought of before. YOUR sense of honour and honesty would have led you, I know, when aware of your situation, to attempt all the economy that would appear to you possible: and, perhaps, as long as your frugality retrenched only on your own comfort, you might have been suffered to practice it, but beyond that--and how little could the utmost of your single management do to stop the ruin which had begun before your marriage?-- Beyond THAT, had you endeavoured, however reasonably, to abridge HIS enjoyments, is it not to be feared, that instead of prevailing on feelings so selfish to consent to it, you would have lessened your own influence on his heart, and made him regret the connection which had involved him in such difficulties?" Marianne's lips quivered, and she repeated the word "Selfish?" in a tone that implied--"do you really think him selfish?" "The whole of his behaviour," replied Elinor, "from the beginning to the end of the affair, has been grounded on selfishness. It was selfishness which first made him sport with your affections; which afterwards, when his own were engaged, made him delay the confession of it, and which finally carried him from Barton. His own enjoyment, or his own ease, was, in every particular, his ruling principle." "It is very true. MY happiness never was his object." "At present," continued Elinor, "he regrets what he has done. And why does he regret it?--Because he finds it has not answered towards himself. It has not made him happy. His circumstances are now unembarrassed--he suffers from no evil of that kind; and he thinks only that he has married a woman of a less amiable temper than yourself. But does it follow that had he married you, he would have been happy?--The inconveniences would have been different. He would then have suffered under the pecuniary distresses which, because they are removed, he now reckons as nothing. He would have had a wife of whose temper he could make no complaint, but he would have been always necessitous--always poor; and probably would soon have learned to rank the innumerable comforts of a clear estate and good income as of far more importance, even to domestic happiness, than the mere temper of a wife." "I have not a doubt of it," said Marianne; "and I have nothing to regret--nothing but my own folly." "Rather say your mother's imprudence, my child," said Mrs. Dashwood; "SHE must be answerable." Marianne would not let her proceed;--and Elinor, satisfied that each felt their own error, wished to avoid any survey of the past that might weaken her sister's spirits; she, therefore, pursuing the first subject, immediately continued, "One observation may, I think, be fairly drawn from the whole of the story--that all Willoughby's difficulties have arisen from the first offence against virtue, in his behaviour to Eliza Williams. That crime has been the origin of every lesser one, and of all his present discontents." Marianne assented most feelingly to the remark; and her mother was led by it to an enumeration of Colonel Brandon's injuries and merits, warm as friendship and design could unitedly dictate. Her daughter did not look, however, as if much of it were heard by her. Elinor, according to her expectation, saw on the two or three following days, that Marianne did not continue to gain strength as she had done; but while her resolution was unsubdued, and she still tried to appear cheerful and easy, her sister could safely trust to the effect of time upon her health. Margaret returned, and the family were again all restored to each other, again quietly settled at the cottage; and if not pursuing their usual studies with quite so much vigour as when they first came to Barton, at least planning a vigorous prosecution of them in future. Elinor grew impatient for some tidings of Edward. She had heard nothing of him since her leaving London, nothing new of his plans, nothing certain even of his present abode. Some letters had passed between her and her brother, in consequence of Marianne's illness; and in the first of John's, there had been this sentence:-- "We know nothing of our unfortunate Edward, and can make no enquiries on so prohibited a subject, but conclude him to be still at Oxford;" which was all the intelligence of Edward afforded her by the correspondence, for his name was not even mentioned in any of the succeeding letters. She was not doomed, however, to be long in ignorance of his measures. Their man-servant had been sent one morning to Exeter on business; and when, as he waited at table, he had satisfied the inquiries of his mistress as to the event of his errand, this was his voluntary communication-- "I suppose you know, ma'am, that Mr. Ferrars is married." Marianne gave a violent start, fixed her eyes upon Elinor, saw her turning pale, and fell back in her chair in hysterics. Mrs. Dashwood, whose eyes, as she answered the servant's inquiry, had intuitively taken the same direction, was shocked to perceive by Elinor's countenance how much she really suffered, and a moment afterwards, alike distressed by Marianne's situation, knew not on which child to bestow her principal attention. The servant, who saw only that Miss Marianne was taken ill, had sense enough to call one of the maids, who, with Mrs. Dashwood's assistance, supported her into the other room. By that time, Marianne was rather better, and her mother leaving her to the care of Margaret and the maid, returned to Elinor, who, though still much disordered, had so far recovered the use of her reason and voice as to be just beginning an inquiry of Thomas, as to the source of his intelligence. Mrs. Dashwood immediately took all that trouble on herself; and Elinor had the benefit of the information without the exertion of seeking it. "Who told you that Mr. Ferrars was married, Thomas?" "I see Mr. Ferrars myself, ma'am, this morning in Exeter, and his lady too, Miss Steele as was. They was stopping in a chaise at the door of the New London Inn, as I went there with a message from Sally at the Park to her brother, who is one of the post-boys. I happened to look up as I went by the chaise, and so I see directly it was the youngest Miss Steele; so I took off my hat, and she knew me and called to me, and inquired after you, ma'am, and the young ladies, especially Miss Marianne, and bid me I should give her compliments and Mr. Ferrars's, their best compliments and service, and how sorry they was they had not time to come on and see you, but they was in a great hurry to go forwards, for they was going further down for a little while, but howsever, when they come back, they'd make sure to come and see you." "But did she tell you she was married, Thomas?" "Yes, ma'am. She smiled, and said how she had changed her name since she was in these parts. She was always a very affable and free-spoken young lady, and very civil behaved. So, I made free to wish her joy." "Was Mr. Ferrars in the carriage with her?" "Yes, ma'am, I just see him leaning back in it, but he did not look up;--he never was a gentleman much for talking." Elinor's heart could easily account for his not putting himself forward; and Mrs. Dashwood probably found the same explanation. "Was there no one else in the carriage?" "No, ma'am, only they two." "Do you know where they came from?" "They come straight from town, as Miss Lucy--Mrs. Ferrars told me." "And are they going farther westward?" "Yes, ma'am--but not to bide long. They will soon be back again, and then they'd be sure and call here." Mrs. Dashwood now looked at her daughter; but Elinor knew better than to expect them. She recognised the whole of Lucy in the message, and was very confident that Edward would never come near them. She observed in a low voice, to her mother, that they were probably going down to Mr. Pratt's, near Plymouth. Thomas's intelligence seemed over. Elinor looked as if she wished to hear more. "Did you see them off, before you came away?" "No, ma'am--the horses were just coming out, but I could not bide any longer; I was afraid of being late." "Did Mrs. Ferrars look well?" "Yes, ma'am, she said how she was very well; and to my mind she was always a very handsome young lady--and she seemed vastly contented." Mrs. Dashwood could think of no other question, and Thomas and the tablecloth, now alike needless, were soon afterwards dismissed. Marianne had already sent to say, that she should eat nothing more. Mrs. Dashwood's and Elinor's appetites were equally lost, and Margaret might think herself very well off, that with so much uneasiness as both her sisters had lately experienced, so much reason as they had often had to be careless of their meals, she had never been obliged to go without her dinner before. When the dessert and the wine were arranged, and Mrs. Dashwood and Elinor were left by themselves, they remained long together in a similarity of thoughtfulness and silence. Mrs. Dashwood feared to hazard any remark, and ventured not to offer consolation. She now found that she had erred in relying on Elinor's representation of herself; and justly concluded that every thing had been expressly softened at the time, to spare her from an increase of unhappiness, suffering as she then had suffered for Marianne. She found that she had been misled by the careful, the considerate attention of her daughter, to think the attachment, which once she had so well understood, much slighter in reality, than she had been wont to believe, or than it was now proved to be. She feared that under this persuasion she had been unjust, inattentive, nay, almost unkind, to her Elinor;--that Marianne's affliction, because more acknowledged, more immediately before her, had too much engrossed her tenderness, and led her away to forget that in Elinor she might have a daughter suffering almost as much, certainly with less self-provocation, and greater fortitude. Elinor now found the difference between the expectation of an unpleasant event, however certain the mind may be told to consider it, and certainty itself. She now found, that in spite of herself, she had always admitted a hope, while Edward remained single, that something would occur to prevent his marrying Lucy; that some resolution of his own, some mediation of friends, or some more eligible opportunity of establishment for the lady, would arise to assist the happiness of all. But he was now married; and she condemned her heart for the lurking flattery, which so much heightened the pain of the intelligence. That he should be married soon, before (as she imagined) he could be in orders, and consequently before he could be in possession of the living, surprised her a little at first. But she soon saw how likely it was that Lucy, in her self-provident care, in her haste to secure him, should overlook every thing but the risk of delay. They were married, married in town, and now hastening down to her uncle's. What had Edward felt on being within four miles from Barton, on seeing her mother's servant, on hearing Lucy's message! They would soon, she supposed, be settled at Delaford.--Delaford,--that place in which so much conspired to give her an interest; which she wished to be acquainted with, and yet desired to avoid. She saw them in an instant in their parsonage-house; saw in Lucy, the active, contriving manager, uniting at once a desire of smart appearance with the utmost frugality, and ashamed to be suspected of half her economical practices;--pursuing her own interest in every thought, courting the favour of Colonel Brandon, of Mrs. Jennings, and of every wealthy friend. In Edward--she knew not what she saw, nor what she wished to see;--happy or unhappy,--nothing pleased her; she turned away her head from every sketch of him. Elinor flattered herself that some one of their connections in London would write to them to announce the event, and give farther particulars,--but day after day passed off, and brought no letter, no tidings. Though uncertain that any one were to blame, she found fault with every absent friend. They were all thoughtless or indolent. "When do you write to Colonel Brandon, ma'am?" was an inquiry which sprung from the impatience of her mind to have something going on. "I wrote to him, my love, last week, and rather expect to see, than to hear from him again. I earnestly pressed his coming to us, and should not be surprised to see him walk in today or tomorrow, or any day." This was gaining something, something to look forward to. Colonel Brandon must have some information to give. Scarcely had she so determined it, when the figure of a man on horseback drew her eyes to the window. He stopt at their gate. It was a gentleman, it was Colonel Brandon himself. Now she could hear more; and she trembled in expectation of it. But--it was NOT Colonel Brandon--neither his air--nor his height. Were it possible, she must say it must be Edward. She looked again. He had just dismounted;--she could not be mistaken,--it WAS Edward. She moved away and sat down. "He comes from Mr. Pratt's purposely to see us. I WILL be calm; I WILL be mistress of myself." In a moment she perceived that the others were likewise aware of the mistake. She saw her mother and Marianne change colour; saw them look at herself, and whisper a few sentences to each other. She would have given the world to be able to speak--and to make them understand that she hoped no coolness, no slight, would appear in their behaviour to him;--but she had no utterance, and was obliged to leave all to their own discretion. Not a syllable passed aloud. They all waited in silence for the appearance of their visitor. His footsteps were heard along the gravel path; in a moment he was in the passage, and in another he was before them. His countenance, as he entered the room, was not too happy, even for Elinor. His complexion was white with agitation, and he looked as if fearful of his reception, and conscious that he merited no kind one. Mrs. Dashwood, however, conforming, as she trusted, to the wishes of that daughter, by whom she then meant in the warmth of her heart to be guided in every thing, met with a look of forced complacency, gave him her hand, and wished him joy. He coloured, and stammered out an unintelligible reply. Elinor's lips had moved with her mother's, and, when the moment of action was over, she wished that she had shaken hands with him too. But it was then too late, and with a countenance meaning to be open, she sat down again and talked of the weather. Marianne had retreated as much as possible out of sight, to conceal her distress; and Margaret, understanding some part, but not the whole of the case, thought it incumbent on her to be dignified, and therefore took a seat as far from him as she could, and maintained a strict silence. When Elinor had ceased to rejoice in the dryness of the season, a very awful pause took place. It was put an end to by Mrs. Dashwood, who felt obliged to hope that he had left Mrs. Ferrars very well. In a hurried manner, he replied in the affirmative. Another pause. Elinor resolving to exert herself, though fearing the sound of her own voice, now said, "Is Mrs. Ferrars at Longstaple?" "At Longstaple!" he replied, with an air of surprise.-- "No, my mother is in town." "I meant," said Elinor, taking up some work from the table, "to inquire for Mrs. EDWARD Ferrars." She dared not look up;--but her mother and Marianne both turned their eyes on him. He coloured, seemed perplexed, looked doubtingly, and, after some hesitation, said,-- "Perhaps you mean--my brother--you mean Mrs.--Mrs. ROBERT Ferrars." "Mrs. Robert Ferrars!"--was repeated by Marianne and her mother in an accent of the utmost amazement;--and though Elinor could not speak, even HER eyes were fixed on him with the same impatient wonder. He rose from his seat, and walked to the window, apparently from not knowing what to do; took up a pair of scissors that lay there, and while spoiling both them and their sheath by cutting the latter to pieces as he spoke, said, in a hurried voice, "Perhaps you do not know--you may not have heard that my brother is lately married to--to the youngest--to Miss Lucy Steele." His words were echoed with unspeakable astonishment by all but Elinor, who sat with her head leaning over her work, in a state of such agitation as made her hardly know where she was. "Yes," said he, "they were married last week, and are now at Dawlish." Elinor could sit it no longer. She almost ran out of the room, and as soon as the door was closed, burst into tears of joy, which at first she thought would never cease. Edward, who had till then looked any where, rather than at her, saw her hurry away, and perhaps saw--or even heard, her emotion; for immediately afterwards he fell into a reverie, which no remarks, no inquiries, no affectionate address of Mrs. Dashwood could penetrate, and at last, without saying a word, quitted the room, and walked out towards the village--leaving the others in the greatest astonishment and perplexity on a change in his situation, so wonderful and so sudden;--a perplexity which they had no means of lessening but by their own conjectures. Unaccountable, however, as the circumstances of his release might appear to the whole family, it was certain that Edward was free; and to what purpose that freedom would be employed was easily pre-determined by all;--for after experiencing the blessings of ONE imprudent engagement, contracted without his mother's consent, as he had already done for more than four years, nothing less could be expected of him in the failure of THAT, than the immediate contraction of another. His errand at Barton, in fact, was a simple one. It was only to ask Elinor to marry him;--and considering that he was not altogether inexperienced in such a question, it might be strange that he should feel so uncomfortable in the present case as he really did, so much in need of encouragement and fresh air. How soon he had walked himself into the proper resolution, however, how soon an opportunity of exercising it occurred, in what manner he expressed himself, and how he was received, need not be particularly told. This only need be said;--that when they all sat down to table at four o'clock, about three hours after his arrival, he had secured his lady, engaged her mother's consent, and was not only in the rapturous profession of the lover, but, in the reality of reason and truth, one of the happiest of men. His situation indeed was more than commonly joyful. He had more than the ordinary triumph of accepted love to swell his heart, and raise his spirits. He was released without any reproach to himself, from an entanglement which had long formed his misery, from a woman whom he had long ceased to love;--and elevated at once to that security with another, which he must have thought of almost with despair, as soon as he had learnt to consider it with desire. He was brought, not from doubt or suspense, but from misery to happiness;--and the change was openly spoken in such a genuine, flowing, grateful cheerfulness, as his friends had never witnessed in him before. His heart was now open to Elinor, all its weaknesses, all its errors confessed, and his first boyish attachment to Lucy treated with all the philosophic dignity of twenty-four. "It was a foolish, idle inclination on my side," said he, "the consequence of ignorance of the world--and want of employment. Had my mother given me some active profession when I was removed at eighteen from the care of Mr. Pratt, I think--nay, I am sure, it would never have happened; for though I left Longstaple with what I thought, at the time, a most unconquerable preference for his niece, yet had I then had any pursuit, any object to engage my time and keep me at a distance from her for a few months, I should very soon have outgrown the fancied attachment, especially by mixing more with the world, as in such case I must have done. But instead of having any thing to do, instead of having any profession chosen for me, or being allowed to chuse any myself, I returned home to be completely idle; and for the first twelvemonth afterwards I had not even the nominal employment, which belonging to the university would have given me; for I was not entered at Oxford till I was nineteen. I had therefore nothing in the world to do, but to fancy myself in love; and as my mother did not make my home in every respect comfortable, as I had no friend, no companion in my brother, and disliked new acquaintance, it was not unnatural for me to be very often at Longstaple, where I always felt myself at home, and was always sure of a welcome; and accordingly I spent the greatest part of my time there from eighteen to nineteen: Lucy appeared everything that was amiable and obliging. She was pretty too--at least I thought so THEN; and I had seen so little of other women, that I could make no comparisons, and see no defects. Considering everything, therefore, I hope, foolish as our engagement was, foolish as it has since in every way been proved, it was not at the time an unnatural or an inexcusable piece of folly." The change which a few hours had wrought in the minds and the happiness of the Dashwoods, was such--so great--as promised them all, the satisfaction of a sleepless night. Mrs. Dashwood, too happy to be comfortable, knew not how to love Edward, nor praise Elinor enough, how to be enough thankful for his release without wounding his delicacy, nor how at once to give them leisure for unrestrained conversation together, and yet enjoy, as she wished, the sight and society of both. Marianne could speak HER happiness only by tears. Comparisons would occur--regrets would arise;--and her joy, though sincere as her love for her sister, was of a kind to give her neither spirits nor language. But Elinor--how are HER feelings to be described?--From the moment of learning that Lucy was married to another, that Edward was free, to the moment of his justifying the hopes which had so instantly followed, she was every thing by turns but tranquil. But when the second moment had passed, when she found every doubt, every solicitude removed, compared her situation with what so lately it had been,--saw him honourably released from his former engagement, saw him instantly profiting by the release, to address herself and declare an affection as tender, as constant as she had ever supposed it to be,--she was oppressed, she was overcome by her own felicity;--and happily disposed as is the human mind to be easily familiarized with any change for the better, it required several hours to give sedateness to her spirits, or any degree of tranquillity to her heart. Edward was now fixed at the cottage at least for a week;--for whatever other claims might be made on him, it was impossible that less than a week should be given up to the enjoyment of Elinor's company, or suffice to say half that was to be said of the past, the present, and the future;--for though a very few hours spent in the hard labor of incessant talking will despatch more subjects than can really be in common between any two rational creatures, yet with lovers it is different. Between THEM no subject is finished, no communication is even made, till it has been made at least twenty times over. Lucy's marriage, the unceasing and reasonable wonder among them all, formed of course one of the earliest discussions of the lovers;--and Elinor's particular knowledge of each party made it appear to her in every view, as one of the most extraordinary and unaccountable circumstances she had ever heard. How they could be thrown together, and by what attraction Robert could be drawn on to marry a girl, of whose beauty she had herself heard him speak without any admiration,--a girl too already engaged to his brother, and on whose account that brother had been thrown off by his family--it was beyond her comprehension to make out. To her own heart it was a delightful affair, to her imagination it was even a ridiculous one, but to her reason, her judgment, it was completely a puzzle. Edward could only attempt an explanation by supposing, that, perhaps, at first accidentally meeting, the vanity of the one had been so worked on by the flattery of the other, as to lead by degrees to all the rest. Elinor remembered what Robert had told her in Harley Street, of his opinion of what his own mediation in his brother's affairs might have done, if applied to in time. She repeated it to Edward. "THAT was exactly like Robert,"--was his immediate observation.--"And THAT," he presently added, "might perhaps be in HIS head when the acquaintance between them first began. And Lucy perhaps at first might think only of procuring his good offices in my favour. Other designs might afterward arise." How long it had been carrying on between them, however, he was equally at a loss with herself to make out; for at Oxford, where he had remained for choice ever since his quitting London, he had had no means of hearing of her but from herself, and her letters to the very last were neither less frequent, nor less affectionate than usual. Not the smallest suspicion, therefore, had ever occurred to prepare him for what followed;--and when at last it burst on him in a letter from Lucy herself, he had been for some time, he believed, half stupified between the wonder, the horror, and the joy of such a deliverance. He put the letter into Elinor's hands. "DEAR SIR, "Being very sure I have long lost your affections, I have thought myself at liberty to bestow my own on another, and have no doubt of being as happy with him as I once used to think I might be with you; but I scorn to accept a hand while the heart was another's. Sincerely wish you happy in your choice, and it shall not be my fault if we are not always good friends, as our near relationship now makes proper. I can safely say I owe you no ill-will, and am sure you will be too generous to do us any ill offices. Your brother has gained my affections entirely, and as we could not live without one another, we are just returned from the altar, and are now on our way to Dawlish for a few weeks, which place your dear brother has great curiosity to see, but thought I would first trouble you with these few lines, and shall always remain, "Your sincere well-wisher, friend, and sister, "LUCY FERRARS. "I have burnt all your letters, and will return your picture the first opportunity. Please to destroy my scrawls--but the ring with my hair you are very welcome to keep." Elinor read and returned it without any comment. "I will not ask your opinion of it as a composition," said Edward.--"For worlds would not I have had a letter of hers seen by YOU in former days.--In a sister it is bad enough, but in a wife!--how I have blushed over the pages of her writing!--and I believe I may say that since the first half year of our foolish--business--this is the only letter I ever received from her, of which the substance made me any amends for the defect of the style." "However it may have come about," said Elinor, after a pause,--"they are certainly married. And your mother has brought on herself a most appropriate punishment. The independence she settled on Robert, through resentment against you, has put it in his power to make his own choice; and she has actually been bribing one son with a thousand a-year, to do the very deed which she disinherited the other for intending to do. She will hardly be less hurt, I suppose, by Robert's marrying Lucy, than she would have been by your marrying her." "She will be more hurt by it, for Robert always was her favourite.--She will be more hurt by it, and on the same principle will forgive him much sooner." In what state the affair stood at present between them, Edward knew not, for no communication with any of his family had yet been attempted by him. He had quitted Oxford within four and twenty hours after Lucy's letter arrived, and with only one object before him, the nearest road to Barton, had had no leisure to form any scheme of conduct, with which that road did not hold the most intimate connection. He could do nothing till he were assured of his fate with Miss Dashwood; and by his rapidity in seeking THAT fate, it is to be supposed, in spite of the jealousy with which he had once thought of Colonel Brandon, in spite of the modesty with which he rated his own deserts, and the politeness with which he talked of his doubts, he did not, upon the whole, expect a very cruel reception. It was his business, however, to say that he DID, and he said it very prettily. What he might say on the subject a twelvemonth after, must be referred to the imagination of husbands and wives. That Lucy had certainly meant to deceive, to go off with a flourish of malice against him in her message by Thomas, was perfectly clear to Elinor; and Edward himself, now thoroughly enlightened on her character, had no scruple in believing her capable of the utmost meanness of wanton ill-nature. Though his eyes had been long opened, even before his acquaintance with Elinor began, to her ignorance and a want of liberality in some of her opinions--they had been equally imputed, by him, to her want of education; and till her last letter reached him, he had always believed her to be a well-disposed, good-hearted girl, and thoroughly attached to himself. Nothing but such a persuasion could have prevented his putting an end to an engagement, which, long before the discovery of it laid him open to his mother's anger, had been a continual source of disquiet and regret to him. "I thought it my duty," said he, "independent of my feelings, to give her the option of continuing the engagement or not, when I was renounced by my mother, and stood to all appearance without a friend in the world to assist me. In such a situation as that, where there seemed nothing to tempt the avarice or the vanity of any living creature, how could I suppose, when she so earnestly, so warmly insisted on sharing my fate, whatever it might be, that any thing but the most disinterested affection was her inducement? And even now, I cannot comprehend on what motive she acted, or what fancied advantage it could be to her, to be fettered to a man for whom she had not the smallest regard, and who had only two thousand pounds in the world. She could not foresee that Colonel Brandon would give me a living." "No; but she might suppose that something would occur in your favour; that your own family might in time relent. And at any rate, she lost nothing by continuing the engagement, for she has proved that it fettered neither her inclination nor her actions. The connection was certainly a respectable one, and probably gained her consideration among her friends; and, if nothing more advantageous occurred, it would be better for her to marry YOU than be single." Edward was, of course, immediately convinced that nothing could have been more natural than Lucy's conduct, nor more self-evident than the motive of it. Elinor scolded him, harshly as ladies always scold the imprudence which compliments themselves, for having spent so much time with them at Norland, when he must have felt his own inconstancy. "Your behaviour was certainly very wrong," said she; "because--to say nothing of my own conviction, our relations were all led away by it to fancy and expect WHAT, as you were THEN situated, could never be." He could only plead an ignorance of his own heart, and a mistaken confidence in the force of his engagement. "I was simple enough to think, that because my FAITH was plighted to another, there could be no danger in my being with you; and that the consciousness of my engagement was to keep my heart as safe and sacred as my honour. I felt that I admired you, but I told myself it was only friendship; and till I began to make comparisons between yourself and Lucy, I did not know how far I was got. After that, I suppose, I WAS wrong in remaining so much in Sussex, and the arguments with which I reconciled myself to the expediency of it, were no better than these:--The danger is my own; I am doing no injury to anybody but myself." Elinor smiled, and shook her head. Edward heard with pleasure of Colonel Brandon's being expected at the Cottage, as he really wished not only to be better acquainted with him, but to have an opportunity of convincing him that he no longer resented his giving him the living of Delaford--"Which, at present," said he, "after thanks so ungraciously delivered as mine were on the occasion, he must think I have never forgiven him for offering." NOW he felt astonished himself that he had never yet been to the place. But so little interest had he taken in the matter, that he owed all his knowledge of the house, garden, and glebe, extent of the parish, condition of the land, and rate of the tithes, to Elinor herself, who had heard so much of it from Colonel Brandon, and heard it with so much attention, as to be entirely mistress of the subject. One question after this only remained undecided, between them, one difficulty only was to be overcome. They were brought together by mutual affection, with the warmest approbation of their real friends; their intimate knowledge of each other seemed to make their happiness certain--and they only wanted something to live upon. Edward had two thousand pounds, and Elinor one, which, with Delaford living, was all that they could call their own; for it was impossible that Mrs. Dashwood should advance anything; and they were neither of them quite enough in love to think that three hundred and fifty pounds a-year would supply them with the comforts of life. Edward was not entirely without hopes of some favourable change in his mother towards him; and on THAT he rested for the residue of their income. But Elinor had no such dependence; for since Edward would still be unable to marry Miss Morton, and his chusing herself had been spoken of in Mrs. Ferrars's flattering language as only a lesser evil than his chusing Lucy Steele, she feared that Robert's offence would serve no other purpose than to enrich Fanny. About four days after Edward's arrival Colonel Brandon appeared, to complete Mrs. Dashwood's satisfaction, and to give her the dignity of having, for the first time since her living at Barton, more company with her than her house would hold. Edward was allowed to retain the privilege of first comer, and Colonel Brandon therefore walked every night to his old quarters at the Park; from whence he usually returned in the morning, early enough to interrupt the lovers' first tete-a-tete before breakfast. A three weeks' residence at Delaford, where, in his evening hours at least, he had little to do but to calculate the disproportion between thirty-six and seventeen, brought him to Barton in a temper of mind which needed all the improvement in Marianne's looks, all the kindness of her welcome, and all the encouragement of her mother's language, to make it cheerful. Among such friends, however, and such flattery, he did revive. No rumour of Lucy's marriage had yet reached him:--he knew nothing of what had passed; and the first hours of his visit were consequently spent in hearing and in wondering. Every thing was explained to him by Mrs. Dashwood, and he found fresh reason to rejoice in what he had done for Mr. Ferrars, since eventually it promoted the interest of Elinor. It would be needless to say, that the gentlemen advanced in the good opinion of each other, as they advanced in each other's acquaintance, for it could not be otherwise. Their resemblance in good principles and good sense, in disposition and manner of thinking, would probably have been sufficient to unite them in friendship, without any other attraction; but their being in love with two sisters, and two sisters fond of each other, made that mutual regard inevitable and immediate, which might otherwise have waited the effect of time and judgment. The letters from town, which a few days before would have made every nerve in Elinor's body thrill with transport, now arrived to be read with less emotion than mirth. Mrs. Jennings wrote to tell the wonderful tale, to vent her honest indignation against the jilting girl, and pour forth her compassion towards poor Mr. Edward, who, she was sure, had quite doted upon the worthless hussy, and was now, by all accounts, almost broken-hearted, at Oxford.-- "I do think," she continued, "nothing was ever carried on so sly; for it was but two days before Lucy called and sat a couple of hours with me. Not a soul suspected anything of the matter, not even Nancy, who, poor soul! came crying to me the day after, in a great fright for fear of Mrs. Ferrars, as well as not knowing how to get to Plymouth; for Lucy it seems borrowed all her money before she went off to be married, on purpose we suppose to make a show with, and poor Nancy had not seven shillings in the world;--so I was very glad to give her five guineas to take her down to Exeter, where she thinks of staying three or four weeks with Mrs. Burgess, in hopes, as I tell her, to fall in with the Doctor again. And I must say that Lucy's crossness not to take them along with them in the chaise is worse than all. Poor Mr. Edward! I cannot get him out of my head, but you must send for him to Barton, and Miss Marianne must try to comfort him." Mr. Dashwood's strains were more solemn. Mrs. Ferrars was the most unfortunate of women--poor Fanny had suffered agonies of sensibility--and he considered the existence of each, under such a blow, with grateful wonder. Robert's offence was unpardonable, but Lucy's was infinitely worse. Neither of them were ever again to be mentioned to Mrs. Ferrars; and even, if she might hereafter be induced to forgive her son, his wife should never be acknowledged as her daughter, nor be permitted to appear in her presence. The secrecy with which everything had been carried on between them, was rationally treated as enormously heightening the crime, because, had any suspicion of it occurred to the others, proper measures would have been taken to prevent the marriage; and he called on Elinor to join with him in regretting that Lucy's engagement with Edward had not rather been fulfilled, than that she should thus be the means of spreading misery farther in the family.-- He thus continued: "Mrs. Ferrars has never yet mentioned Edward's name, which does not surprise us; but, to our great astonishment, not a line has been received from him on the occasion. Perhaps, however, he is kept silent by his fear of offending, and I shall, therefore, give him a hint, by a line to Oxford, that his sister and I both think a letter of proper submission from him, addressed perhaps to Fanny, and by her shewn to her mother, might not be taken amiss; for we all know the tenderness of Mrs. Ferrars's heart, and that she wishes for nothing so much as to be on good terms with her children." This paragraph was of some importance to the prospects and conduct of Edward. It determined him to attempt a reconciliation, though not exactly in the manner pointed out by their brother and sister. "A letter of proper submission!" repeated he; "would they have me beg my mother's pardon for Robert's ingratitude to HER, and breach of honour to ME?--I can make no submission--I am grown neither humble nor penitent by what has passed.--I am grown very happy; but that would not interest.--I know of no submission that IS proper for me to make." "You may certainly ask to be forgiven," said Elinor, "because you have offended;--and I should think you might NOW venture so far as to profess some concern for having ever formed the engagement which drew on you your mother's anger." He agreed that he might. "And when she has forgiven you, perhaps a little humility may be convenient while acknowledging a second engagement, almost as imprudent in HER eyes as the first." He had nothing to urge against it, but still resisted the idea of a letter of proper submission; and therefore, to make it easier to him, as he declared a much greater willingness to make mean concessions by word of mouth than on paper, it was resolved that, instead of writing to Fanny, he should go to London, and personally intreat her good offices in his favour.-- "And if they really DO interest themselves," said Marianne, in her new character of candour, "in bringing about a reconciliation, I shall think that even John and Fanny are not entirely without merit." After a visit on Colonel Brandon's side of only three or four days, the two gentlemen quitted Barton together.-- They were to go immediately to Delaford, that Edward might have some personal knowledge of his future home, and assist his patron and friend in deciding on what improvements were needed to it; and from thence, after staying there a couple of nights, he was to proceed on his journey to town. After a proper resistance on the part of Mrs. Ferrars, just so violent and so steady as to preserve her from that reproach which she always seemed fearful of incurring, the reproach of being too amiable, Edward was admitted to her presence, and pronounced to be again her son. Her family had of late been exceedingly fluctuating. For many years of her life she had had two sons; but the crime and annihilation of Edward a few weeks ago, had robbed her of one; the similar annihilation of Robert had left her for a fortnight without any; and now, by the resuscitation of Edward, she had one again. In spite of his being allowed once more to live, however, he did not feel the continuance of his existence secure, till he had revealed his present engagement; for the publication of that circumstance, he feared, might give a sudden turn to his constitution, and carry him off as rapidly as before. With apprehensive caution therefore it was revealed, and he was listened to with unexpected calmness. Mrs. Ferrars at first reasonably endeavoured to dissuade him from marrying Miss Dashwood, by every argument in her power;--told him, that in Miss Morton he would have a woman of higher rank and larger fortune;--and enforced the assertion, by observing that Miss Morton was the daughter of a nobleman with thirty thousand pounds, while Miss Dashwood was only the daughter of a private gentleman with no more than THREE; but when she found that, though perfectly admitting the truth of her representation, he was by no means inclined to be guided by it, she judged it wisest, from the experience of the past, to submit--and therefore, after such an ungracious delay as she owed to her own dignity, and as served to prevent every suspicion of good-will, she issued her decree of consent to the marriage of Edward and Elinor. What she would engage to do towards augmenting their income was next to be considered; and here it plainly appeared, that though Edward was now her only son, he was by no means her eldest; for while Robert was inevitably endowed with a thousand pounds a-year, not the smallest objection was made against Edward's taking orders for the sake of two hundred and fifty at the utmost; nor was anything promised either for the present or in future, beyond the ten thousand pounds, which had been given with Fanny. It was as much, however, as was desired, and more than was expected, by Edward and Elinor; and Mrs. Ferrars herself, by her shuffling excuses, seemed the only person surprised at her not giving more. With an income quite sufficient to their wants thus secured to them, they had nothing to wait for after Edward was in possession of the living, but the readiness of the house, to which Colonel Brandon, with an eager desire for the accommodation of Elinor, was making considerable improvements; and after waiting some time for their completion, after experiencing, as usual, a thousand disappointments and delays from the unaccountable dilatoriness of the workmen, Elinor, as usual, broke through the first positive resolution of not marrying till every thing was ready, and the ceremony took place in Barton church early in the autumn. The first month after their marriage was spent with their friend at the Mansion-house; from whence they could superintend the progress of the Parsonage, and direct every thing as they liked on the spot;--could chuse papers, project shrubberies, and invent a sweep. Mrs. Jennings's prophecies, though rather jumbled together, were chiefly fulfilled; for she was able to visit Edward and his wife in their Parsonage by Michaelmas, and she found in Elinor and her husband, as she really believed, one of the happiest couples in the world. They had in fact nothing to wish for, but the marriage of Colonel Brandon and Marianne, and rather better pasturage for their cows. They were visited on their first settling by almost all their relations and friends. Mrs. Ferrars came to inspect the happiness which she was almost ashamed of having authorised; and even the Dashwoods were at the expense of a journey from Sussex to do them honour. "I will not say that I am disappointed, my dear sister," said John, as they were walking together one morning before the gates of Delaford House, "THAT would be saying too much, for certainly you have been one of the most fortunate young women in the world, as it is. But, I confess, it would give me great pleasure to call Colonel Brandon brother. His property here, his place, his house, every thing is in such respectable and excellent condition!--and his woods!--I have not seen such timber any where in Dorsetshire, as there is now standing in Delaford Hanger!--And though, perhaps, Marianne may not seem exactly the person to attract him--yet I think it would altogether be advisable for you to have them now frequently staying with you, for as Colonel Brandon seems a great deal at home, nobody can tell what may happen--for, when people are much thrown together, and see little of anybody else--and it will always be in your power to set her off to advantage, and so forth;--in short, you may as well give her a chance--You understand me."-- But though Mrs. Ferrars DID come to see them, and always treated them with the make-believe of decent affection, they were never insulted by her real favour and preference. THAT was due to the folly of Robert, and the cunning of his wife; and it was earned by them before many months had passed away. The selfish sagacity of the latter, which had at first drawn Robert into the scrape, was the principal instrument of his deliverance from it; for her respectful humility, assiduous attentions, and endless flatteries, as soon as the smallest opening was given for their exercise, reconciled Mrs. Ferrars to his choice, and re-established him completely in her favour. The whole of Lucy's behaviour in the affair, and the prosperity which crowned it, therefore, may be held forth as a most encouraging instance of what an earnest, an unceasing attention to self-interest, however its progress may be apparently obstructed, will do in securing every advantage of fortune, with no other sacrifice than that of time and conscience. When Robert first sought her acquaintance, and privately visited her in Bartlett's Buildings, it was only with the view imputed to him by his brother. He merely meant to persuade her to give up the engagement; and as there could be nothing to overcome but the affection of both, he naturally expected that one or two interviews would settle the matter. In that point, however, and that only, he erred;--for though Lucy soon gave him hopes that his eloquence would convince her in TIME, another visit, another conversation, was always wanted to produce this conviction. Some doubts always lingered in her mind when they parted, which could only be removed by another half hour's discourse with himself. His attendance was by this means secured, and the rest followed in course. Instead of talking of Edward, they came gradually to talk only of Robert,--a subject on which he had always more to say than on any other, and in which she soon betrayed an interest even equal to his own; and in short, it became speedily evident to both, that he had entirely supplanted his brother. He was proud of his conquest, proud of tricking Edward, and very proud of marrying privately without his mother's consent. What immediately followed is known. They passed some months in great happiness at Dawlish; for she had many relations and old acquaintances to cut--and he drew several plans for magnificent cottages;--and from thence returning to town, procured the forgiveness of Mrs. Ferrars, by the simple expedient of asking it, which, at Lucy's instigation, was adopted. The forgiveness, at first, indeed, as was reasonable, comprehended only Robert; and Lucy, who had owed his mother no duty and therefore could have transgressed none, still remained some weeks longer unpardoned. But perseverance in humility of conduct and messages, in self-condemnation for Robert's offence, and gratitude for the unkindness she was treated with, procured her in time the haughty notice which overcame her by its graciousness, and led soon afterwards, by rapid degrees, to the highest state of affection and influence. Lucy became as necessary to Mrs. Ferrars, as either Robert or Fanny; and while Edward was never cordially forgiven for having once intended to marry her, and Elinor, though superior to her in fortune and birth, was spoken of as an intruder, SHE was in every thing considered, and always openly acknowledged, to be a favourite child. They settled in town, received very liberal assistance from Mrs. Ferrars, were on the best terms imaginable with the Dashwoods; and setting aside the jealousies and ill-will continually subsisting between Fanny and Lucy, in which their husbands of course took a part, as well as the frequent domestic disagreements between Robert and Lucy themselves, nothing could exceed the harmony in which they all lived together. What Edward had done to forfeit the right of eldest son, might have puzzled many people to find out; and what Robert had done to succeed to it, might have puzzled them still more. It was an arrangement, however, justified in its effects, if not in its cause; for nothing ever appeared in Robert's style of living or of talking to give a suspicion of his regretting the extent of his income, as either leaving his brother too little, or bringing himself too much;--and if Edward might be judged from the ready discharge of his duties in every particular, from an increasing attachment to his wife and his home, and from the regular cheerfulness of his spirits, he might be supposed no less contented with his lot, no less free from every wish of an exchange. Elinor's marriage divided her as little from her family as could well be contrived, without rendering the cottage at Barton entirely useless, for her mother and sisters spent much more than half their time with her. Mrs. Dashwood was acting on motives of policy as well as pleasure in the frequency of her visits at Delaford; for her wish of bringing Marianne and Colonel Brandon together was hardly less earnest, though rather more liberal than what John had expressed. It was now her darling object. Precious as was the company of her daughter to her, she desired nothing so much as to give up its constant enjoyment to her valued friend; and to see Marianne settled at the mansion-house was equally the wish of Edward and Elinor. They each felt his sorrows, and their own obligations, and Marianne, by general consent, was to be the reward of all. With such a confederacy against her--with a knowledge so intimate of his goodness--with a conviction of his fond attachment to herself, which at last, though long after it was observable to everybody else--burst on her--what could she do? Marianne Dashwood was born to an extraordinary fate. She was born to discover the falsehood of her own opinions, and to counteract, by her conduct, her most favourite maxims. She was born to overcome an affection formed so late in life as at seventeen, and with no sentiment superior to strong esteem and lively friendship, voluntarily to give her hand to another!--and THAT other, a man who had suffered no less than herself under the event of a former attachment, whom, two years before, she had considered too old to be married,--and who still sought the constitutional safeguard of a flannel waistcoat! But so it was. Instead of falling a sacrifice to an irresistible passion, as once she had fondly flattered herself with expecting,--instead of remaining even for ever with her mother, and finding her only pleasures in retirement and study, as afterwards in her more calm and sober judgment she had determined on,--she found herself at nineteen, submitting to new attachments, entering on new duties, placed in a new home, a wife, the mistress of a family, and the patroness of a village. Colonel Brandon was now as happy, as all those who best loved him, believed he deserved to be;--in Marianne he was consoled for every past affliction;--her regard and her society restored his mind to animation, and his spirits to cheerfulness; and that Marianne found her own happiness in forming his, was equally the persuasion and delight of each observing friend. Marianne could never love by halves; and her whole heart became, in time, as much devoted to her husband, as it had once been to Willoughby. Willoughby could not hear of her marriage without a pang; and his punishment was soon afterwards complete in the voluntary forgiveness of Mrs. Smith, who, by stating his marriage with a woman of character, as the source of her clemency, gave him reason for believing that had he behaved with honour towards Marianne, he might at once have been happy and rich. That his repentance of misconduct, which thus brought its own punishment, was sincere, need not be doubted;--nor that he long thought of Colonel Brandon with envy, and of Marianne with regret. But that he was for ever inconsolable, that he fled from society, or contracted an habitual gloom of temper, or died of a broken heart, must not be depended on--for he did neither. He lived to exert, and frequently to enjoy himself. His wife was not always out of humour, nor his home always uncomfortable; and in his breed of horses and dogs, and in sporting of every kind, he found no inconsiderable degree of domestic felicity. For Marianne, however--in spite of his incivility in surviving her loss--he always retained that decided regard which interested him in every thing that befell her, and made her his secret standard of perfection in woman;--and many a rising beauty would be slighted by him in after-days as bearing no comparison with Mrs. Brandon. Mrs. Dashwood was prudent enough to remain at the cottage, without attempting a removal to Delaford; and fortunately for Sir John and Mrs. Jennings, when Marianne was taken from them, Margaret had reached an age highly suitable for dancing, and not very ineligible for being supposed to have a lover. Between Barton and Delaford, there was that constant communication which strong family affection would naturally dictate;--and among the merits and the happiness of Elinor and Marianne, let it not be ranked as the least considerable, that though sisters, and living almost within sight of each other, they could live without disagreement between themselves, or producing coolness between their husbands. THE END

Chapters 46-50

https://web.archive.org/web/20210123003206/https://www.sparknotes.com/lit/sensibility/section11/

The Dashwoods return to Barton Cottage, and Marianne continues to recover from her illness. While she and Elinor are taking a walk one day, the subject of Willoughby is broached once again. Marianne admits that she behaved imprudently in her relations with him, but Elinor consoles her by relating Willoughby's confession. Marianne feels much better knowing that his abandonment of her was not the final revelation of a long-standing deceit, but rather the result of his financial straits, and was thus not entirely willed. Marianne also acknowledges that she would never have been happy with him anyway; he has proved himself rather lacking in integrity. Elinor shares Willoughby's confession with Mrs. Dashwood as well, who pities the man but cannot fully forgive him for his treatment of Marianne. Thomas, the Dashwoods' manservant, arrives from town with the news that "Mr. Ferrars" has married Lucy Steele. This news distresses both Elinor and Marianne: Marianne falls into a fit of hysterics, and Elinor appears deeply disappointed. Witnessing her eldest daughter's grief, Mrs. Dashwood wonders whether she ought to have paid closer attention to Elinor's feelings over the past several months. Not long after, Elinor thinks she sees Colonel Brandon approaching Barton Cottage on horseback, but upon closer look, she realizes that the visitor is actually Edward Ferrars. When he enters the house, and she and Marianne inquire about his recent marriage, he realizes the misunderstanding and assures them that it was Robert who married Lucy Steele. Elinor is so overcome by relief that she runs out of the room, unable to contain her tears of joy. Within the next three hours, Edward proposes to Elinor and she accepts, of course, with great happiness. Over dinner that evening, he explains the unfortunate circumstances that first led to his engagement to Lucy. Edward also shares with the Dashwood sisters a note from Lucy in which she informed him of her engagement to Robert and severed all romantic ties with him. When Colonel Brandon arrives at Barton and hears the news of their engagement, he graciously offers to improve the parsonage at Delaford to accommodate the couple comfortably. Mrs. Ferrars ultimately reconciles herself to Edward's new situation, though she continues to favor Robert as if he were her eldest son. Elinor and Edward live together at Delaford and frequently invite both Marianne and Colonel Brandon to visit, in the hope that the two will form an attachment with one another. Their plan is successful, for the Colonel and the younger sister become engaged and move in with Elinor and Edward at Delaford. The sisters continue to maintain close ties with their mother and Margaret at Barton Cottage, and the families live happily ever after.

Commentary When the servant Thomas first announces the news of "Mr. Ferrars's" marriage to Lucy Steele, Marianne bursts out in hysterics while Elinor maintains her composure in spite of her deep disappointment. Their reactions are ironic on two levels. First, Elinor was the sister with a close attachment to Edward, and thus, she has far more cause to break down in tears. Second, not only do the sisters' reactions seem reversed from what they should be, but the reactions of the men under discussion are reversed as well : it is actually Robert, not Edward, who is engaged to Lucy Steele. Several critics have objected to the implausibility of the match between Marianne and Colonel Brandon. Brandon is characterized as a clear-headed, dependable, practical man--the total opposite of the romantic and impetuous Marianne. Thus, Marianne's final acceptance of him seems completely out of character, since the marriage requires her to abandon her romantic ideals entirely. Moreover, Marianne and Colonel Brandon barely interact in the novel, especially in the concluding chapters. Thus, it seems unlikely that Marianne would come to love Brandon as she had loved Willoughby; she hardly knows him. Nonetheless, by closing the novel with their marriage, Austen shows the extent of Marianne's transformation: she writes, "She was born to discover the falsehood of her own opinions, and to counteract by her conduct her most favourite maxims. " If Marianne's ability to love Brandon is unconvincing, it is because of Austen's great faith in the ability of the individual to remake herself in light of shifting circumstances. The novel closes with a reminder that the most important attachment in the novel is not that between any man and woman, but between the two sisters. The sisters decide to live side-by-side together with their husbands at Delaford, thereby affirming the mutual respect and affection, which has kept them close throughout the entire novel. Ultimately, both sisters end up married to the novel's only second sons. Edward Ferrars, although strictly speaking the firstborn, is disinherited by his mother; as John Dashwood remarks, "Robert will now to all intents and purposes be considered as the eldest son. " We know that Colonel Brandon is a second son because he has an older brother who married his old sweetheart, Eliza, many years before the novel's plot begins. Whereas these characters are the heroes of the novel, all the eldest sons, including John Dashwood, Robert Ferrars, and Colonel Brandon's older brother, are cast in a negative light. In Austen's day, the eldest sons were the ones who inherited all the family property according to the laws of male primogeniture. However, in spite of these inheritance laws, it is the second sons who ultimately find contentment in the novel; thus, they make happy lives for themselves despite societal and financial constraints.

shmoop

all_chapterized_books/110-chapters/29.txt

finished_summaries/shmoop/Tess of the D'Urbervilles/section_28_part_0.txt

Tess of the D'Urbervilles.chapter 29

chapter 29

{"name": "Phase IV: \"The Consequence,\" Chapter Twenty-Nine", "url": "https://web.archive.org/web/20210424232301/http://www.shmoop.com/study-guides/literature/tess-of-the-durbervilles/summary/chapter-29", "summary": "Dairyman Crick announces at breakfast the next day that a local guy named Jack Dollop just got married to a widow with some money. It's the same Jack Dollop who tried to hide in the big butter churn from the mother of a girl he'd seduced. Apparently getting paddled by the churn wasn't enough to make him marry the girl, and he married this widow lady instead, because of her money. But Jack Dollop got the worst of it, because getting remarried meant that the widow lost her income. Everyone at the table laughs, except for Tess, who doesn't like the idea of getting married without being open with one's future partner. After breakfast Angel asks Tess again, and the story about the widow and Jack Dollop has strengthened her resolve: she says no again. More time passes, and Angel continues to pressure her to decide--especially after he accidentally sees her in her nightgown. One evening they're helping to load up the cart to take the butter to the train station to be sent to the London market, and Dairyman Crick realizes that they're running late. Angel volunteers to drive the load to the station, and asks Tess to come along. She starts to object, since she's not wearing a jacket and it's getting late, but Angel insists, and she agrees.", "analysis": ""}

"Now, who mid ye think I've heard news o' this morning?" said Dairyman Crick, as he sat down to breakfast next day, with a riddling gaze round upon the munching men and maids. "Now, just who mid ye think?" One guessed, and another guessed. Mrs Crick did not guess, because she knew already. "Well," said the dairyman, "'tis that slack-twisted 'hore's-bird of a feller, Jack Dollop. He's lately got married to a widow-woman." "Not Jack Dollop? A villain--to think o' that!" said a milker. The name entered quickly into Tess Durbeyfield's consciousness, for it was the name of the lover who had wronged his sweetheart, and had afterwards been so roughly used by the young woman's mother in the butter-churn. "And had he married the valiant matron's daughter, as he promised?" asked Angel Clare absently, as he turned over the newspaper he was reading at the little table to which he was always banished by Mrs Crick, in her sense of his gentility. "Not he, sir. Never meant to," replied the dairyman. "As I say, 'tis a widow-woman, and she had money, it seems--fifty poun' a year or so; and that was all he was after. They were married in a great hurry; and then she told him that by marrying she had lost her fifty poun' a year. Just fancy the state o' my gentleman's mind at that news! Never such a cat-and-dog life as they've been leading ever since! Serves him well beright. But onluckily the poor woman gets the worst o't." "Well, the silly body should have told en sooner that the ghost of her first man would trouble him," said Mrs Crick. "Ay, ay," responded the dairyman indecisively. "Still, you can see exactly how 'twas. She wanted a home, and didn't like to run the risk of losing him. Don't ye think that was something like it, maidens?" He glanced towards the row of girls. "She ought to ha' told him just before they went to church, when he could hardly have backed out," exclaimed Marian. "Yes, she ought," agreed Izz. "She must have seen what he was after, and should ha' refused him," cried Retty spasmodically. "And what do you say, my dear?" asked the dairyman of Tess. "I think she ought--to have told him the true state of things--or else refused him--I don't know," replied Tess, the bread-and-butter choking her. "Be cust if I'd have done either o't," said Beck Knibbs, a married helper from one of the cottages. "All's fair in love and war. I'd ha' married en just as she did, and if he'd said two words to me about not telling him beforehand anything whatsomdever about my first chap that I hadn't chose to tell, I'd ha' knocked him down wi' the rolling-pin--a scram little feller like he! Any woman could do it." The laughter which followed this sally was supplemented only by a sorry smile, for form's sake, from Tess. What was comedy to them was tragedy to her; and she could hardly bear their mirth. She soon rose from table, and, with an impression that Clare would soon follow her, went along a little wriggling path, now stepping to one side of the irrigating channels, and now to the other, till she stood by the main stream of the Var. Men had been cutting the water-weeds higher up the river, and masses of them were floating past her--moving islands of green crow-foot, whereon she might almost have ridden; long locks of which weed had lodged against the piles driven to keep the cows from crossing. Yes, there was the pain of it. This question of a woman telling her story--the heaviest of crosses to herself--seemed but amusement to others. It was as if people should laugh at martyrdom. "Tessy!" came from behind her, and Clare sprang across the gully, alighting beside her feet. "My wife--soon!" "No, no; I cannot. For your sake, O Mr Clare; for your sake, I say no!" "Tess!" "Still I say no!" she repeated. Not expecting this, he had put his arm lightly round her waist the moment after speaking, beneath her hanging tail of hair. (The younger dairymaids, including Tess, breakfasted with their hair loose on Sunday mornings before building it up extra high for attending church, a style they could not adopt when milking with their heads against the cows.) If she had said "Yes" instead of "No" he would have kissed her; it had evidently been his intention; but her determined negative deterred his scrupulous heart. Their condition of domiciliary comradeship put her, as the woman, to such disadvantage by its enforced intercourse, that he felt it unfair to her to exercise any pressure of blandishment which he might have honestly employed had she been better able to avoid him. He released her momentarily-imprisoned waist, and withheld the kiss. It all turned on that release. What had given her strength to refuse him this time was solely the tale of the widow told by the dairyman; and that would have been overcome in another moment. But Angel said no more; his face was perplexed; he went away. Day after day they met--somewhat less constantly than before; and thus two or three weeks went by. The end of September drew near, and she could see in his eye that he might ask her again. His plan of procedure was different now--as though he had made up his mind that her negatives were, after all, only coyness and youth startled by the novelty of the proposal. The fitful evasiveness of her manner when the subject was under discussion countenanced the idea. So he played a more coaxing game; and while never going beyond words, or attempting the renewal of caresses, he did his utmost orally. In this way Clare persistently wooed her in undertones like that of the purling milk--at the cow's side, at skimmings, at butter-makings, at cheese-makings, among broody poultry, and among farrowing pigs--as no milkmaid was ever wooed before by such a man. Tess knew that she must break down. Neither a religious sense of a certain moral validity in the previous union nor a conscientious wish for candour could hold out against it much longer. She loved him so passionately, and he was so godlike in her eyes; and being, though untrained, instinctively refined, her nature cried for his tutelary guidance. And thus, though Tess kept repeating to herself, "I can never be his wife," the words were vain. A proof of her weakness lay in the very utterance of what calm strength would not have taken the trouble to formulate. Every sound of his voice beginning on the old subject stirred her with a terrifying bliss, and she coveted the recantation she feared. His manner was--what man's is not?--so much that of one who would love and cherish and defend her under any conditions, changes, charges, or revelations, that her gloom lessened as she basked in it. The season meanwhile was drawing onward to the equinox, and though it was still fine, the days were much shorter. The dairy had again worked by morning candlelight for a long time; and a fresh renewal of Clare's pleading occurred one morning between three and four. She had run up in her bedgown to his door to call him as usual; then had gone back to dress and call the others; and in ten minutes was walking to the head of the stairs with the candle in her hand. At the same moment he came down his steps from above in his shirt-sleeves and put his arm across the stairway. "Now, Miss Flirt, before you go down," he said peremptorily. "It is a fortnight since I spoke, and this won't do any longer. You MUST tell me what you mean, or I shall have to leave this house. My door was ajar just now, and I saw you. For your own safety I must go. You don't know. Well? Is it to be yes at last?" "I am only just up, Mr Clare, and it is too early to take me to task!" she pouted. "You need not call me Flirt. 'Tis cruel and untrue. Wait till by and by. Please wait till by and by! I will really think seriously about it between now and then. Let me go downstairs!" She looked a little like what he said she was as, holding the candle sideways, she tried to smile away the seriousness of her words. "Call me Angel, then, and not Mr Clare." "Angel." "Angel dearest--why not?" "'Twould mean that I agree, wouldn't it?" "It would only mean that you love me, even if you cannot marry me; and you were so good as to own that long ago." "Very well, then, 'Angel dearest', if I MUST," she murmured, looking at her candle, a roguish curl coming upon her mouth, notwithstanding her suspense. Clare had resolved never to kiss her until he had obtained her promise; but somehow, as Tess stood there in her prettily tucked-up milking gown, her hair carelessly heaped upon her head till there should be leisure to arrange it when skimming and milking were done, he broke his resolve, and brought his lips to her cheek for one moment. She passed downstairs very quickly, never looking back at him or saying another word. The other maids were already down, and the subject was not pursued. Except Marian, they all looked wistfully and suspiciously at the pair, in the sad yellow rays which the morning candles emitted in contrast with the first cold signals of the dawn without. When skimming was done--which, as the milk diminished with the approach of autumn, was a lessening process day by day--Retty and the rest went out. The lovers followed them. "Our tremulous lives are so different from theirs, are they not?" he musingly observed to her, as he regarded the three figures tripping before him through the frigid pallor of opening day. "Not so very different, I think," she said. "Why do you think that?" "There are very few women's lives that are not--tremulous," Tess replied, pausing over the new word as if it impressed her. "There's more in those three than you think." "What is in them?" "Almost either of 'em," she began, "would make--perhaps would make--a properer wife than I. And perhaps they love you as well as I--almost." "O, Tessy!" There were signs that it was an exquisite relief to her to hear the impatient exclamation, though she had resolved so intrepidly to let generosity make one bid against herself. That was now done, and she had not the power to attempt self-immolation a second time then. They were joined by a milker from one of the cottages, and no more was said on that which concerned them so deeply. But Tess knew that this day would decide it. In the afternoon several of the dairyman's household and assistants went down to the meads as usual, a long way from the dairy, where many of the cows were milked without being driven home. The supply was getting less as the animals advanced in calf, and the supernumerary milkers of the lush green season had been dismissed. The work progressed leisurely. Each pailful was poured into tall cans that stood in a large spring-waggon which had been brought upon the scene; and when they were milked, the cows trailed away. Dairyman Crick, who was there with the rest, his wrapper gleaming miraculously white against a leaden evening sky, suddenly looked at his heavy watch. "Why, 'tis later than I thought," he said. "Begad! We shan't be soon enough with this milk at the station, if we don't mind. There's no time to-day to take it home and mix it with the bulk afore sending off. It must go to station straight from here. Who'll drive it across?" Mr Clare volunteered to do so, though it was none of his business, asking Tess to accompany him. The evening, though sunless, had been warm and muggy for the season, and Tess had come out with her milking-hood only, naked-armed and jacketless; certainly not dressed for a drive. She therefore replied by glancing over her scant habiliments; but Clare gently urged her. She assented by relinquishing her pail and stool to the dairyman to take home, and mounted the spring-waggon beside Clare.

Phase IV: "The Consequence," Chapter Twenty-Nine

https://web.archive.org/web/20210424232301/http://www.shmoop.com/study-guides/literature/tess-of-the-durbervilles/summary/chapter-29

Dairyman Crick announces at breakfast the next day that a local guy named Jack Dollop just got married to a widow with some money. It's the same Jack Dollop who tried to hide in the big butter churn from the mother of a girl he'd seduced. Apparently getting paddled by the churn wasn't enough to make him marry the girl, and he married this widow lady instead, because of her money. But Jack Dollop got the worst of it, because getting remarried meant that the widow lost her income. Everyone at the table laughs, except for Tess, who doesn't like the idea of getting married without being open with one's future partner. After breakfast Angel asks Tess again, and the story about the widow and Jack Dollop has strengthened her resolve: she says no again. More time passes, and Angel continues to pressure her to decide--especially after he accidentally sees her in her nightgown. One evening they're helping to load up the cart to take the butter to the train station to be sent to the London market, and Dairyman Crick realizes that they're running late. Angel volunteers to drive the load to the station, and asks Tess to come along. She starts to object, since she's not wearing a jacket and it's getting late, but Angel insists, and she agrees.

cliffnotes

all_chapterized_books/1232-chapters/21.txt

finished_summaries/cliffnotes/The Prince/section_19_part_0.txt

The Prince.chapter 21

chapter 21

{"name": "Chapter 21", "url": "https://web.archive.org/web/20201108110625/https://www.cliffsnotes.com/literature/p/the-prince/summary-and-analysis/chapter-21", "summary": "Nothing enhances a ruler's reputation more than undertaking great conquests. Ferdinand of Spain's career provides a good example. He had attacked Granada; driven the Moors out of Spain; and attacked Africa, Italy, and France. These activities kept his subjects amazed and preoccupied, so that no one had time to do anything against him. With regard to internal affairs, princes should always find noteworthy ways to reward or punish any extraordinary actions. Rulers must never remain neutral. If neighboring rulers fight, you must take sides, because if you do not, the winner will threaten you, and the loser will not befriend you. Whether or not your ally wins, he will be grateful to you. However, if you can avoid it, you should never ally with someone more powerful than yourself, because if he wins, you may be in his power. A prince should show that he loves talent and rewards it. He should encourage his citizens to prosper in their occupations. He should keep the people entertained with festivals at appropriate times. And he should give attention to the various civic groups, attending some of their activities, but without appearing undignified.", "analysis": "Reputation and public image are the topics of this chapter. Conquests and daring deeds are the first way to enhance one's reputation. King Ferdinand of Spain is Machiavelli's exemplar, but he gets ambiguous treatment. Although Machiavelli calls him the most famous and glorious prince in Christendom, he also has harsh words for Ferdinand's expulsion of the Moors from Spain, calling it a despicable act done under a religious pretext. In Chapter 18, Machiavelli made a not-very-subtle reference to Ferdinand's penchant for trickery and deceit. Clearly he admires Ferdinand's boldness and energy, but deplores his actions. The emphasis on Ferdinand's ability to keep his subjects amazed and preoccupied recalls the description of Cesare Borgia's execution of Remirro de Orco, which left the people stunned and satisfied. Machiavelli specifically mentions public spectacles at the end of this chapter, and there is a suggestion that spectacle, whether in the form of entertaining festivals, dramatic executions, or daring schemes, is one of the prince's most important tools for controlling public opinion. In the same way, rewarding citizens' achievements or punishing their misdeeds should have an element of spectacle. It should make people talk, and when they talk, it should be about how remarkable the prince is. Machiavelli's other recommendation has to do with decisiveness. Not surprisingly, given his preference for bold action, Machiavelli deplores princes who try to remain neutral in disputes. He presents this as a practical consideration: If a prince fails to take sides, he may find himself without friends when the dust settles. In this discussion, Machiavelli makes one of his few positive statements about human behavior, remarking that men are not so dishonorable nor ungrateful that they will immediately turn on their allies. Given Machiavelli's own advice to the prince in Chapter 18 to break his word when it suits his goals, the reader may have difficulty taking seriously Machiavelli's assurances in this case. Returning to his theme of maintaining good relationships with one's subjects, Machiavelli says that a prince should reward merit and encourage prosperity, because achievements by the citizens improve the state. Princes should show themselves to be friendly to their subjects but without compromising the dignity of their office. Maintaining a certain distance keeps an air of grandeur intact. Glossary Moors Islamic residents of Spain, the Moors had invaded from north Africa in the early eighth century and controlled large portions of Spain until Ferdinand drove them out during the Reconquest, completed by 1500. Ferdinand expelled the Jews at the same time, in his desire to make Spain a pure Christian nation. Machiavelli implies that this was a purely political maneuver done under a religious pretext. Bernabo Bernabo Visconti , ruler of Milan, was famous for giving bizarre punishments."}

Nothing makes a prince so much esteemed as great enterprises and setting a fine example. We have in our time Ferdinand of Aragon, the present King of Spain. He can almost be called a new prince, because he has risen, by fame and glory, from being an insignificant king to be the foremost king in Christendom; and if you will consider his deeds you will find them all great and some of them extraordinary. In the beginning of his reign he attacked Granada, and this enterprise was the foundation of his dominions. He did this quietly at first and without any fear of hindrance, for he held the minds of the barons of Castile occupied in thinking of the war and not anticipating any innovations; thus they did not perceive that by these means he was acquiring power and authority over them. He was able with the money of the Church and of the people to sustain his armies, and by that long war to lay the foundation for the military skill which has since distinguished him. Further, always using religion as a plea, so as to undertake greater schemes, he devoted himself with pious cruelty to driving out and clearing his kingdom of the Moors; nor could there be a more admirable example, nor one more rare. Under this same cloak he assailed Africa, he came down on Italy, he has finally attacked France; and thus his achievements and designs have always been great, and have kept the minds of his people in suspense and admiration and occupied with the issue of them. And his actions have arisen in such a way, one out of the other, that men have never been given time to work steadily against him. Again, it much assists a prince to set unusual examples in internal affairs, similar to those which are related of Messer Bernabo da Milano, who, when he had the opportunity, by any one in civil life doing some extraordinary thing, either good or bad, would take some method of rewarding or punishing him, which would be much spoken about. And a prince ought, above all things, always endeavour in every action to gain for himself the reputation of being a great and remarkable man. A prince is also respected when he is either a true friend or a downright enemy, that is to say, when, without any reservation, he declares himself in favour of one party against the other; which course will always be more advantageous than standing neutral; because if two of your powerful neighbours come to blows, they are of such a character that, if one of them conquers, you have either to fear him or not. In either case it will always be more advantageous for you to declare yourself and to make war strenuously; because, in the first case, if you do not declare yourself, you will invariably fall a prey to the conqueror, to the pleasure and satisfaction of him who has been conquered, and you will have no reasons to offer, nor anything to protect or to shelter you. Because he who conquers does not want doubtful friends who will not aid him in the time of trial; and he who loses will not harbour you because you did not willingly, sword in hand, court his fate. Antiochus went into Greece, being sent for by the Aetolians to drive out the Romans. He sent envoys to the Achaeans, who were friends of the Romans, exhorting them to remain neutral; and on the other hand the Romans urged them to take up arms. This question came to be discussed in the council of the Achaeans, where the legate of Antiochus urged them to stand neutral. To this the Roman legate answered: "As for that which has been said, that it is better and more advantageous for your state not to interfere in our war, nothing can be more erroneous; because by not interfering you will be left, without favour or consideration, the guerdon of the conqueror." Thus it will always happen that he who is not your friend will demand your neutrality, whilst he who is your friend will entreat you to declare yourself with arms. And irresolute princes, to avoid present dangers, generally follow the neutral path, and are generally ruined. But when a prince declares himself gallantly in favour of one side, if the party with whom he allies himself conquers, although the victor may be powerful and may have him at his mercy, yet he is indebted to him, and there is established a bond of amity; and men are never so shameless as to become a monument of ingratitude by oppressing you. Victories after all are never so complete that the victor must not show some regard, especially to justice. But if he with whom you ally yourself loses, you may be sheltered by him, and whilst he is able he may aid you, and you become companions on a fortune that may rise again. In the second case, when those who fight are of such a character that you have no anxiety as to who may conquer, so much the more is it greater prudence to be allied, because you assist at the destruction of one by the aid of another who, if he had been wise, would have saved him; and conquering, as it is impossible that he should not do with your assistance, he remains at your discretion. And here it is to be noted that a prince ought to take care never to make an alliance with one more powerful than himself for the purposes of attacking others, unless necessity compels him, as is said above; because if he conquers you are at his discretion, and princes ought to avoid as much as possible being at the discretion of any one. The Venetians joined with France against the Duke of Milan, and this alliance, which caused their ruin, could have been avoided. But when it cannot be avoided, as happened to the Florentines when the Pope and Spain sent armies to attack Lombardy, then in such a case, for the above reasons, the prince ought to favour one of the parties. Never let any Government imagine that it can choose perfectly safe courses; rather let it expect to have to take very doubtful ones, because it is found in ordinary affairs that one never seeks to avoid one trouble without running into another; but prudence consists in knowing how to distinguish the character of troubles, and for choice to take the lesser evil. A prince ought also to show himself a patron of ability, and to honour the proficient in every art. At the same time he should encourage his citizens to practise their callings peaceably, both in commerce and agriculture, and in every other following, so that the one should not be deterred from improving his possessions for fear lest they be taken away from him or another from opening up trade for fear of taxes; but the prince ought to offer rewards to whoever wishes to do these things and designs in any way to honour his city or state. Further, he ought to entertain the people with festivals and spectacles at convenient seasons of the year; and as every city is divided into guilds or into societies,(*) he ought to hold such bodies in esteem, and associate with them sometimes, and show himself an example of courtesy and liberality; nevertheless, always maintaining the majesty of his rank, for this he must never consent to abate in anything. (*) "Guilds or societies," "in arti o in tribu." "Arti" were craft or trade guilds, cf. Florio: "Arte . . . a whole company of any trade in any city or corporation town." The guilds of Florence are most admirably described by Mr Edgcumbe Staley in his work on the subject (Methuen, 1906). Institutions of a somewhat similar character, called "artel," exist in Russia to-day, cf. Sir Mackenzie Wallace's "Russia," ed. 1905: "The sons . . . were always during the working season members of an artel. In some of the larger towns there are artels of a much more complex kind-- permanent associations, possessing large capital, and pecuniarily responsible for the acts of the individual members." The word "artel," despite its apparent similarity, has, Mr Aylmer Maude assures me, no connection with "ars" or "arte." Its root is that of the verb "rotisya," to bind oneself by an oath; and it is generally admitted to be only another form of "rota," which now signifies a "regimental company." In both words the underlying idea is that of a body of men united by an oath. "Tribu" were possibly gentile groups, united by common descent, and included individuals connected by marriage. Perhaps our words "sects" or "clans" would be most appropriate.

Chapter 21

https://web.archive.org/web/20201108110625/https://www.cliffsnotes.com/literature/p/the-prince/summary-and-analysis/chapter-21

Nothing enhances a ruler's reputation more than undertaking great conquests. Ferdinand of Spain's career provides a good example. He had attacked Granada; driven the Moors out of Spain; and attacked Africa, Italy, and France. These activities kept his subjects amazed and preoccupied, so that no one had time to do anything against him. With regard to internal affairs, princes should always find noteworthy ways to reward or punish any extraordinary actions. Rulers must never remain neutral. If neighboring rulers fight, you must take sides, because if you do not, the winner will threaten you, and the loser will not befriend you. Whether or not your ally wins, he will be grateful to you. However, if you can avoid it, you should never ally with someone more powerful than yourself, because if he wins, you may be in his power. A prince should show that he loves talent and rewards it. He should encourage his citizens to prosper in their occupations. He should keep the people entertained with festivals at appropriate times. And he should give attention to the various civic groups, attending some of their activities, but without appearing undignified.

Reputation and public image are the topics of this chapter. Conquests and daring deeds are the first way to enhance one's reputation. King Ferdinand of Spain is Machiavelli's exemplar, but he gets ambiguous treatment. Although Machiavelli calls him the most famous and glorious prince in Christendom, he also has harsh words for Ferdinand's expulsion of the Moors from Spain, calling it a despicable act done under a religious pretext. In Chapter 18, Machiavelli made a not-very-subtle reference to Ferdinand's penchant for trickery and deceit. Clearly he admires Ferdinand's boldness and energy, but deplores his actions. The emphasis on Ferdinand's ability to keep his subjects amazed and preoccupied recalls the description of Cesare Borgia's execution of Remirro de Orco, which left the people stunned and satisfied. Machiavelli specifically mentions public spectacles at the end of this chapter, and there is a suggestion that spectacle, whether in the form of entertaining festivals, dramatic executions, or daring schemes, is one of the prince's most important tools for controlling public opinion. In the same way, rewarding citizens' achievements or punishing their misdeeds should have an element of spectacle. It should make people talk, and when they talk, it should be about how remarkable the prince is. Machiavelli's other recommendation has to do with decisiveness. Not surprisingly, given his preference for bold action, Machiavelli deplores princes who try to remain neutral in disputes. He presents this as a practical consideration: If a prince fails to take sides, he may find himself without friends when the dust settles. In this discussion, Machiavelli makes one of his few positive statements about human behavior, remarking that men are not so dishonorable nor ungrateful that they will immediately turn on their allies. Given Machiavelli's own advice to the prince in Chapter 18 to break his word when it suits his goals, the reader may have difficulty taking seriously Machiavelli's assurances in this case. Returning to his theme of maintaining good relationships with one's subjects, Machiavelli says that a prince should reward merit and encourage prosperity, because achievements by the citizens improve the state. Princes should show themselves to be friendly to their subjects but without compromising the dignity of their office. Maintaining a certain distance keeps an air of grandeur intact. Glossary Moors Islamic residents of Spain, the Moors had invaded from north Africa in the early eighth century and controlled large portions of Spain until Ferdinand drove them out during the Reconquest, completed by 1500. Ferdinand expelled the Jews at the same time, in his desire to make Spain a pure Christian nation. Machiavelli implies that this was a purely political maneuver done under a religious pretext. Bernabo Bernabo Visconti , ruler of Milan, was famous for giving bizarre punishments.

shmoop

all_chapterized_books/110-chapters/07.txt

finished_summaries/shmoop/Tess of the D'Urbervilles/section_6_part_0.txt

Tess of the D'Urbervilles.chapter 7

chapter 7

{"name": "Phase I: \"The Maiden,\" Chapter Seven", "url": "https://web.archive.org/web/20210424232301/http://www.shmoop.com/study-guides/literature/tess-of-the-durbervilles/summary/chapter-7", "summary": "Tess wakes up early the day she is supposed to set out for The Slopes. Her mother insists that she wear her finest dress, and Tess objects that she's going to work, not for a holiday. Her mother presses her, and Tess finally agrees to let her mother dress her in any way she sees fit. Her mother washes and dries Tess's hair so that it's all soft and fluffy, and ties it back with a big pink ribbon. The narrator tells us that Tess's huge hair, combined with her... ahem, other assets--make her seem older than she is. Her mother is very pleased with how pretty Tess looks. Tess says goodbye to her father, who tells her that he's willing to sell the other branch of the family the rights to the family name for a thousand--no, a hundred--no, for fifty--okay, fine, for twenty pounds. Tess feels rather bitter as she turns to leave. Her mother and some of the younger children walk with Tess to where she's arranged to meet the cart. Tess is about to climb into the cart when they see a second one coming. This one is a fancy two-person carriage, driven by--you guessed it--Alec D'Urberville himself. Tess is hesitant to climb up with him--she would have preferred the plain country cart that is carrying her luggage. But, after a moment's hesitation, she climbs in with him. As soon as Tess is out of sight, the younger children start to cry. Even Mrs. Durbeyfield tears up. That night in bed, she expresses her misgivings to her husband--maybe, she thinks, she ought to have looked into the young man's character a bit before trusting her daughter with him so far from home. But then she comforts herself with the thought that \"if he don't marry her afore he will after\" .", "analysis": ""}

On the morning appointed for her departure Tess was awake before dawn--at the marginal minute of the dark when the grove is still mute, save for one prophetic bird who sings with a clear-voiced conviction that he at least knows the correct time of day, the rest preserving silence as if equally convinced that he is mistaken. She remained upstairs packing till breakfast-time, and then came down in her ordinary week-day clothes, her Sunday apparel being carefully folded in her box. Her mother expostulated. "You will never set out to see your folks without dressing up more the dand than that?" "But I am going to work!" said Tess. "Well, yes," said Mrs Durbeyfield; and in a private tone, "at first there mid be a little pretence o't ... But I think it will be wiser of 'ee to put your best side outward," she added. "Very well; I suppose you know best," replied Tess with calm abandonment. And to please her parent the girl put herself quite in Joan's hands, saying serenely--"Do what you like with me, mother." Mrs Durbeyfield was only too delighted at this tractability. First she fetched a great basin, and washed Tess's hair with such thoroughness that when dried and brushed it looked twice as much as at other times. She tied it with a broader pink ribbon than usual. Then she put upon her the white frock that Tess had worn at the club-walking, the airy fulness of which, supplementing her enlarged _coiffure_, imparted to her developing figure an amplitude which belied her age, and might cause her to be estimated as a woman when she was not much more than a child. "I declare there's a hole in my stocking-heel!" said Tess. "Never mind holes in your stockings--they don't speak! When I was a maid, so long as I had a pretty bonnet the devil might ha' found me in heels." Her mother's pride in the girl's appearance led her to step back, like a painter from his easel, and survey her work as a whole. "You must zee yourself!" she cried. "It is much better than you was t'other day." As the looking-glass was only large enough to reflect a very small portion of Tess's person at one time, Mrs Durbeyfield hung a black cloak outside the casement, and so made a large reflector of the panes, as it is the wont of bedecking cottagers to do. After this she went downstairs to her husband, who was sitting in the lower room. "I'll tell 'ee what 'tis, Durbeyfield," said she exultingly; "he'll never have the heart not to love her. But whatever you do, don't zay too much to Tess of his fancy for her, and this chance she has got. She is such an odd maid that it mid zet her against him, or against going there, even now. If all goes well, I shall certainly be for making some return to pa'son at Stagfoot Lane for telling us--dear, good man!" However, as the moment for the girl's setting out drew nigh, when the first excitement of the dressing had passed off, a slight misgiving found place in Joan Durbeyfield's mind. It prompted the matron to say that she would walk a little way--as far as to the point where the acclivity from the valley began its first steep ascent to the outer world. At the top Tess was going to be met with the spring-cart sent by the Stoke-d'Urbervilles, and her box had already been wheeled ahead towards this summit by a lad with trucks, to be in readiness. Seeing their mother put on her bonnet, the younger children clamoured to go with her. "I do want to walk a little-ways wi' Sissy, now she's going to marry our gentleman-cousin, and wear fine cloze!" "Now," said Tess, flushing and turning quickly, "I'll hear no more o' that! Mother, how could you ever put such stuff into their heads?" "Going to work, my dears, for our rich relation, and help get enough money for a new horse," said Mrs Durbeyfield pacifically. "Goodbye, father," said Tess, with a lumpy throat. "Goodbye, my maid," said Sir John, raising his head from his breast as he suspended his nap, induced by a slight excess this morning in honour of the occasion. "Well, I hope my young friend will like such a comely sample of his own blood. And tell'n, Tess, that being sunk, quite, from our former grandeur, I'll sell him the title--yes, sell it--and at no onreasonable figure." "Not for less than a thousand pound!" cried Lady Durbeyfield. "Tell'n--I'll take a thousand pound. Well, I'll take less, when I come to think o't. He'll adorn it better than a poor lammicken feller like myself can. Tell'n he shall hae it for a hundred. But I won't stand upon trifles--tell'n he shall hae it for fifty--for twenty pound! Yes, twenty pound--that's the lowest. Dammy, family honour is family honour, and I won't take a penny less!" Tess's eyes were too full and her voice too choked to utter the sentiments that were in her. She turned quickly, and went out. So the girls and their mother all walked together, a child on each side of Tess, holding her hand and looking at her meditatively from time to time, as at one who was about to do great things; her mother just behind with the smallest; the group forming a picture of honest beauty flanked by innocence, and backed by simple-souled vanity. They followed the way till they reached the beginning of the ascent, on the crest of which the vehicle from Trantridge was to receive her, this limit having been fixed to save the horse the labour of the last slope. Far away behind the first hills the cliff-like dwellings of Shaston broke the line of the ridge. Nobody was visible in the elevated road which skirted the ascent save the lad whom they had sent on before them, sitting on the handle of the barrow that contained all Tess's worldly possessions. "Bide here a bit, and the cart will soon come, no doubt," said Mrs Durbeyfield. "Yes, I see it yonder!" It had come--appearing suddenly from behind the forehead of the nearest upland, and stopping beside the boy with the barrow. Her mother and the children thereupon decided to go no farther, and bidding them a hasty goodbye, Tess bent her steps up the hill. They saw her white shape draw near to the spring-cart, on which her box was already placed. But before she had quite reached it another vehicle shot out from a clump of trees on the summit, came round the bend of the road there, passed the luggage-cart, and halted beside Tess, who looked up as if in great surprise. Her mother perceived, for the first time, that the second vehicle was not a humble conveyance like the first, but a spick-and-span gig or dog-cart, highly varnished and equipped. The driver was a young man of three- or four-and-twenty, with a cigar between his teeth; wearing a dandy cap, drab jacket, breeches of the same hue, white neckcloth, stick-up collar, and brown driving-gloves--in short, he was the handsome, horsey young buck who had visited Joan a week or two before to get her answer about Tess. Mrs Durbeyfield clapped her hands like a child. Then she looked down, then stared again. Could she be deceived as to the meaning of this? "Is dat the gentleman-kinsman who'll make Sissy a lady?" asked the youngest child. Meanwhile the muslined form of Tess could be seen standing still, undecided, beside this turn-out, whose owner was talking to her. Her seeming indecision was, in fact, more than indecision: it was misgiving. She would have preferred the humble cart. The young man dismounted, and appeared to urge her to ascend. She turned her face down the hill to her relatives, and regarded the little group. Something seemed to quicken her to a determination; possibly the thought that she had killed Prince. She suddenly stepped up; he mounted beside her, and immediately whipped on the horse. In a moment they had passed the slow cart with the box, and disappeared behind the shoulder of the hill. Directly Tess was out of sight, and the interest of the matter as a drama was at an end, the little ones' eyes filled with tears. The youngest child said, "I wish poor, poor Tess wasn't gone away to be a lady!" and, lowering the corners of his lips, burst out crying. The new point of view was infectious, and the next child did likewise, and then the next, till the whole three of them wailed loud. There were tears also in Joan Durbeyfield's eyes as she turned to go home. But by the time she had got back to the village she was passively trusting to the favour of accident. However, in bed that night she sighed, and her husband asked her what was the matter. "Oh, I don't know exactly," she said. "I was thinking that perhaps it would ha' been better if Tess had not gone." "Oughtn't ye to have thought of that before?" "Well, 'tis a chance for the maid--Still, if 'twere the doing again, I wouldn't let her go till I had found out whether the gentleman is really a good-hearted young man and choice over her as his kinswoman." "Yes, you ought, perhaps, to ha' done that," snored Sir John. Joan Durbeyfield always managed to find consolation somewhere: "Well, as one of the genuine stock, she ought to make her way with 'en, if she plays her trump card aright. And if he don't marry her afore he will after. For that he's all afire wi' love for her any eye can see." "What's her trump card? Her d'Urberville blood, you mean?" "No, stupid; her face--as 'twas mine."

Phase I: "The Maiden," Chapter Seven

https://web.archive.org/web/20210424232301/http://www.shmoop.com/study-guides/literature/tess-of-the-durbervilles/summary/chapter-7

Tess wakes up early the day she is supposed to set out for The Slopes. Her mother insists that she wear her finest dress, and Tess objects that she's going to work, not for a holiday. Her mother presses her, and Tess finally agrees to let her mother dress her in any way she sees fit. Her mother washes and dries Tess's hair so that it's all soft and fluffy, and ties it back with a big pink ribbon. The narrator tells us that Tess's huge hair, combined with her... ahem, other assets--make her seem older than she is. Her mother is very pleased with how pretty Tess looks. Tess says goodbye to her father, who tells her that he's willing to sell the other branch of the family the rights to the family name for a thousand--no, a hundred--no, for fifty--okay, fine, for twenty pounds. Tess feels rather bitter as she turns to leave. Her mother and some of the younger children walk with Tess to where she's arranged to meet the cart. Tess is about to climb into the cart when they see a second one coming. This one is a fancy two-person carriage, driven by--you guessed it--Alec D'Urberville himself. Tess is hesitant to climb up with him--she would have preferred the plain country cart that is carrying her luggage. But, after a moment's hesitation, she climbs in with him. As soon as Tess is out of sight, the younger children start to cry. Even Mrs. Durbeyfield tears up. That night in bed, she expresses her misgivings to her husband--maybe, she thinks, she ought to have looked into the young man's character a bit before trusting her daughter with him so far from home. But then she comforts herself with the thought that "if he don't marry her afore he will after" .

shmoop

all_chapterized_books/23042-chapters/7.txt

finished_summaries/shmoop/The Tempest/section_6_part_0.txt

The Tempest.act 3.scene 3

act 3, scene 3

{"name": "Act 3, Scene 3", "url": "https://web.archive.org/web/20210411014001/https://www.shmoop.com/study-guides/literature/tempest/summary/act-3-scene-3", "summary": "Now we're back to Alonso, Sebastian, Antonio, Gonzalo, and their attendant lords somewhere else on the island. Gonzalo is weary, and Alonso has given up hope that his son might still be alive. Antonio, hearing this news, utters an aside to Sebastian, reminding him of their plan. Antonio says they will murder the King tonight when everyone else sleeps. Strange music then begins to play, and Prospero enters, invisible. Before the eyes of the King and shipwrecked lords, a magical banquet is laid by welcoming spirits who invite the King and company to eat. All wonder at the strange sight for a while, thinking they could now believe anything. Sebastian is done with oohing and ahhing for a while, and suggests that since they are hungry, they should eat what the spirits have given them. Alonso refuses, and Gonzalo comforts him by saying there were lots of things they wouldn't have believed when they were young that turn out to be true--like girls don't actually have cooties and Santa isn't real. Alonso decides to eat in spite of the risk, as \"the best is past,\" meaning life can't get much worse than it is now. He invites everyone to the table. Before they can dig in to their meal, Ariel appears in the shape of a harpy and the food disappears. The harpy stuns the men, and declares that three men of sin are at the table. The harpy says Destiny has caused the sea to put them on this uninhabited land because they are men unfit to live. The men draw their swords, and the harpy laughs at their foolishness, as their swords are no good against the natural elements she wields. The monster reminds them of the evil they did Prospero and the baby Miranda, and claims the sea paid them back for their crimes, taking Ferdinand and dooming the rest of them. If they repent their evil deeds, a better life might follow. Ariel then vanishes, and the spirits come once more to carry away the banquet table. Prospero praises Ariel for his good work, which he has watched while invisible. Gonzalo breaks the stunned silence when he asks what Alonso, Antonio, and Sebastian are looking so shocked about. King Alonso admits that the sea and thunder spoke to him of his ill deeds against Prospero, and has claimed his son as punishment. Sebastian and Antonio are unmoved. Instead of repenting, they agree to fight the ills that might befall them, one at a time. As the three exit, Gonzalo notes that Alonso, Antonio, and Sebastian's treachery against Prospero is catching up to them. The kind councilor asks the rest of the group to follow the three traitors and stop them from whatever craziness they might attempt in their stunned, post-harpy encounter state.", "analysis": ""}

SCENE III. _Another part of the island._ _Enter ALONSO, SEBASTIAN, ANTONIO, GONZALO, ADRIAN, FRANCISCO, and others._ _Gon._ By'r lakin, I can go no further, sir; My old bones ache: here's a maze trod, indeed, Through forth-rights and meanders! By your patience, I needs must rest me. _Alon._ Old lord, I cannot blame thee, Who am myself attach'd with weariness, 5 To the dulling of my spirits: sit down, and rest. Even here I will put off my hope, and keep it No longer for my flatterer: he is drown'd Whom thus we stray to find; and the sea mocks Our frustrate search on land. Well, let him go. 10 _Ant._ [_Aside to Seb._] I am right glad that he's so out of hope. Do not, for one repulse, forego the purpose That you resolved to effect. _Seb._ [_Aside to Ant._] The next advantage Will we take throughly. _Ant._ [_Aside to Seb._] Let it be to-night; For, now they are oppress'd with travel, they 15 Will not, nor cannot, use such vigilance As when they are fresh. _Seb._ [_Aside to Ant._] I say, to-night: no more. [_Solemn and strange music._ _Alon._ What harmony is this?--My good friends, hark! _Gon._ Marvellous sweet music! _Enter PROSPERO above, invisible. Enter several strange Shapes, bringing in a banquet: they dance about it with gentle actions of salutation; and, inviting the King, &c. to eat, they depart._ _Alon._ Give us kind keepers, heavens!--What were these? 20 _Seb._ A living drollery. Now I will believe That there are unicorns; that in Arabia There is one tree, the phoenix' throne; one phoenix At this hour reigning there. _Ant._ I'll believe both; And what does else want credit, come to me, 25 And I'll be sworn 'tis true: travellers ne'er did lie, Though fools at home condemn 'em. _Gon._ If in Naples I should report this now, would they believe me? If I should say, I saw such islanders,-- For, certes, these are people of the island,-- 30 Who, though they are of monstrous shape, yet, note, Their manners are more gentle-kind than of Our human generation you shall find Many, nay, almost any. _Pros._ [_Aside_] Honest lord, Thou hast said well; for some of you there present 35 Are worse than devils. _Alon._ I cannot too much muse Such shapes, such gesture, and such sound, expressing-- Although they want the use of tongue--a kind Of excellent dumb discourse. _Pros._ [_Aside_] Praise in departing. _Fran._ They vanish'd strangely. _Seb._ No matter, since 40 They have left their viands behind; for we have stomachs.-- Will't please you taste of what is here? _Alon._ Not I. _Gon._ Faith, sir, you need not fear. When we were boys, Who would believe that there were mountaineers Dew-lapp'd like bulls, whose throats had hanging at 'em 45 Wallets of flesh? or that there were such men Whose heads stood in their breasts? which now we find Each putter-out of five for one will bring us Good warrant of. _Alon._ I will stand to, and feed, Although my last: no matter, since I feel 50 The best is past. Brother, my lord the duke, Stand to, and do as we. _Thunder and lightning. Enter ARIEL, like a harpy; claps his wings upon the table; and, with a quaint device, the banquet vanishes._ _Ari._ You are three men of sin, whom Destiny,-- That hath to instrument this lower world And what is in't,--the never-surfeited sea 55 Hath caused to belch up you; and on this island, Where man doth not inhabit,--you 'mongst men Being most unfit to live. I have made you mad; And even with such-like valour men hang and drown Their proper selves. [_Alon., Seb. &c. draw their swords._ You fools! I and my fellows 60 Are ministers of Fate: the elements, Of whom your swords are temper'd, may as well Wound the loud winds, or with bemock'd-at stabs Kill the still-closing waters, as diminish One dowle that's in my plume: my fellow-ministers 65 Are like invulnerable. If you could hurt, Your swords are now too massy for your strengths, And will not be uplifted. But remember,-- For that's my business to you,--that you three From Milan did supplant good Prospero; 70 Exposed unto the sea, which hath requit it, Him and his innocent child: for which foul deed The powers, delaying, not forgetting, have Incensed the seas and shores, yea, all the creatures, Against your peace. Thee of thy son, Alonso, 75 They have bereft; and do pronounce by me: Lingering perdition--worse than any death Can be at once--shall step by step attend You and your ways; whose wraths to guard you from,-- Which here, in this most desolate isle, else falls 80 Upon your heads,--is nothing but heart-sorrow And a clear life ensuing. _He vanishes in thunder; then, to soft music, enter the Shapes again, and dance, with mocks and mows, and carrying out the table._ _Pros._ Bravely the figure of this harpy hast thou Perform'd, my Ariel; a grace it had, devouring: Of my instruction hast thou nothing bated 85 In what thou hadst to say: so, with good life And observation strange, my meaner ministers Their several kinds have done. My high charms work, And these mine enemies are all knit up In their distractions: they now are in my power; 90 And in these fits I leave them, while I visit Young Ferdinand,--whom they suppose is drown'd,-- And his and mine loved darling. [_Exit above._ _Gon._ I' the name of something holy, sir, why stand you In this strange stare? _Alon._ O, it is monstrous, monstrous! 95 Methought the billows spoke, and told me of it; The winds did sing it to me; and the thunder, That deep and dreadful organ-pipe, pronounced The name of Prosper: it did bass my trespass. Therefore my son i' th' ooze is bedded; and 100 I'll seek him deeper than e'er plummet sounded, And with him there lie mudded. [_Exit._ _Seb._ But one fiend at a time, I'll fight their legions o'er. _Ant._ I'll be thy second. [_Exeunt Seb. and Ant._ _Gon._ All three of them are desperate: their great guilt, Like poison given to work a great time after, 105 Now 'gins to bite the spirits. I do beseech you, That are of suppler joints, follow them swiftly, And hinder them from what this ecstasy May now provoke them to. _Adr._ Follow, I pray you. [_Exeunt._ Notes: III, 3. 2: _ache_] _ake_ F2 F3 F4. _akes_ F1. 3: _forth-rights_] F2 F3 F4. _fourth rights_ F1. 8: _flatterer_] F1. _flatterers_ F2 F3 F4. 17: Prospero above] Malone. Prosper on the top Ff. See note (XIV). 20: _were_] F1 F2 F3. _are_ F4. 26: _'tis true_] _to 't_ Steevens conj. _did lie_] _lied_ Hanmer. 29: _islanders_] F2 F3 F4. _islands_ F1. 32: _gentle-kind_] Theobald. _gentle, kind_ Ff. _gentle kind_ Rowe. 36: _muse_] F1 F2 F3. _muse_, F4. _muse_; Capell. 48: _of five for one_] Ff. _on five for one_ Theobald. _of one for five_ Malone, (Thirlby conj.) See note (XV). 49-51: _I will ... past_] Mason conjectured that these lines formed a rhyming couplet. 53: SCENE IV. Pope. 54: _instrument_] _instruments_ F4. 56: _belch up you_] F1 F2 F3. _belch you up_ F4. _belch up_ Theobald. 60: [... draw their swords] Hanmer. 65: _dowle_] _down_ Pope.] _plume_] Rowe. _plumbe_ F1 F2 F3. _plumb_ F4. 67: _strengths_] _strength_ F4. 79: _wraths_] _wrath_ Theobald. 81: _heart-sorrow_] Edd. _hearts-sorrow_ Ff. _heart's-sorrow_ Rowe. _heart's sorrow_ Pope. 82: mocks] mopps Theobald. 86: _life_] _list_ Johnson conj. 90: _now_] om. Pope. 92: _whom_] _who_ Hanmer. 93: _mine_] _my_ Rowe. [Exit above] Theobald.] 94: _something holy, sir_,] _something, holy Sir_, F4. 99: _bass_] Johnson. _base_ Ff. 106: _do_] om. Pope.

Act 3, Scene 3

https://web.archive.org/web/20210411014001/https://www.shmoop.com/study-guides/literature/tempest/summary/act-3-scene-3

Now we're back to Alonso, Sebastian, Antonio, Gonzalo, and their attendant lords somewhere else on the island. Gonzalo is weary, and Alonso has given up hope that his son might still be alive. Antonio, hearing this news, utters an aside to Sebastian, reminding him of their plan. Antonio says they will murder the King tonight when everyone else sleeps. Strange music then begins to play, and Prospero enters, invisible. Before the eyes of the King and shipwrecked lords, a magical banquet is laid by welcoming spirits who invite the King and company to eat. All wonder at the strange sight for a while, thinking they could now believe anything. Sebastian is done with oohing and ahhing for a while, and suggests that since they are hungry, they should eat what the spirits have given them. Alonso refuses, and Gonzalo comforts him by saying there were lots of things they wouldn't have believed when they were young that turn out to be true--like girls don't actually have cooties and Santa isn't real. Alonso decides to eat in spite of the risk, as "the best is past," meaning life can't get much worse than it is now. He invites everyone to the table. Before they can dig in to their meal, Ariel appears in the shape of a harpy and the food disappears. The harpy stuns the men, and declares that three men of sin are at the table. The harpy says Destiny has caused the sea to put them on this uninhabited land because they are men unfit to live. The men draw their swords, and the harpy laughs at their foolishness, as their swords are no good against the natural elements she wields. The monster reminds them of the evil they did Prospero and the baby Miranda, and claims the sea paid them back for their crimes, taking Ferdinand and dooming the rest of them. If they repent their evil deeds, a better life might follow. Ariel then vanishes, and the spirits come once more to carry away the banquet table. Prospero praises Ariel for his good work, which he has watched while invisible. Gonzalo breaks the stunned silence when he asks what Alonso, Antonio, and Sebastian are looking so shocked about. King Alonso admits that the sea and thunder spoke to him of his ill deeds against Prospero, and has claimed his son as punishment. Sebastian and Antonio are unmoved. Instead of repenting, they agree to fight the ills that might befall them, one at a time. As the three exit, Gonzalo notes that Alonso, Antonio, and Sebastian's treachery against Prospero is catching up to them. The kind councilor asks the rest of the group to follow the three traitors and stop them from whatever craziness they might attempt in their stunned, post-harpy encounter state.

pinkmonkey

all_chapterized_books/5658-chapters/42.txt

finished_summaries/pinkmonkey/Lord Jim/section_40_part_0.txt

Lord Jim.chapter 42

chapter 42

{"name": "Chapter 42", "url": "https://web.archive.org/web/20180820051943/http://www.pinkmonkey.com/booknotes/monkeynotes/pmLordJim51.asp", "summary": "Directly after the meeting, Jim goes to Doramin to say Brown has made a mistake in coming to the island and should be forgiven. He tries to persuade Doramin and the Bugis to allow Brown to safely leave Patusan. Doramin, however, thinks the invaders must be killed and refuses Jim's request. Jim says he will sacrifice his own life if Brown is spared and then harms any of the Bugis. He reminds Doramin that he loves the people of Patusan and would never betray them. Doramin still does not agree. Jim then says that he will call Dain Waris to slaughter Brown and his men; he claims, \"I shall not lead\" this disaster. Brown begins to make his plans for destroying Jim and overtaking Patusan. He will burn out the natives and shoot the enemies.", "analysis": "Notes The vulnerability of Jim is clearly evident in this chapter. Brown has masterfully played with Jim's guilty conscience, which is the one thing that Jim cannot handle in the book. When he arrives to meet with Brown, Jim is a picture of self-confidence and power. After their talk, Jim appears as a defeated man. Jim goes to Doramin and tries to persuade him not to slaughter Brown, whom he totally misjudges. By refusing to side with the Bugis about Brown, Jim, in essence, sides with the invaders. Conrad believed that much of life was controlled by fate, and at this point in the story, he seems to turn Jim's fate over to destiny. The second part of the chapter is seen through Tamb'Itam. The narrator changes here. Jim does not know what fate has in store for him. In persuading Doramin to send Dain Waris he is making another mistake, perhaps the first mistake of his life. The assent of the Malays shows the trust and love they have for him. The darkness that covers the end of the chapter is symbolic of the darkness that is covering Jim's life."}

'I don't think he could do more than perhaps look upon that straight path. He seemed to have been puzzled by what he saw, for he interrupted himself in his narrative more than once to exclaim, "He nearly slipped from me there. I could not make him out. Who was he?" And after glaring at me wildly he would go on, jubilating and sneering. To me the conversation of these two across the creek appears now as the deadliest kind of duel on which Fate looked on with her cold-eyed knowledge of the end. No, he didn't turn Jim's soul inside out, but I am much mistaken if the spirit so utterly out of his reach had not been made to taste to the full the bitterness of that contest. These were the emissaries with whom the world he had renounced was pursuing him in his retreat--white men from "out there" where he did not think himself good enough to live. This was all that came to him--a menace, a shock, a danger to his work. I suppose it is this sad, half-resentful, half-resigned feeling, piercing through the few words Jim said now and then, that puzzled Brown so much in the reading of his character. Some great men owe most of their greatness to the ability of detecting in those they destine for their tools the exact quality of strength that matters for their work; and Brown, as though he had been really great, had a satanic gift of finding out the best and the weakest spot in his victims. He admitted to me that Jim wasn't of the sort that can be got over by truckling, and accordingly he took care to show himself as a man confronting without dismay ill-luck, censure, and disaster. The smuggling of a few guns was no great crime, he pointed out. As to coming to Patusan, who had the right to say he hadn't come to beg? The infernal people here let loose at him from both banks without staying to ask questions. He made the point brazenly, for, in truth, Dain Waris's energetic action had prevented the greatest calamities; because Brown told me distinctly that, perceiving the size of the place, he had resolved instantly in his mind that as soon as he had gained a footing he would set fire right and left, and begin by shooting down everything living in sight, in order to cow and terrify the population. The disproportion of forces was so great that this was the only way giving him the slightest chance of attaining his ends--he argued in a fit of coughing. But he didn't tell Jim this. As to the hardships and starvation they had gone through, these had been very real; it was enough to look at his band. He made, at the sound of a shrill whistle, all his men appear standing in a row on the logs in full view, so that Jim could see them. For the killing of the man, it had been done--well, it had--but was not this war, bloody war--in a corner? and the fellow had been killed cleanly, shot through the chest, not like that poor devil of his lying now in the creek. They had to listen to him dying for six hours, with his entrails torn with slugs. At any rate this was a life for a life. . . . And all this was said with the weariness, with the recklessness of a man spurred on and on by ill-luck till he cares not where he runs. When he asked Jim, with a sort of brusque despairing frankness, whether he himself--straight now--didn't understand that when "it came to saving one's life in the dark, one didn't care who else went--three, thirty, three hundred people"--it was as if a demon had been whispering advice in his ear. "I made him wince," boasted Brown to me. "He very soon left off coming the righteous over me. He just stood there with nothing to say, and looking as black as thunder--not at me--on the ground." He asked Jim whether he had nothing fishy in his life to remember that he was so damnedly hard upon a man trying to get out of a deadly hole by the first means that came to hand--and so on, and so on. And there ran through the rough talk a vein of subtle reference to their common blood, an assumption of common experience; a sickening suggestion of common guilt, of secret knowledge that was like a bond of their minds and of their hearts. 'At last Brown threw himself down full length and watched Jim out of the corners of his eyes. Jim on his side of the creek stood thinking and switching his leg. The houses in view were silent, as if a pestilence had swept them clean of every breath of life; but many invisible eyes were turned, from within, upon the two men with the creek between them, a stranded white boat, and the body of the third man half sunk in the mud. On the river canoes were moving again, for Patusan was recovering its belief in the stability of earthly institutions since the return of the white lord. The right bank, the platforms of the houses, the rafts moored along the shores, even the roofs of bathing-huts, were covered with people that, far away out of earshot and almost out of sight, were straining their eyes towards the knoll beyond the Rajah's stockade. Within the wide irregular ring of forests, broken in two places by the sheen of the river, there was a silence. "Will you promise to leave the coast?" Jim asked. Brown lifted and let fall his hand, giving everything up as it were--accepting the inevitable. "And surrender your arms?" Jim went on. Brown sat up and glared across. "Surrender our arms! Not till you come to take them out of our stiff hands. You think I am gone crazy with funk? Oh no! That and the rags I stand in is all I have got in the world, besides a few more breechloaders on board; and I expect to sell the lot in Madagascar, if I ever get so far--begging my way from ship to ship." 'Jim said nothing to this. At last, throwing away the switch he held in his hand, he said, as if speaking to himself, "I don't know whether I have the power." . . . "You don't know! And you wanted me just now to give up my arms! That's good, too," cried Brown; "Suppose they say one thing to you, and do the other thing to me." He calmed down markedly. "I dare say you have the power, or what's the meaning of all this talk?" he continued. "What did you come down here for? To pass the time of day?" '"Very well," said Jim, lifting his head suddenly after a long silence. "You shall have a clear road or else a clear fight." He turned on his heel and walked away. 'Brown got up at once, but he did not go up the hill till he had seen Jim disappear between the first houses. He never set his eyes on him again. On his way back he met Cornelius slouching down with his head between his shoulders. He stopped before Brown. "Why didn't you kill him?" he demanded in a sour, discontented voice. "Because I could do better than that," Brown said with an amused smile. "Never! never!" protested Cornelius with energy. "Couldn't. I have lived here for many years." Brown looked up at him curiously. There were many sides to the life of that place in arms against him; things he would never find out. Cornelius slunk past dejectedly in the direction of the river. He was now leaving his new friends; he accepted the disappointing course of events with a sulky obstinacy which seemed to draw more together his little yellow old face; and as he went down he glanced askant here and there, never giving up his fixed idea. 'Henceforth events move fast without a check, flowing from the very hearts of men like a stream from a dark source, and we see Jim amongst them, mostly through Tamb' Itam's eyes. The girl's eyes had watched him too, but her life is too much entwined with his: there is her passion, her wonder, her anger, and, above all, her fear and her unforgiving love. Of the faithful servant, uncomprehending as the rest of them, it is the fidelity alone that comes into play; a fidelity and a belief in his lord so strong that even amazement is subdued to a sort of saddened acceptance of a mysterious failure. He has eyes only for one figure, and through all the mazes of bewilderment he preserves his air of guardianship, of obedience, of care. 'His master came back from his talk with the white men, walking slowly towards the stockade in the street. Everybody was rejoiced to see him return, for while he was away every man had been afraid not only of him being killed, but also of what would come after. Jim went into one of the houses, where old Doramin had retired, and remained alone for a long time with the head of the Bugis settlers. No doubt he discussed the course to follow with him then, but no man was present at the conversation. Only Tamb' Itam, keeping as close to the door as he could, heard his master say, "Yes. I shall let all the people know that such is my wish; but I spoke to you, O Doramin, before all the others, and alone; for you know my heart as well as I know yours and its greatest desire. And you know well also that I have no thought but for the people's good." Then his master, lifting the sheeting in the doorway, went out, and he, Tamb' Itam, had a glimpse of old Doramin within, sitting in the chair with his hands on his knees, and looking between his feet. Afterwards he followed his master to the fort, where all the principal Bugis and Patusan inhabitants had been summoned for a talk. Tamb' Itam himself hoped there would be some fighting. "What was it but the taking of another hill?" he exclaimed regretfully. However, in the town many hoped that the rapacious strangers would be induced, by the sight of so many brave men making ready to fight, to go away. It would be a good thing if they went away. Since Jim's arrival had been made known before daylight by the gun fired from the fort and the beating of the big drum there, the fear that had hung over Patusan had broken and subsided like a wave on a rock, leaving the seething foam of excitement, curiosity, and endless speculation. Half of the population had been ousted out of their homes for purposes of defence, and were living in the street on the left side of the river, crowding round the fort, and in momentary expectation of seeing their abandoned dwellings on the threatened bank burst into flames. The general anxiety was to see the matter settled quickly. Food, through Jewel's care, had been served out to the refugees. Nobody knew what their white man would do. Some remarked that it was worse than in Sherif Ali's war. Then many people did not care; now everybody had something to lose. The movements of canoes passing to and fro between the two parts of the town were watched with interest. A couple of Bugis war-boats lay anchored in the middle of the stream to protect the river, and a thread of smoke stood at the bow of each; the men in them were cooking their midday rice when Jim, after his interviews with Brown and Doramin, crossed the river and entered by the water-gate of his fort. The people inside crowded round him, so that he could hardly make his way to the house. They had not seen him before, because on his arrival during the night he had only exchanged a few words with the girl, who had come down to the landing-stage for the purpose, and had then gone on at once to join the chiefs and the fighting men on the other bank. People shouted greetings after him. One old woman raised a laugh by pushing her way to the front madly and enjoining him in a scolding voice to see to it that her two sons, who were with Doramin, did not come to harm at the hands of the robbers. Several of the bystanders tried to pull her away, but she struggled and cried, "Let me go. What is this, O Muslims? This laughter is unseemly. Are they not cruel, bloodthirsty robbers bent on killing?" "Let her be," said Jim, and as a silence fell suddenly, he said slowly, "Everybody shall be safe." He entered the house before the great sigh, and the loud murmurs of satisfaction, had died out. 'There's no doubt his mind was made up that Brown should have his way clear back to the sea. His fate, revolted, was forcing his hand. He had for the first time to affirm his will in the face of outspoken opposition. "There was much talk, and at first my master was silent," Tamb' Itam said. "Darkness came, and then I lit the candles on the long table. The chiefs sat on each side, and the lady remained by my master's right hand." 'When he began to speak, the unaccustomed difficulty seemed only to fix his resolve more immovably. The white men were now waiting for his answer on the hill. Their chief had spoken to him in the language of his own people, making clear many things difficult to explain in any other speech. They were erring men whom suffering had made blind to right and wrong. It is true that lives had been lost already, but why lose more? He declared to his hearers, the assembled heads of the people, that their welfare was his welfare, their losses his losses, their mourning his mourning. He looked round at the grave listening faces and told them to remember that they had fought and worked side by side. They knew his courage . . . Here a murmur interrupted him . . . And that he had never deceived them. For many years they had dwelt together. He loved the land and the people living in it with a very great love. He was ready to answer with his life for any harm that should come to them if the white men with beards were allowed to retire. They were evil-doers, but their destiny had been evil, too. Had he ever advised them ill? Had his words ever brought suffering to the people? he asked. He believed that it would be best to let these whites and their followers go with their lives. It would be a small gift. "I whom you have tried and found always true ask you to let them go." He turned to Doramin. The old nakhoda made no movement. "Then," said Jim, "call in Dain Waris, your son, my friend, for in this business I shall not lead."'

Chapter 42

https://web.archive.org/web/20180820051943/http://www.pinkmonkey.com/booknotes/monkeynotes/pmLordJim51.asp

Directly after the meeting, Jim goes to Doramin to say Brown has made a mistake in coming to the island and should be forgiven. He tries to persuade Doramin and the Bugis to allow Brown to safely leave Patusan. Doramin, however, thinks the invaders must be killed and refuses Jim's request. Jim says he will sacrifice his own life if Brown is spared and then harms any of the Bugis. He reminds Doramin that he loves the people of Patusan and would never betray them. Doramin still does not agree. Jim then says that he will call Dain Waris to slaughter Brown and his men; he claims, "I shall not lead" this disaster. Brown begins to make his plans for destroying Jim and overtaking Patusan. He will burn out the natives and shoot the enemies.

Notes The vulnerability of Jim is clearly evident in this chapter. Brown has masterfully played with Jim's guilty conscience, which is the one thing that Jim cannot handle in the book. When he arrives to meet with Brown, Jim is a picture of self-confidence and power. After their talk, Jim appears as a defeated man. Jim goes to Doramin and tries to persuade him not to slaughter Brown, whom he totally misjudges. By refusing to side with the Bugis about Brown, Jim, in essence, sides with the invaders. Conrad believed that much of life was controlled by fate, and at this point in the story, he seems to turn Jim's fate over to destiny. The second part of the chapter is seen through Tamb'Itam. The narrator changes here. Jim does not know what fate has in store for him. In persuading Doramin to send Dain Waris he is making another mistake, perhaps the first mistake of his life. The assent of the Malays shows the trust and love they have for him. The darkness that covers the end of the chapter is symbolic of the darkness that is covering Jim's life.

sparknotes

all_chapterized_books/107-chapters/chapters_24_to_30.txt

finished_summaries/sparknotes/Far from the Madding Crowd/section_4_part_0.txt

Far from the Madding Crowd.chapters 24-30

chapters 24-30

{"name": "", "url": "https://web.archive.org/web/20210225000853/https://www.sparknotes.com/lit/maddingcrowd/section5/", "summary": "Moments after she tells Boldwood that she might marry him, Bathsheba wanders over her farm, as she always does, checking to see that everything is in order. She carries a darkened lantern so she cannot be seen. The narrator tells us that, unbeknownst to Bathsheba, Gabriel performs the same task every evening, a sign of his unending devotion to her. As she walks through the fir plantation, she hears footsteps nearing her and bumps into someone on the path. It is Sergeant Troy, and his spur has caught on her dress. She cannot free herself, and in the dark the two hold a conversation without identifying themselves. When Troy finally opens her lantern, Bathsheba is surprised to see he is a soldier, having expected a suspicious-looking intruder. Troy, for his part, is also struck by the appearance of his interlocutor; he immediately praises her beauty and delays in his untangling of her dress. She finally frees herself, confused by his praise, and speaking somewhat curtly. She later asks Liddy whether there is a soldier living near the fir plantation, and Liddy tells her that it must be Sergeant Troy. Bathsheba regrets being rude to him. In the next chapter Hardy gives an account of Troy's character, much as the author has done with Boldwood earlier on. We learn that Troy lives only for the moment and displays the opposite of Gabriel's ceaseless loyalty. He is full of activity without direction and regularly deceives women. Toward the end of the chapter, we learn that he has joined the haymakers in their task for the day. Bathsheba notices him in the fields, and as soon as he sees her, he approaches. Troy and Bathsheba converse for the second time, and Chapter 26 follows a long dialogue between them, with little description. Troy apologizes for not recognizing who she was in the woods and again compliments her. From her responses we can see that she is flattered, bewildered by his admiration--a very different woman from the scornful, proud individual we have heretofore seen asserting her independence with Gabriel and Boldwood. Troy offers her his watch as a gift, and she refuses but agrees that he may continue to join the hay- makers. In the next chapter their intimacy is increased when Troy encounters Bathsheba maintaining the bees; he helps her, donning the ridiculous-looking protective gear. When he mentions the famous sword exercise that soldiers learn, she confesses that she'd love to see it, and they set a date to meet. Bathsheba is reluctant to keep the date but comes at the last minute, and Troy shows her the sword exercise. He persuades her that the sword's edge is blunt as he sweeps the hissing, glittering sword around her. At the end of their meeting, as Bathsheba stands overwhelmed by the beauty and danger of the scene, Troy kisses her and disappears. Bathsheba has fallen in love. However, the narrator comments ominously, \"When a strong woman recklessly throws away her strength, she is worse than a weak woman who has never had strength to throw away.\" Gabriel, too, feels the danger of her infatuation and decides to talk to her about it. Gabriel and Boldwood are the only ones who know that Troy was Fanny Robin's lover, whom she intended to marry when she ran away. Knowing this, he tries to hint at Troy's immoral character. Bathsheba refuses to listen, however, and tries to fire Gabriel from the farm again, but he refuses to leave unless she agrees to hire someone else as a bailiff. She will not, so he refuses to leave his post. As they part, he sees Troy coming to meet Bathsheba. When Bathsheba comes home, she overhears the servants gossiping about her and Troy, and she forbids them to speak about it. Then, she chastises Liddy and confesses that she loves Troy. In the midst of their conversation Bathsheba breaks down in tears; she has lost all her self-possession.", "analysis": "Commentary Both Bathsheba and Boldwood are otherwise strong people who nevertheless develop sudden weaknesses for a single person--Boldwood for Bathsheba and Bathsheba for Sergeant Troy. Both of them have spurned earlier lovers. By describing the sensory perceptions of these characters as enhanced, Hardy conveys the fact that they are experiencing emotions unprecedented for them. Bathsheba's first view of Troy is a perfect example; after utter darkness, she sees a handsome man in scarlet and brass. The sword exercise is another; Bathsheba is overpowered by the sensory experience of having the blade surround her from all directions, nearly touching her. Notice that Sergeant Troy is repeatedly linked to a bright, burning color of scarlet. Bathsheba can spot his red uniform in the field with ease. Hardy's many different narrative strategies are also at work in this section. The first of these is his manipulation of the plot's pace. Boldwood has just extracted a promise from Bathsheba that he will have an answer to his proposal in six weeks. Then, Hardy immediately introduces Sergeant Troy. In each meeting, their intimacy increases noticeably: In the first, they are physically thrown together and entangled; in the second, he receives her permission to work on the farm and offers her his watch; in the third, she agrees to meet him, and in the fourth, they kiss. The speed of this growing intimacy contrasts strongly with the slow development of Bathsheba's relations with Boldwood, thus, commenting on the difference in chemistry between Bathsheba and each man. Another emerging pattern is Hardy's method of introducing important characters. First, he shows them to us in action: Gabriel sees Bathsheba in her carriage; Bathsheba hears Boldwood ride up to the farm; she meets Troy in the wood; Gabriel meets Fanny Robin in the wood. In each of these scenes, the characters with whom we are already familiar know nothing about the character they are encountering except what they see at the time. Later, the omniscient narrator comes in and gives us background assessments of Boldwood, Bathsheba, Fanny, and Troy, in which we are given generalizations about their character and their approach to life. Finally, then, we come to see the characters at their truest, deepest level by watching how they are transformed by the events in the novel. Notice that the reader has much more room for interpretation when we first meet these characters in action. We have to decide what we think based on the clues Hardy gives us; later, then, we see whether these initial interpretations are borne out. Chapter 26, Bathsheba's conversation with Troy in the field, is an extreme example of deliberate narrative strategizing. The chapter consists almost wholly of dialogue, almost entirely lacking any narrative commentary or even description. We hear Troy's words, knowing him to be dishonest, and then we hear how Bathsheba responds to them; the narrator withholds his own speculations, putting almost all of the interpretive power in the hands of the reader. We experience the scene as Bathsheba does; however, because we have prior information--in addition to an objectivity she lacks--we know she misreads Troy's remarks, falling too quickly for his charming surface. This narrative situation creates in the reader a tense feeling of frustration as we watch Bathsheba enter Troy's trap."}

THE SAME NIGHT--THE FIR PLANTATION Among the multifarious duties which Bathsheba had voluntarily imposed upon herself by dispensing with the services of a bailiff, was the particular one of looking round the homestead before going to bed, to see that all was right and safe for the night. Gabriel had almost constantly preceded her in this tour every evening, watching her affairs as carefully as any specially appointed officer of surveillance could have done; but this tender devotion was to a great extent unknown to his mistress, and as much as was known was somewhat thanklessly received. Women are never tired of bewailing man's fickleness in love, but they only seem to snub his constancy. As watching is best done invisibly, she usually carried a dark lantern in her hand, and every now and then turned on the light to examine nooks and corners with the coolness of a metropolitan policeman. This coolness may have owed its existence not so much to her fearlessness of expected danger as to her freedom from the suspicion of any; her worst anticipated discovery being that a horse might not be well bedded, the fowls not all in, or a door not closed. This night the buildings were inspected as usual, and she went round to the farm paddock. Here the only sounds disturbing the stillness were steady munchings of many mouths, and stentorian breathings from all but invisible noses, ending in snores and puffs like the blowing of bellows slowly. Then the munching would recommence, when the lively imagination might assist the eye to discern a group of pink-white nostrils, shaped as caverns, and very clammy and humid on their surfaces, not exactly pleasant to the touch until one got used to them; the mouths beneath having a great partiality for closing upon any loose end of Bathsheba's apparel which came within reach of their tongues. Above each of these a still keener vision suggested a brown forehead and two staring though not unfriendly eyes, and above all a pair of whitish crescent-shaped horns like two particularly new moons, an occasional stolid "moo!" proclaiming beyond the shade of a doubt that these phenomena were the features and persons of Daisy, Whitefoot, Bonny-lass, Jolly-O, Spot, Twinkle-eye, etc., etc.--the respectable dairy of Devon cows belonging to Bathsheba aforesaid. Her way back to the house was by a path through a young plantation of tapering firs, which had been planted some years earlier to shelter the premises from the north wind. By reason of the density of the interwoven foliage overhead, it was gloomy there at cloudless noontide, twilight in the evening, dark as midnight at dusk, and black as the ninth plague of Egypt at midnight. To describe the spot is to call it a vast, low, naturally formed hall, the plumy ceiling of which was supported by slender pillars of living wood, the floor being covered with a soft dun carpet of dead spikelets and mildewed cones, with a tuft of grass-blades here and there. This bit of the path was always the crux of the night's ramble, though, before starting, her apprehensions of danger were not vivid enough to lead her to take a companion. Slipping along here covertly as Time, Bathsheba fancied she could hear footsteps entering the track at the opposite end. It was certainly a rustle of footsteps. Her own instantly fell as gently as snowflakes. She reassured herself by a remembrance that the path was public, and that the traveller was probably some villager returning home; regretting, at the same time, that the meeting should be about to occur in the darkest point of her route, even though only just outside her own door. The noise approached, came close, and a figure was apparently on the point of gliding past her when something tugged at her skirt and pinned it forcibly to the ground. The instantaneous check nearly threw Bathsheba off her balance. In recovering she struck against warm clothes and buttons. "A rum start, upon my soul!" said a masculine voice, a foot or so above her head. "Have I hurt you, mate?" "No," said Bathsheba, attempting to shrink away. "We have got hitched together somehow, I think." "Yes." "Are you a woman?" "Yes." "A lady, I should have said." "It doesn't matter." "I am a man." "Oh!" Bathsheba softly tugged again, but to no purpose. "Is that a dark lantern you have? I fancy so," said the man. "Yes." "If you'll allow me I'll open it, and set you free." A hand seized the lantern, the door was opened, the rays burst out from their prison, and Bathsheba beheld her position with astonishment. The man to whom she was hooked was brilliant in brass and scarlet. He was a soldier. His sudden appearance was to darkness what the sound of a trumpet is to silence. Gloom, the _genius loci_ at all times hitherto, was now totally overthrown, less by the lantern-light than by what the lantern lighted. The contrast of this revelation with her anticipations of some sinister figure in sombre garb was so great that it had upon her the effect of a fairy transformation. It was immediately apparent that the military man's spur had become entangled in the gimp which decorated the skirt of her dress. He caught a view of her face. "I'll unfasten you in one moment, miss," he said, with new-born gallantry. "Oh no--I can do it, thank you," she hastily replied, and stooped for the performance. The unfastening was not such a trifling affair. The rowel of the spur had so wound itself among the gimp cords in those few moments, that separation was likely to be a matter of time. He too stooped, and the lantern standing on the ground betwixt them threw the gleam from its open side among the fir-tree needles and the blades of long damp grass with the effect of a large glowworm. It radiated upwards into their faces, and sent over half the plantation gigantic shadows of both man and woman, each dusky shape becoming distorted and mangled upon the tree-trunks till it wasted to nothing. He looked hard into her eyes when she raised them for a moment; Bathsheba looked down again, for his gaze was too strong to be received point-blank with her own. But she had obliquely noticed that he was young and slim, and that he wore three chevrons upon his sleeve. Bathsheba pulled again. "You are a prisoner, miss; it is no use blinking the matter," said the soldier, drily. "I must cut your dress if you are in such a hurry." "Yes--please do!" she exclaimed, helplessly. "It wouldn't be necessary if you could wait a moment," and he unwound a cord from the little wheel. She withdrew her own hand, but, whether by accident or design, he touched it. Bathsheba was vexed; she hardly knew why. His unravelling went on, but it nevertheless seemed coming to no end. She looked at him again. "Thank you for the sight of such a beautiful face!" said the young sergeant, without ceremony. She coloured with embarrassment. "'Twas unwillingly shown," she replied, stiffly, and with as much dignity--which was very little--as she could infuse into a position of captivity. "I like you the better for that incivility, miss," he said. "I should have liked--I wish--you had never shown yourself to me by intruding here!" She pulled again, and the gathers of her dress began to give way like liliputian musketry. "I deserve the chastisement your words give me. But why should such a fair and dutiful girl have such an aversion to her father's sex?" "Go on your way, please." "What, Beauty, and drag you after me? Do but look; I never saw such a tangle!" "Oh, 'tis shameful of you; you have been making it worse on purpose to keep me here--you have!" "Indeed, I don't think so," said the sergeant, with a merry twinkle. "I tell you you have!" she exclaimed, in high temper. "I insist upon undoing it. Now, allow me!" "Certainly, miss; I am not of steel." He added a sigh which had as much archness in it as a sigh could possess without losing its nature altogether. "I am thankful for beauty, even when 'tis thrown to me like a bone to a dog. These moments will be over too soon!" She closed her lips in a determined silence. Bathsheba was revolving in her mind whether by a bold and desperate rush she could free herself at the risk of leaving her skirt bodily behind her. The thought was too dreadful. The dress--which she had put on to appear stately at the supper--was the head and front of her wardrobe; not another in her stock became her so well. What woman in Bathsheba's position, not naturally timid, and within call of her retainers, would have bought escape from a dashing soldier at so dear a price? "All in good time; it will soon be done, I perceive," said her cool friend. "This trifling provokes, and--and--" "Not too cruel!" "--Insults me!" "It is done in order that I may have the pleasure of apologizing to so charming a woman, which I straightway do most humbly, madam," he said, bowing low. Bathsheba really knew not what to say. "I've seen a good many women in my time," continued the young man in a murmur, and more thoughtfully than hitherto, critically regarding her bent head at the same time; "but I've never seen a woman so beautiful as you. Take it or leave it--be offended or like it--I don't care." "Who are you, then, who can so well afford to despise opinion?" "No stranger. Sergeant Troy. I am staying in this place.--There! it is undone at last, you see. Your light fingers were more eager than mine. I wish it had been the knot of knots, which there's no untying!" This was worse and worse. She started up, and so did he. How to decently get away from him--that was her difficulty now. She sidled off inch by inch, the lantern in her hand, till she could see the redness of his coat no longer. "Ah, Beauty; good-bye!" he said. She made no reply, and, reaching a distance of twenty or thirty yards, turned about, and ran indoors. Liddy had just retired to rest. In ascending to her own chamber, Bathsheba opened the girl's door an inch or two, and, panting, said-- "Liddy, is any soldier staying in the village--sergeant somebody-- rather gentlemanly for a sergeant, and good looking--a red coat with blue facings?" "No, miss ... No, I say; but really it might be Sergeant Troy home on furlough, though I have not seen him. He was here once in that way when the regiment was at Casterbridge." "Yes; that's the name. Had he a moustache--no whiskers or beard?" "He had." "What kind of a person is he?" "Oh! miss--I blush to name it--a gay man! But I know him to be very quick and trim, who might have made his thousands, like a squire. Such a clever young dandy as he is! He's a doctor's son by name, which is a great deal; and he's an earl's son by nature!" "Which is a great deal more. Fancy! Is it true?" "Yes. And, he was brought up so well, and sent to Casterbridge Grammar School for years and years. Learnt all languages while he was there; and it was said he got on so far that he could take down Chinese in shorthand; but that I don't answer for, as it was only reported. However, he wasted his gifted lot, and listed a soldier; but even then he rose to be a sergeant without trying at all. Ah! such a blessing it is to be high-born; nobility of blood will shine out even in the ranks and files. And is he really come home, miss?" "I believe so. Good-night, Liddy." After all, how could a cheerful wearer of skirts be permanently offended with the man? There are occasions when girls like Bathsheba will put up with a great deal of unconventional behaviour. When they want to be praised, which is often, when they want to be mastered, which is sometimes; and when they want no nonsense, which is seldom. Just now the first feeling was in the ascendant with Bathsheba, with a dash of the second. Moreover, by chance or by devilry, the ministrant was antecedently made interesting by being a handsome stranger who had evidently seen better days. So she could not clearly decide whether it was her opinion that he had insulted her or not. "Was ever anything so odd!" she at last exclaimed to herself, in her own room. "And was ever anything so meanly done as what I did--to skulk away like that from a man who was only civil and kind!" Clearly she did not think his barefaced praise of her person an insult now. It was a fatal omission of Boldwood's that he had never once told her she was beautiful. THE NEW ACQUAINTANCE DESCRIBED Idiosyncrasy and vicissitude had combined to stamp Sergeant Troy as an exceptional being. He was a man to whom memories were an incumbrance, and anticipations a superfluity. Simply feeling, considering, and caring for what was before his eyes, he was vulnerable only in the present. His outlook upon time was as a transient flash of the eye now and then: that projection of consciousness into days gone by and to come, which makes the past a synonym for the pathetic and the future a word for circumspection, was foreign to Troy. With him the past was yesterday; the future, to-morrow; never, the day after. On this account he might, in certain lights, have been regarded as one of the most fortunate of his order. For it may be argued with great plausibility that reminiscence is less an endowment than a disease, and that expectation in its only comfortable form--that of absolute faith--is practically an impossibility; whilst in the form of hope and the secondary compounds, patience, impatience, resolve, curiosity, it is a constant fluctuation between pleasure and pain. Sergeant Troy, being entirely innocent of the practice of expectation, was never disappointed. To set against this negative gain there may have been some positive losses from a certain narrowing of the higher tastes and sensations which it entailed. But limitation of the capacity is never recognized as a loss by the loser therefrom: in this attribute moral or aesthetic poverty contrasts plausibly with material, since those who suffer do not mind it, whilst those who mind it soon cease to suffer. It is not a denial of anything to have been always without it, and what Troy had never enjoyed he did not miss; but, being fully conscious that what sober people missed he enjoyed, his capacity, though really less, seemed greater than theirs. He was moderately truthful towards men, but to women lied like a Cretan--a system of ethics above all others calculated to win popularity at the first flush of admission into lively society; and the possibility of the favour gained being transitory had reference only to the future. He never passed the line which divides the spruce vices from the ugly; and hence, though his morals had hardly been applauded, disapproval of them had frequently been tempered with a smile. This treatment had led to his becoming a sort of regrater of other men's gallantries, to his own aggrandizement as a Corinthian, rather than to the moral profit of his hearers. His reason and his propensities had seldom any reciprocating influence, having separated by mutual consent long ago: thence it sometimes happened that, while his intentions were as honourable as could be wished, any particular deed formed a dark background which threw them into fine relief. The sergeant's vicious phases being the offspring of impulse, and his virtuous phases of cool meditation, the latter had a modest tendency to be oftener heard of than seen. Troy was full of activity, but his activities were less of a locomotive than a vegetative nature; and, never being based upon any original choice of foundation or direction, they were exercised on whatever object chance might place in their way. Hence, whilst he sometimes reached the brilliant in speech because that was spontaneous, he fell below the commonplace in action, from inability to guide incipient effort. He had a quick comprehension and considerable force of character; but, being without the power to combine them, the comprehension became engaged with trivialities whilst waiting for the will to direct it, and the force wasted itself in useless grooves through unheeding the comprehension. He was a fairly well-educated man for one of middle class-- exceptionally well educated for a common soldier. He spoke fluently and unceasingly. He could in this way be one thing and seem another: for instance, he could speak of love and think of dinner; call on the husband to look at the wife; be eager to pay and intend to owe. The wondrous power of flattery in _passados_ at woman is a perception so universal as to be remarked upon by many people almost as automatically as they repeat a proverb, or say that they are Christians and the like, without thinking much of the enormous corollaries which spring from the proposition. Still less is it acted upon for the good of the complemental being alluded to. With the majority such an opinion is shelved with all those trite aphorisms which require some catastrophe to bring their tremendous meanings thoroughly home. When expressed with some amount of reflectiveness it seems co-ordinate with a belief that this flattery must be reasonable to be effective. It is to the credit of men that few attempt to settle the question by experiment, and it is for their happiness, perhaps, that accident has never settled it for them. Nevertheless, that a male dissembler who by deluging her with untenable fictions charms the female wisely, may acquire powers reaching to the extremity of perdition, is a truth taught to many by unsought and wringing occurrences. And some profess to have attained to the same knowledge by experiment as aforesaid, and jauntily continue their indulgence in such experiments with terrible effect. Sergeant Troy was one. He had been known to observe casually that in dealing with womankind the only alternative to flattery was cursing and swearing. There was no third method. "Treat them fairly, and you are a lost man." he would say. This person's public appearance in Weatherbury promptly followed his arrival there. A week or two after the shearing, Bathsheba, feeling a nameless relief of spirits on account of Boldwood's absence, approached her hayfields and looked over the hedge towards the haymakers. They consisted in about equal proportions of gnarled and flexuous forms, the former being the men, the latter the women, who wore tilt bonnets covered with nankeen, which hung in a curtain upon their shoulders. Coggan and Mark Clark were mowing in a less forward meadow, Clark humming a tune to the strokes of his scythe, to which Jan made no attempt to keep time with his. In the first mead they were already loading hay, the women raking it into cocks and windrows, and the men tossing it upon the waggon. From behind the waggon a bright scarlet spot emerged, and went on loading unconcernedly with the rest. It was the gallant sergeant, who had come haymaking for pleasure; and nobody could deny that he was doing the mistress of the farm real knight-service by this voluntary contribution of his labour at a busy time. As soon as she had entered the field Troy saw her, and sticking his pitchfork into the ground and picking up his crop or cane, he came forward. Bathsheba blushed with half-angry embarrassment, and adjusted her eyes as well as her feet to the direct line of her path. SCENE ON THE VERGE OF THE HAY-MEAD "Ah, Miss Everdene!" said the sergeant, touching his diminutive cap. "Little did I think it was you I was speaking to the other night. And yet, if I had reflected, the 'Queen of the Corn-market' (truth is truth at any hour of the day or night, and I heard you so named in Casterbridge yesterday), the 'Queen of the Corn-market.' I say, could be no other woman. I step across now to beg your forgiveness a thousand times for having been led by my feelings to express myself too strongly for a stranger. To be sure I am no stranger to the place--I am Sergeant Troy, as I told you, and I have assisted your uncle in these fields no end of times when I was a lad. I have been doing the same for you to-day." "I suppose I must thank you for that, Sergeant Troy," said the Queen of the Corn-market, in an indifferently grateful tone. The sergeant looked hurt and sad. "Indeed you must not, Miss Everdene," he said. "Why could you think such a thing necessary?" "I am glad it is not." "Why? if I may ask without offence." "Because I don't much want to thank you for anything." "I am afraid I have made a hole with my tongue that my heart will never mend. O these intolerable times: that ill-luck should follow a man for honestly telling a woman she is beautiful! 'Twas the most I said--you must own that; and the least I could say--that I own myself." "There is some talk I could do without more easily than money." "Indeed. That remark is a sort of digression." "No. It means that I would rather have your room than your company." "And I would rather have curses from you than kisses from any other woman; so I'll stay here." Bathsheba was absolutely speechless. And yet she could not help feeling that the assistance he was rendering forbade a harsh repulse. "Well," continued Troy, "I suppose there is a praise which is rudeness, and that may be mine. At the same time there is a treatment which is injustice, and that may be yours. Because a plain blunt man, who has never been taught concealment, speaks out his mind without exactly intending it, he's to be snapped off like the son of a sinner." "Indeed there's no such case between us," she said, turning away. "I don't allow strangers to be bold and impudent--even in praise of me." "Ah--it is not the fact but the method which offends you," he said, carelessly. "But I have the sad satisfaction of knowing that my words, whether pleasing or offensive, are unmistakably true. Would you have had me look at you, and tell my acquaintance that you are quite a common-place woman, to save you the embarrassment of being stared at if they come near you? Not I. I couldn't tell any such ridiculous lie about a beauty to encourage a single woman in England in too excessive a modesty." "It is all pretence--what you are saying!" exclaimed Bathsheba, laughing in spite of herself at the sly method. "You have a rare invention, Sergeant Troy. Why couldn't you have passed by me that night, and said nothing?--that was all I meant to reproach you for." "Because I wasn't going to. Half the pleasure of a feeling lies in being able to express it on the spur of the moment, and I let out mine. It would have been just the same if you had been the reverse person--ugly and old--I should have exclaimed about it in the same way." "How long is it since you have been so afflicted with strong feeling, then?" "Oh, ever since I was big enough to know loveliness from deformity." "'Tis to be hoped your sense of the difference you speak of doesn't stop at faces, but extends to morals as well." "I won't speak of morals or religion--my own or anybody else's. Though perhaps I should have been a very good Christian if you pretty women hadn't made me an idolater." Bathsheba moved on to hide the irrepressible dimplings of merriment. Troy followed, whirling his crop. "But--Miss Everdene--you do forgive me?" "Hardly." "Why?" "You say such things." "I said you were beautiful, and I'll say so still; for, by G---- so you are! The most beautiful ever I saw, or may I fall dead this instant! Why, upon my ----" "Don't--don't! I won't listen to you--you are so profane!" she said, in a restless state between distress at hearing him and a _penchant_ to hear more. "I again say you are a most fascinating woman. There's nothing remarkable in my saying so, is there? I'm sure the fact is evident enough. Miss Everdene, my opinion may be too forcibly let out to please you, and, for the matter of that, too insignificant to convince you, but surely it is honest, and why can't it be excused?" "Because it--it isn't a correct one," she femininely murmured. "Oh, fie--fie! Am I any worse for breaking the third of that Terrible Ten than you for breaking the ninth?" "Well, it doesn't seem QUITE true to me that I am fascinating," she replied evasively. "Not so to you: then I say with all respect that, if so, it is owing to your modesty, Miss Everdene. But surely you must have been told by everybody of what everybody notices? And you should take their words for it." "They don't say so exactly." "Oh yes, they must!" "Well, I mean to my face, as you do," she went on, allowing herself to be further lured into a conversation that intention had rigorously forbidden. "But you know they think so?" "No--that is--I certainly have heard Liddy say they do, but--" She paused. Capitulation--that was the purport of the simple reply, guarded as it was--capitulation, unknown to herself. Never did a fragile tailless sentence convey a more perfect meaning. The careless sergeant smiled within himself, and probably too the devil smiled from a loop-hole in Tophet, for the moment was the turning-point of a career. Her tone and mien signified beyond mistake that the seed which was to lift the foundation had taken root in the chink: the remainder was a mere question of time and natural changes. "There the truth comes out!" said the soldier, in reply. "Never tell me that a young lady can live in a buzz of admiration without knowing something about it. Ah, well, Miss Everdene, you are--pardon my blunt way--you are rather an injury to our race than otherwise." "How--indeed?" she said, opening her eyes. "Oh, it is true enough. I may as well be hung for a sheep as a lamb (an old country saying, not of much account, but it will do for a rough soldier), and so I will speak my mind, regardless of your pleasure, and without hoping or intending to get your pardon. Why, Miss Everdene, it is in this manner that your good looks may do more harm than good in the world." The sergeant looked down the mead in critical abstraction. "Probably some one man on an average falls in love with each ordinary woman. She can marry him: he is content, and leads a useful life. Such women as you a hundred men always covet--your eyes will bewitch scores on scores into an unavailing fancy for you--you can only marry one of that many. Out of these say twenty will endeavour to drown the bitterness of despised love in drink; twenty more will mope away their lives without a wish or attempt to make a mark in he world, because they have no ambition apart from their attachment to you; twenty more--the susceptible person myself possibly among them--will be always draggling after you, getting where they may just see you, doing desperate things. Men are such constant fools! The rest may try to get over their passion with more or less success. But all these men will be saddened. And not only those ninety-nine men, but the ninety-nine women they might have married are saddened with them. There's my tale. That's why I say that a woman so charming as yourself, Miss Everdene, is hardly a blessing to her race." The handsome sergeant's features were during this speech as rigid and stern as John Knox's in addressing his gay young queen. Seeing she made no reply, he said, "Do you read French?" "No; I began, but when I got to the verbs, father died," she said simply. "I do--when I have an opportunity, which latterly has not been often (my mother was a Parisienne)--and there's a proverb they have, _Qui aime bien, chatie bien_--'He chastens who loves well.' Do you understand me?" "Ah!" she replied, and there was even a little tremulousness in the usually cool girl's voice; "if you can only fight half as winningly as you can talk, you are able to make a pleasure of a bayonet wound!" And then poor Bathsheba instantly perceived her slip in making this admission: in hastily trying to retrieve it, she went from bad to worse. "Don't, however, suppose that _I_ derive any pleasure from what you tell me." "I know you do not--I know it perfectly," said Troy, with much hearty conviction on the exterior of his face: and altering the expression to moodiness; "when a dozen men are ready to speak tenderly to you, and give the admiration you deserve without adding the warning you need, it stands to reason that my poor rough-and-ready mixture of praise and blame cannot convey much pleasure. Fool as I may be, I am not so conceited as to suppose that!" "I think you--are conceited, nevertheless," said Bathsheba, looking askance at a reed she was fitfully pulling with one hand, having lately grown feverish under the soldier's system of procedure--not because the nature of his cajolery was entirely unperceived, but because its vigour was overwhelming. "I would not own it to anybody else--nor do I exactly to you. Still, there might have been some self-conceit in my foolish supposition the other night. I knew that what I said in admiration might be an opinion too often forced upon you to give any pleasure, but I certainly did think that the kindness of your nature might prevent you judging an uncontrolled tongue harshly--which you have done--and thinking badly of me and wounding me this morning, when I am working hard to save your hay." "Well, you need not think more of that: perhaps you did not mean to be rude to me by speaking out your mind: indeed, I believe you did not," said the shrewd woman, in painfully innocent earnest. "And I thank you for giving help here. But--but mind you don't speak to me again in that way, or in any other, unless I speak to you." "Oh, Miss Bathsheba! That is too hard!" "No, it isn't. Why is it?" "You will never speak to me; for I shall not be here long. I am soon going back again to the miserable monotony of drill--and perhaps our regiment will be ordered out soon. And yet you take away the one little ewe-lamb of pleasure that I have in this dull life of mine. Well, perhaps generosity is not a woman's most marked characteristic." "When are you going from here?" she asked, with some interest. "In a month." "But how can it give you pleasure to speak to me?" "Can you ask Miss Everdene--knowing as you do--what my offence is based on?" "If you do care so much for a silly trifle of that kind, then, I don't mind doing it," she uncertainly and doubtingly answered. "But you can't really care for a word from me? you only say so--I think you only say so." "That's unjust--but I won't repeat the remark. I am too gratified to get such a mark of your friendship at any price to cavil at the tone. I DO, Miss Everdene, care for it. You may think a man foolish to want a mere word--just a good morning. Perhaps he is--I don't know. But you have never been a man looking upon a woman, and that woman yourself." "Well." "Then you know nothing of what such an experience is like--and Heaven forbid that you ever should!" "Nonsense, flatterer! What is it like? I am interested in knowing." "Put shortly, it is not being able to think, hear, or look in any direction except one without wretchedness, nor there without torture." "Ah, sergeant, it won't do--you are pretending!" she said, shaking her head. "Your words are too dashing to be true." "I am not, upon the honour of a soldier." "But WHY is it so?--Of course I ask for mere pastime." "Because you are so distracting--and I am so distracted." "You look like it." "I am indeed." "Why, you only saw me the other night!" "That makes no difference. The lightning works instantaneously. I loved you then, at once--as I do now." Bathsheba surveyed him curiously, from the feet upward, as high as she liked to venture her glance, which was not quite so high as his eyes. "You cannot and you don't," she said demurely. "There is no such sudden feeling in people. I won't listen to you any longer. Hear me, I wish I knew what o'clock it is--I am going--I have wasted too much time here already!" The sergeant looked at his watch and told her. "What, haven't you a watch, miss?" he inquired. "I have not just at present--I am about to get a new one." "No. You shall be given one. Yes--you shall. A gift, Miss Everdene--a gift." And before she knew what the young man was intending, a heavy gold watch was in her hand. "It is an unusually good one for a man like me to possess," he quietly said. "That watch has a history. Press the spring and open the back." She did so. "What do you see?" "A crest and a motto." "A coronet with five points, and beneath, _Cedit amor rebus_--'Love yields to circumstance.' It's the motto of the Earls of Severn. That watch belonged to the last lord, and was given to my mother's husband, a medical man, for his use till I came of age, when it was to be given to me. It was all the fortune that ever I inherited. That watch has regulated imperial interests in its time--the stately ceremonial, the courtly assignation, pompous travels, and lordly sleeps. Now it is yours." "But, Sergeant Troy, I cannot take this--I cannot!" she exclaimed, with round-eyed wonder. "A gold watch! What are you doing? Don't be such a dissembler!" The sergeant retreated to avoid receiving back his gift, which she held out persistently towards him. Bathsheba followed as he retired. "Keep it--do, Miss Everdene--keep it!" said the erratic child of impulse. "The fact of your possessing it makes it worth ten times as much to me. A more plebeian one will answer my purpose just as well, and the pleasure of knowing whose heart my old one beats against--well, I won't speak of that. It is in far worthier hands than ever it has been in before." "But indeed I can't have it!" she said, in a perfect simmer of distress. "Oh, how can you do such a thing; that is if you really mean it! Give me your dead father's watch, and such a valuable one! You should not be so reckless, indeed, Sergeant Troy!" "I loved my father: good; but better, I love you more. That's how I can do it," said the sergeant, with an intonation of such exquisite fidelity to nature that it was evidently not all acted now. Her beauty, which, whilst it had been quiescent, he had praised in jest, had in its animated phases moved him to earnest; and though his seriousness was less than she imagined, it was probably more than he imagined himself. Bathsheba was brimming with agitated bewilderment, and she said, in half-suspicious accents of feeling, "Can it be! Oh, how can it be, that you care for me, and so suddenly! You have seen so little of me: I may not be really so--so nice-looking as I seem to you. Please, do take it; Oh, do! I cannot and will not have it. Believe me, your generosity is too great. I have never done you a single kindness, and why should you be so kind to me?" A factitious reply had been again upon his lips, but it was again suspended, and he looked at her with an arrested eye. The truth was, that as she now stood--excited, wild, and honest as the day--her alluring beauty bore out so fully the epithets he had bestowed upon it that he was quite startled at his temerity in advancing them as false. He said mechanically, "Ah, why?" and continued to look at her. "And my workfolk see me following you about the field, and are wondering. Oh, this is dreadful!" she went on, unconscious of the transmutation she was effecting. "I did not quite mean you to accept it at first, for it was my one poor patent of nobility," he broke out, bluntly; "but, upon my soul, I wish you would now. Without any shamming, come! Don't deny me the happiness of wearing it for my sake? But you are too lovely even to care to be kind as others are." "No, no; don't say so! I have reasons for reserve which I cannot explain." "Let it be, then, let it be," he said, receiving back the watch at last; "I must be leaving you now. And will you speak to me for these few weeks of my stay?" "Indeed I will. Yet, I don't know if I will! Oh, why did you come and disturb me so!" "Perhaps in setting a gin, I have caught myself. Such things have happened. Well, will you let me work in your fields?" he coaxed. "Yes, I suppose so; if it is any pleasure to you." "Miss Everdene, I thank you." "No, no." "Good-bye!" The sergeant brought his hand to the cap on the slope of his head, saluted, and returned to the distant group of haymakers. Bathsheba could not face the haymakers now. Her heart erratically flitting hither and thither from perplexed excitement, hot, and almost tearful, she retreated homeward, murmuring, "Oh, what have I done! What does it mean! I wish I knew how much of it was true!" HIVING THE BEES The Weatherbury bees were late in their swarming this year. It was in the latter part of June, and the day after the interview with Troy in the hayfield, that Bathsheba was standing in her garden, watching a swarm in the air and guessing their probable settling place. Not only were they late this year, but unruly. Sometimes throughout a whole season all the swarms would alight on the lowest attainable bough--such as part of a currant-bush or espalier apple-tree; next year they would, with just the same unanimity, make straight off to the uppermost member of some tall, gaunt costard, or quarrenden, and there defy all invaders who did not come armed with ladders and staves to take them. This was the case at present. Bathsheba's eyes, shaded by one hand, were following the ascending multitude against the unexplorable stretch of blue till they ultimately halted by one of the unwieldy trees spoken of. A process somewhat analogous to that of alleged formations of the universe, time and times ago, was observable. The bustling swarm had swept the sky in a scattered and uniform haze, which now thickened to a nebulous centre: this glided on to a bough and grew still denser, till it formed a solid black spot upon the light. The men and women being all busily engaged in saving the hay--even Liddy had left the house for the purpose of lending a hand--Bathsheba resolved to hive the bees herself, if possible. She had dressed the hive with herbs and honey, fetched a ladder, brush, and crook, made herself impregnable with armour of leather gloves, straw hat, and large gauze veil--once green but now faded to snuff colour--and ascended a dozen rungs of the ladder. At once she heard, not ten yards off, a voice that was beginning to have a strange power in agitating her. "Miss Everdene, let me assist you; you should not attempt such a thing alone." Troy was just opening the garden gate. Bathsheba flung down the brush, crook, and empty hive, pulled the skirt of her dress tightly round her ankles in a tremendous flurry, and as well as she could slid down the ladder. By the time she reached the bottom Troy was there also, and he stooped to pick up the hive. "How fortunate I am to have dropped in at this moment!" exclaimed the sergeant. She found her voice in a minute. "What! and will you shake them in for me?" she asked, in what, for a defiant girl, was a faltering way; though, for a timid girl, it would have seemed a brave way enough. "Will I!" said Troy. "Why, of course I will. How blooming you are to-day!" Troy flung down his cane and put his foot on the ladder to ascend. "But you must have on the veil and gloves, or you'll be stung fearfully!" "Ah, yes. I must put on the veil and gloves. Will you kindly show me how to fix them properly?" "And you must have the broad-brimmed hat, too, for your cap has no brim to keep the veil off, and they'd reach your face." "The broad-brimmed hat, too, by all means." So a whimsical fate ordered that her hat should be taken off--veil and all attached--and placed upon his head, Troy tossing his own into a gooseberry bush. Then the veil had to be tied at its lower edge round his collar and the gloves put on him. He looked such an extraordinary object in this guise that, flurried as she was, she could not avoid laughing outright. It was the removal of yet another stake from the palisade of cold manners which had kept him off. Bathsheba looked on from the ground whilst he was busy sweeping and shaking the bees from the tree, holding up the hive with the other hand for them to fall into. She made use of an unobserved minute whilst his attention was absorbed in the operation to arrange her plumes a little. He came down holding the hive at arm's length, behind which trailed a cloud of bees. "Upon my life," said Troy, through the veil, "holding up this hive makes one's arm ache worse than a week of sword-exercise." When the manoeuvre was complete he approached her. "Would you be good enough to untie me and let me out? I am nearly stifled inside this silk cage." To hide her embarrassment during the unwonted process of untying the string about his neck, she said:-- "I have never seen that you spoke of." "What?" "The sword-exercise." "Ah! would you like to?" said Troy. Bathsheba hesitated. She had heard wondrous reports from time to time by dwellers in Weatherbury, who had by chance sojourned awhile in Casterbridge, near the barracks, of this strange and glorious performance, the sword-exercise. Men and boys who had peeped through chinks or over walls into the barrack-yard returned with accounts of its being the most flashing affair conceivable; accoutrements and weapons glistening like stars--here, there, around--yet all by rule and compass. So she said mildly what she felt strongly. "Yes; I should like to see it very much." "And so you shall; you shall see me go through it." "No! How?" "Let me consider." "Not with a walking-stick--I don't care to see that. It must be a real sword." "Yes, I know; and I have no sword here; but I think I could get one by the evening. Now, will you do this?" Troy bent over her and murmured some suggestion in a low voice. "Oh no, indeed!" said Bathsheba, blushing. "Thank you very much, but I couldn't on any account." "Surely you might? Nobody would know." She shook her head, but with a weakened negation. "If I were to," she said, "I must bring Liddy too. Might I not?" Troy looked far away. "I don't see why you want to bring her," he said coldly. An unconscious look of assent in Bathsheba's eyes betrayed that something more than his coldness had made her also feel that Liddy would be superfluous in the suggested scene. She had felt it, even whilst making the proposal. "Well, I won't bring Liddy--and I'll come. But only for a very short time," she added; "a very short time." "It will not take five minutes," said Troy. THE HOLLOW AMID THE FERNS The hill opposite Bathsheba's dwelling extended, a mile off, into an uncultivated tract of land, dotted at this season with tall thickets of brake fern, plump and diaphanous from recent rapid growth, and radiant in hues of clear and untainted green. At eight o'clock this midsummer evening, whilst the bristling ball of gold in the west still swept the tips of the ferns with its long, luxuriant rays, a soft brushing-by of garments might have been heard among them, and Bathsheba appeared in their midst, their soft, feathery arms caressing her up to her shoulders. She paused, turned, went back over the hill and half-way to her own door, whence she cast a farewell glance upon the spot she had just left, having resolved not to remain near the place after all. She saw a dim spot of artificial red moving round the shoulder of the rise. It disappeared on the other side. She waited one minute--two minutes--thought of Troy's disappointment at her non-fulfilment of a promised engagement, till she again ran along the field, clambered over the bank, and followed the original direction. She was now literally trembling and panting at this her temerity in such an errant undertaking; her breath came and went quickly, and her eyes shone with an infrequent light. Yet go she must. She reached the verge of a pit in the middle of the ferns. Troy stood in the bottom, looking up towards her. "I heard you rustling through the fern before I saw you," he said, coming up and giving her his hand to help her down the slope. The pit was a saucer-shaped concave, naturally formed, with a top diameter of about thirty feet, and shallow enough to allow the sunshine to reach their heads. Standing in the centre, the sky overhead was met by a circular horizon of fern: this grew nearly to the bottom of the slope and then abruptly ceased. The middle within the belt of verdure was floored with a thick flossy carpet of moss and grass intermingled, so yielding that the foot was half-buried within it. "Now," said Troy, producing the sword, which, as he raised it into the sunlight, gleamed a sort of greeting, like a living thing, "first, we have four right and four left cuts; four right and four left thrusts. Infantry cuts and guards are more interesting than ours, to my mind; but they are not so swashing. They have seven cuts and three thrusts. So much as a preliminary. Well, next, our cut one is as if you were sowing your corn--so." Bathsheba saw a sort of rainbow, upside down in the air, and Troy's arm was still again. "Cut two, as if you were hedging--so. Three, as if you were reaping--so. Four, as if you were threshing--in that way. Then the same on the left. The thrusts are these: one, two, three, four, right; one, two, three, four, left." He repeated them. "Have 'em again?" he said. "One, two--" She hurriedly interrupted: "I'd rather not; though I don't mind your twos and fours; but your ones and threes are terrible!" "Very well. I'll let you off the ones and threes. Next, cuts, points and guards altogether." Troy duly exhibited them. "Then there's pursuing practice, in this way." He gave the movements as before. "There, those are the stereotyped forms. The infantry have two most diabolical upward cuts, which we are too humane to use. Like this--three, four." "How murderous and bloodthirsty!" "They are rather deathly. Now I'll be more interesting, and let you see some loose play--giving all the cuts and points, infantry and cavalry, quicker than lightning, and as promiscuously--with just enough rule to regulate instinct and yet not to fetter it. You are my antagonist, with this difference from real warfare, that I shall miss you every time by one hair's breadth, or perhaps two. Mind you don't flinch, whatever you do." "I'll be sure not to!" she said invincibly. He pointed to about a yard in front of him. Bathsheba's adventurous spirit was beginning to find some grains of relish in these highly novel proceedings. She took up her position as directed, facing Troy. "Now just to learn whether you have pluck enough to let me do what I wish, I'll give you a preliminary test." He flourished the sword by way of introduction number two, and the next thing of which she was conscious was that the point and blade of the sword were darting with a gleam towards her left side, just above her hip; then of their reappearance on her right side, emerging as it were from between her ribs, having apparently passed through her body. The third item of consciousness was that of seeing the same sword, perfectly clean and free from blood held vertically in Troy's hand (in the position technically called "recover swords"). All was as quick as electricity. "Oh!" she cried out in affright, pressing her hand to her side. "Have you run me through?--no, you have not! Whatever have you done!" "I have not touched you," said Troy, quietly. "It was mere sleight of hand. The sword passed behind you. Now you are not afraid, are you? Because if you are I can't perform. I give my word that I will not only not hurt you, but not once touch you." "I don't think I am afraid. You are quite sure you will not hurt me?" "Quite sure." "Is the sword very sharp?" "O no--only stand as still as a statue. Now!" In an instant the atmosphere was transformed to Bathsheba's eyes. Beams of light caught from the low sun's rays, above, around, in front of her, well-nigh shut out earth and heaven--all emitted in the marvellous evolutions of Troy's reflecting blade, which seemed everywhere at once, and yet nowhere specially. These circling gleams were accompanied by a keen rush that was almost a whistling--also springing from all sides of her at once. In short, she was enclosed in a firmament of light, and of sharp hisses, resembling a sky-full of meteors close at hand. Never since the broadsword became the national weapon had there been more dexterity shown in its management than by the hands of Sergeant Troy, and never had he been in such splendid temper for the performance as now in the evening sunshine among the ferns with Bathsheba. It may safely be asserted with respect to the closeness of his cuts, that had it been possible for the edge of the sword to leave in the air a permanent substance wherever it flew past, the space left untouched would have been almost a mould of Bathsheba's figure. Behind the luminous streams of this _aurora militaris_, she could see the hue of Troy's sword arm, spread in a scarlet haze over the space covered by its motions, like a twanged harpstring, and behind all Troy himself, mostly facing her; sometimes, to show the rear cuts, half turned away, his eye nevertheless always keenly measuring her breadth and outline, and his lips tightly closed in sustained effort. Next, his movements lapsed slower, and she could see them individually. The hissing of the sword had ceased, and he stopped entirely. "That outer loose lock of hair wants tidying," he said, before she had moved or spoken. "Wait: I'll do it for you." An arc of silver shone on her right side: the sword had descended. The lock dropped to the ground. "Bravely borne!" said Troy. "You didn't flinch a shade's thickness. Wonderful in a woman!" "It was because I didn't expect it. Oh, you have spoilt my hair!" "Only once more." "No--no! I am afraid of you--indeed I am!" she cried. "I won't touch you at all--not even your hair. I am only going to kill that caterpillar settling on you. Now: still!" It appeared that a caterpillar had come from the fern and chosen the front of her bodice as his resting place. She saw the point glisten towards her bosom, and seemingly enter it. Bathsheba closed her eyes in the full persuasion that she was killed at last. However, feeling just as usual, she opened them again. "There it is, look," said the sergeant, holding his sword before her eyes. The caterpillar was spitted upon its point. "Why, it is magic!" said Bathsheba, amazed. "Oh no--dexterity. I merely gave point to your bosom where the caterpillar was, and instead of running you through checked the extension a thousandth of an inch short of your surface." "But how could you chop off a curl of my hair with a sword that has no edge?" "No edge! This sword will shave like a razor. Look here." He touched the palm of his hand with the blade, and then, lifting it, showed her a thin shaving of scarf-skin dangling therefrom. "But you said before beginning that it was blunt and couldn't cut me!" "That was to get you to stand still, and so make sure of your safety. The risk of injuring you through your moving was too great not to force me to tell you a fib to escape it." She shuddered. "I have been within an inch of my life, and didn't know it!" "More precisely speaking, you have been within half an inch of being pared alive two hundred and ninety-five times." "Cruel, cruel, 'tis of you!" "You have been perfectly safe, nevertheless. My sword never errs." And Troy returned the weapon to the scabbard. Bathsheba, overcome by a hundred tumultuous feelings resulting from the scene, abstractedly sat down on a tuft of heather. "I must leave you now," said Troy, softly. "And I'll venture to take and keep this in remembrance of you." She saw him stoop to the grass, pick up the winding lock which he had severed from her manifold tresses, twist it round his fingers, unfasten a button in the breast of his coat, and carefully put it inside. She felt powerless to withstand or deny him. He was altogether too much for her, and Bathsheba seemed as one who, facing a reviving wind, finds it blow so strongly that it stops the breath. He drew near and said, "I must be leaving you." He drew nearer still. A minute later and she saw his scarlet form disappear amid the ferny thicket, almost in a flash, like a brand swiftly waved. That minute's interval had brought the blood beating into her face, set her stinging as if aflame to the very hollows of her feet, and enlarged emotion to a compass which quite swamped thought. It had brought upon her a stroke resulting, as did that of Moses in Horeb, in a liquid stream--here a stream of tears. She felt like one who has sinned a great sin. The circumstance had been the gentle dip of Troy's mouth downwards upon her own. He had kissed her. PARTICULARS OF A TWILIGHT WALK We now see the element of folly distinctly mingling with the many varying particulars which made up the character of Bathsheba Everdene. It was almost foreign to her intrinsic nature. Introduced as lymph on the dart of Eros, it eventually permeated and coloured her whole constitution. Bathsheba, though she had too much understanding to be entirely governed by her womanliness, had too much womanliness to use her understanding to the best advantage. Perhaps in no minor point does woman astonish her helpmate more than in the strange power she possesses of believing cajoleries that she knows to be false--except, indeed, in that of being utterly sceptical on strictures that she knows to be true. Bathsheba loved Troy in the way that only self-reliant women love when they abandon their self-reliance. When a strong woman recklessly throws away her strength she is worse than a weak woman who has never had any strength to throw away. One source of her inadequacy is the novelty of the occasion. She has never had practice in making the best of such a condition. Weakness is doubly weak by being new. Bathsheba was not conscious of guile in this matter. Though in one sense a woman of the world, it was, after all, that world of daylight coteries and green carpets wherein cattle form the passing crowd and winds the busy hum; where a quiet family of rabbits or hares lives on the other side of your party-wall, where your neighbour is everybody in the tything, and where calculation is confined to market-days. Of the fabricated tastes of good fashionable society she knew but little, and of the formulated self-indulgence of bad, nothing at all. Had her utmost thoughts in this direction been distinctly worded (and by herself they never were), they would only have amounted to such a matter as that she felt her impulses to be pleasanter guides than her discretion. Her love was entire as a child's, and though warm as summer it was fresh as spring. Her culpability lay in her making no attempt to control feeling by subtle and careful inquiry into consequences. She could show others the steep and thorny way, but "reck'd not her own rede." And Troy's deformities lay deep down from a woman's vision, whilst his embellishments were upon the very surface; thus contrasting with homely Oak, whose defects were patent to the blindest, and whose virtues were as metals in a mine. The difference between love and respect was markedly shown in her conduct. Bathsheba had spoken of her interest in Boldwood with the greatest freedom to Liddy, but she had only communed with her own heart concerning Troy. All this infatuation Gabriel saw, and was troubled thereby from the time of his daily journey a-field to the time of his return, and on to the small hours of many a night. That he was not beloved had hitherto been his great sorrow; that Bathsheba was getting into the toils was now a sorrow greater than the first, and one which nearly obscured it. It was a result which paralleled the oft-quoted observation of Hippocrates concerning physical pains. That is a noble though perhaps an unpromising love which not even the fear of breeding aversion in the bosom of the one beloved can deter from combating his or her errors. Oak determined to speak to his mistress. He would base his appeal on what he considered her unfair treatment of Farmer Boldwood, now absent from home. An opportunity occurred one evening when she had gone for a short walk by a path through the neighbouring cornfields. It was dusk when Oak, who had not been far a-field that day, took the same path and met her returning, quite pensively, as he thought. The wheat was now tall, and the path was narrow; thus the way was quite a sunken groove between the embowing thicket on either side. Two persons could not walk abreast without damaging the crop, and Oak stood aside to let her pass. "Oh, is it Gabriel?" she said. "You are taking a walk too. Good-night." "I thought I would come to meet you, as it is rather late," said Oak, turning and following at her heels when she had brushed somewhat quickly by him. "Thank you, indeed, but I am not very fearful." "Oh no; but there are bad characters about." "I never meet them." Now Oak, with marvellous ingenuity, had been going to introduce the gallant sergeant through the channel of "bad characters." But all at once the scheme broke down, it suddenly occurring to him that this was rather a clumsy way, and too barefaced to begin with. He tried another preamble. "And as the man who would naturally come to meet you is away from home, too--I mean Farmer Boldwood--why, thinks I, I'll go," he said. "Ah, yes." She walked on without turning her head, and for many steps nothing further was heard from her quarter than the rustle of her dress against the heavy corn-ears. Then she resumed rather tartly-- "I don't quite understand what you meant by saying that Mr. Boldwood would naturally come to meet me." "I meant on account of the wedding which they say is likely to take place between you and him, miss. Forgive my speaking plainly." "They say what is not true." she returned quickly. "No marriage is likely to take place between us." Gabriel now put forth his unobscured opinion, for the moment had come. "Well, Miss Everdene," he said, "putting aside what people say, I never in my life saw any courting if his is not a courting of you." Bathsheba would probably have terminated the conversation there and then by flatly forbidding the subject, had not her conscious weakness of position allured her to palter and argue in endeavours to better it. "Since this subject has been mentioned," she said very emphatically, "I am glad of the opportunity of clearing up a mistake which is very common and very provoking. I didn't definitely promise Mr. Boldwood anything. I have never cared for him. I respect him, and he has urged me to marry him. But I have given him no distinct answer. As soon as he returns I shall do so; and the answer will be that I cannot think of marrying him." "People are full of mistakes, seemingly." "They are." "The other day they said you were trifling with him, and you almost proved that you were not; lately they have said that you be not, and you straightway begin to show--" "That I am, I suppose you mean." "Well, I hope they speak the truth." "They do, but wrongly applied. I don't trifle with him; but then, I have nothing to do with him." Oak was unfortunately led on to speak of Boldwood's rival in a wrong tone to her after all. "I wish you had never met that young Sergeant Troy, miss," he sighed. Bathsheba's steps became faintly spasmodic. "Why?" she asked. "He is not good enough for 'ee." "Did any one tell you to speak to me like this?" "Nobody at all." "Then it appears to me that Sergeant Troy does not concern us here," she said, intractably. "Yet I must say that Sergeant Troy is an educated man, and quite worthy of any woman. He is well born." "His being higher in learning and birth than the ruck o' soldiers is anything but a proof of his worth. It show's his course to be down'ard." "I cannot see what this has to do with our conversation. Mr. Troy's course is not by any means downward; and his superiority IS a proof of his worth!" "I believe him to have no conscience at all. And I cannot help begging you, miss, to have nothing to do with him. Listen to me this once--only this once! I don't say he's such a bad man as I have fancied--I pray to God he is not. But since we don't exactly know what he is, why not behave as if he MIGHT be bad, simply for your own safety? Don't trust him, mistress; I ask you not to trust him so." "Why, pray?" "I like soldiers, but this one I do not like," he said, sturdily. "His cleverness in his calling may have tempted him astray, and what is mirth to the neighbours is ruin to the woman. When he tries to talk to 'ee again, why not turn away with a short 'Good day'; and when you see him coming one way, turn the other. When he says anything laughable, fail to see the point and don't smile, and speak of him before those who will report your talk as 'that fantastical man,' or 'that Sergeant What's-his-name.' 'That man of a family that has come to the dogs.' Don't be unmannerly towards en, but harmless-uncivil, and so get rid of the man." No Christmas robin detained by a window-pane ever pulsed as did Bathsheba now. "I say--I say again--that it doesn't become you to talk about him. Why he should be mentioned passes me quite!" she exclaimed desperately. "I know this, th-th-that he is a thoroughly conscientious man--blunt sometimes even to rudeness--but always speaking his mind about you plain to your face!" "Oh." "He is as good as anybody in this parish! He is very particular, too, about going to church--yes, he is!" "I am afeard nobody saw him there. I never did, certainly." "The reason of that is," she said eagerly, "that he goes in privately by the old tower door, just when the service commences, and sits at the back of the gallery. He told me so." This supreme instance of Troy's goodness fell upon Gabriel ears like the thirteenth stroke of crazy clock. It was not only received with utter incredulity as regarded itself, but threw a doubt on all the assurances that had preceded it. Oak was grieved to find how entirely she trusted him. He brimmed with deep feeling as he replied in a steady voice, the steadiness of which was spoilt by the palpableness of his great effort to keep it so:-- "You know, mistress, that I love you, and shall love you always. I only mention this to bring to your mind that at any rate I would wish to do you no harm: beyond that I put it aside. I have lost in the race for money and good things, and I am not such a fool as to pretend to 'ee now I am poor, and you have got altogether above me. But Bathsheba, dear mistress, this I beg you to consider--that, both to keep yourself well honoured among the workfolk, and in common generosity to an honourable man who loves you as well as I, you should be more discreet in your bearing towards this soldier." "Don't, don't, don't!" she exclaimed, in a choking voice. "Are ye not more to me than my own affairs, and even life!" he went on. "Come, listen to me! I am six years older than you, and Mr. Boldwood is ten years older than I, and consider--I do beg of 'ee to consider before it is too late--how safe you would be in his hands!" Oak's allusion to his own love for her lessened, to some extent, her anger at his interference; but she could not really forgive him for letting his wish to marry her be eclipsed by his wish to do her good, any more than for his slighting treatment of Troy. "I wish you to go elsewhere," she commanded, a paleness of face invisible to the eye being suggested by the trembling words. "Do not remain on this farm any longer. I don't want you--I beg you to go!" "That's nonsense," said Oak, calmly. "This is the second time you have pretended to dismiss me; and what's the use o' it?" "Pretended! You shall go, sir--your lecturing I will not hear! I am mistress here." "Go, indeed--what folly will you say next? Treating me like Dick, Tom and Harry when you know that a short time ago my position was as good as yours! Upon my life, Bathsheba, it is too barefaced. You know, too, that I can't go without putting things in such a strait as you wouldn't get out of I can't tell when. Unless, indeed, you'll promise to have an understanding man as bailiff, or manager, or something. I'll go at once if you'll promise that." "I shall have no bailiff; I shall continue to be my own manager," she said decisively. "Very well, then; you should be thankful to me for biding. How would the farm go on with nobody to mind it but a woman? But mind this, I don't wish 'ee to feel you owe me anything. Not I. What I do, I do. Sometimes I say I should be as glad as a bird to leave the place--for don't suppose I'm content to be a nobody. I was made for better things. However, I don't like to see your concerns going to ruin, as they must if you keep in this mind.... I hate taking my own measure so plain, but, upon my life, your provoking ways make a man say what he wouldn't dream of at other times! I own to being rather interfering. But you know well enough how it is, and who she is that I like too well, and feel too much like a fool about to be civil to her!" It is more than probable that she privately and unconsciously respected him a little for this grim fidelity, which had been shown in his tone even more than in his words. At any rate she murmured something to the effect that he might stay if he wished. She said more distinctly, "Will you leave me alone now? I don't order it as a mistress--I ask it as a woman, and I expect you not to be so uncourteous as to refuse." "Certainly I will, Miss Everdene," said Gabriel, gently. He wondered that the request should have come at this moment, for the strife was over, and they were on a most desolate hill, far from every human habitation, and the hour was getting late. He stood still and allowed her to get far ahead of him till he could only see her form upon the sky. A distressing explanation of this anxiety to be rid of him at that point now ensued. A figure apparently rose from the earth beside her. The shape beyond all doubt was Troy's. Oak would not be even a possible listener, and at once turned back till a good two hundred yards were between the lovers and himself. Gabriel went home by way of the churchyard. In passing the tower he thought of what she had said about the sergeant's virtuous habit of entering the church unperceived at the beginning of service. Believing that the little gallery door alluded to was quite disused, he ascended the external flight of steps at the top of which it stood, and examined it. The pale lustre yet hanging in the north-western heaven was sufficient to show that a sprig of ivy had grown from the wall across the door to a length of more than a foot, delicately tying the panel to the stone jamb. It was a decisive proof that the door had not been opened at least since Troy came back to Weatherbury. HOT CHEEKS AND TEARFUL EYES Half an hour later Bathsheba entered her own house. There burnt upon her face when she met the light of the candles the flush and excitement which were little less than chronic with her now. The farewell words of Troy, who had accompanied her to the very door, still lingered in her ears. He had bidden her adieu for two days, which were, so he stated, to be spent at Bath in visiting some friends. He had also kissed her a second time. It is only fair to Bathsheba to explain here a little fact which did not come to light till a long time afterwards: that Troy's presentation of himself so aptly at the roadside this evening was not by any distinctly preconcerted arrangement. He had hinted--she had forbidden; and it was only on the chance of his still coming that she had dismissed Oak, fearing a meeting between them just then. She now sank down into a chair, wild and perturbed by all these new and fevering sequences. Then she jumped up with a manner of decision, and fetched her desk from a side table. In three minutes, without pause or modification, she had written a letter to Boldwood, at his address beyond Casterbridge, saying mildly but firmly that she had well considered the whole subject he had brought before her and kindly given her time to decide upon; that her final decision was that she could not marry him. She had expressed to Oak an intention to wait till Boldwood came home before communicating to him her conclusive reply. But Bathsheba found that she could not wait. It was impossible to send this letter till the next day; yet to quell her uneasiness by getting it out of her hands, and so, as it were, setting the act in motion at once, she arose to take it to any one of the women who might be in the kitchen. She paused in the passage. A dialogue was going on in the kitchen, and Bathsheba and Troy were the subject of it. "If he marry her, she'll gie up farming." "'Twill be a gallant life, but may bring some trouble between the mirth--so say I." "Well, I wish I had half such a husband." Bathsheba had too much sense to mind seriously what her servitors said about her; but too much womanly redundance of speech to leave alone what was said till it died the natural death of unminded things. She burst in upon them. "Who are you speaking of?" she asked. There was a pause before anybody replied. At last Liddy said frankly, "What was passing was a bit of a word about yourself, miss." "I thought so! Maryann and Liddy and Temperance--now I forbid you to suppose such things. You know I don't care the least for Mr. Troy--not I. Everybody knows how much I hate him.--Yes," repeated the froward young person, "HATE him!" "We know you do, miss," said Liddy; "and so do we all." "I hate him too," said Maryann. "Maryann--Oh you perjured woman! How can you speak that wicked story!" said Bathsheba, excitedly. "You admired him from your heart only this morning in the very world, you did. Yes, Maryann, you know it!" "Yes, miss, but so did you. He is a wild scamp now, and you are right to hate him." "He's NOT a wild scamp! How dare you to my face! I have no right to hate him, nor you, nor anybody. But I am a silly woman! What is it to me what he is? You know it is nothing. I don't care for him; I don't mean to defend his good name, not I. Mind this, if any of you say a word against him you'll be dismissed instantly!" She flung down the letter and surged back into the parlour, with a big heart and tearful eyes, Liddy following her. "Oh miss!" said mild Liddy, looking pitifully into Bathsheba's face. "I am sorry we mistook you so! I did think you cared for him; but I see you don't now." "Shut the door, Liddy." Liddy closed the door, and went on: "People always say such foolery, miss. I'll make answer hencefor'ard, 'Of course a lady like Miss Everdene can't love him'; I'll say it out in plain black and white." Bathsheba burst out: "O Liddy, are you such a simpleton? Can't you read riddles? Can't you see? Are you a woman yourself?" Liddy's clear eyes rounded with wonderment. "Yes; you must be a blind thing, Liddy!" she said, in reckless abandonment and grief. "Oh, I love him to very distraction and misery and agony! Don't be frightened at me, though perhaps I am enough to frighten any innocent woman. Come closer--closer." She put her arms round Liddy's neck. "I must let it out to somebody; it is wearing me away! Don't you yet know enough of me to see through that miserable denial of mine? O God, what a lie it was! Heaven and my Love forgive me. And don't you know that a woman who loves at all thinks nothing of perjury when it is balanced against her love? There, go out of the room; I want to be quite alone." Liddy went towards the door. "Liddy, come here. Solemnly swear to me that he's not a fast man; that it is all lies they say about him!" "But, miss, how can I say he is not if--" "You graceless girl! How can you have the cruel heart to repeat what they say? Unfeeling thing that you are.... But I'LL see if you or anybody else in the village, or town either, dare do such a thing!" She started off, pacing from fireplace to door, and back again. "No, miss. I don't--I know it is not true!" said Liddy, frightened at Bathsheba's unwonted vehemence. "I suppose you only agree with me like that to please me. But, Liddy, he CANNOT BE bad, as is said. Do you hear?" "Yes, miss, yes." "And you don't believe he is?" "I don't know what to say, miss," said Liddy, beginning to cry. "If I say No, you don't believe me; and if I say Yes, you rage at me!" "Say you don't believe it--say you don't!" "I don't believe him to be so bad as they make out." "He is not bad at all.... My poor life and heart, how weak I am!" she moaned, in a relaxed, desultory way, heedless of Liddy's presence. "Oh, how I wish I had never seen him! Loving is misery for women always. I shall never forgive God for making me a woman, and dearly am I beginning to pay for the honour of owning a pretty face." She freshened and turned to Liddy suddenly. "Mind this, Lydia Smallbury, if you repeat anywhere a single word of what I have said to you inside this closed door, I'll never trust you, or love you, or have you with me a moment longer--not a moment!" "I don't want to repeat anything," said Liddy, with womanly dignity of a diminutive order; "but I don't wish to stay with you. And, if you please, I'll go at the end of the harvest, or this week, or to-day.... I don't see that I deserve to be put upon and stormed at for nothing!" concluded the small woman, bigly. "No, no, Liddy; you must stay!" said Bathsheba, dropping from haughtiness to entreaty with capricious inconsequence. "You must not notice my being in a taking just now. You are not as a servant--you are a companion to me. Dear, dear--I don't know what I am doing since this miserable ache of my heart has weighted and worn upon me so! What shall I come to! I suppose I shall get further and further into troubles. I wonder sometimes if I am doomed to die in the Union. I am friendless enough, God knows!" "I won't notice anything, nor will I leave you!" sobbed Liddy, impulsively putting up her lips to Bathsheba's, and kissing her. Then Bathsheba kissed Liddy, and all was smooth again. "I don't often cry, do I, Lidd? but you have made tears come into my eyes," she said, a smile shining through the moisture. "Try to think him a good man, won't you, dear Liddy?" "I will, miss, indeed." "He is a sort of steady man in a wild way, you know. That's better than to be as some are, wild in a steady way. I am afraid that's how I am. And promise me to keep my secret--do, Liddy! And do not let them know that I have been crying about him, because it will be dreadful for me, and no good to him, poor thing!" "Death's head himself shan't wring it from me, mistress, if I've a mind to keep anything; and I'll always be your friend," replied Liddy, emphatically, at the same time bringing a few more tears into her own eyes, not from any particular necessity, but from an artistic sense of making herself in keeping with the remainder of the picture, which seems to influence women at such times. "I think God likes us to be good friends, don't you?" "Indeed I do." "And, dear miss, you won't harry me and storm at me, will you? because you seem to swell so tall as a lion then, and it frightens me! Do you know, I fancy you would be a match for any man when you are in one o' your takings." "Never! do you?" said Bathsheba, slightly laughing, though somewhat seriously alarmed by this Amazonian picture of herself. "I hope I am not a bold sort of maid--mannish?" she continued with some anxiety. "Oh no, not mannish; but so almighty womanish that 'tis getting on that way sometimes. Ah! miss," she said, after having drawn her breath very sadly in and sent it very sadly out, "I wish I had half your failing that way. 'Tis a great protection to a poor maid in these illegit'mate days!"

https://web.archive.org/web/20210225000853/https://www.sparknotes.com/lit/maddingcrowd/section5/

Moments after she tells Boldwood that she might marry him, Bathsheba wanders over her farm, as she always does, checking to see that everything is in order. She carries a darkened lantern so she cannot be seen. The narrator tells us that, unbeknownst to Bathsheba, Gabriel performs the same task every evening, a sign of his unending devotion to her. As she walks through the fir plantation, she hears footsteps nearing her and bumps into someone on the path. It is Sergeant Troy, and his spur has caught on her dress. She cannot free herself, and in the dark the two hold a conversation without identifying themselves. When Troy finally opens her lantern, Bathsheba is surprised to see he is a soldier, having expected a suspicious-looking intruder. Troy, for his part, is also struck by the appearance of his interlocutor; he immediately praises her beauty and delays in his untangling of her dress. She finally frees herself, confused by his praise, and speaking somewhat curtly. She later asks Liddy whether there is a soldier living near the fir plantation, and Liddy tells her that it must be Sergeant Troy. Bathsheba regrets being rude to him. In the next chapter Hardy gives an account of Troy's character, much as the author has done with Boldwood earlier on. We learn that Troy lives only for the moment and displays the opposite of Gabriel's ceaseless loyalty. He is full of activity without direction and regularly deceives women. Toward the end of the chapter, we learn that he has joined the haymakers in their task for the day. Bathsheba notices him in the fields, and as soon as he sees her, he approaches. Troy and Bathsheba converse for the second time, and Chapter 26 follows a long dialogue between them, with little description. Troy apologizes for not recognizing who she was in the woods and again compliments her. From her responses we can see that she is flattered, bewildered by his admiration--a very different woman from the scornful, proud individual we have heretofore seen asserting her independence with Gabriel and Boldwood. Troy offers her his watch as a gift, and she refuses but agrees that he may continue to join the hay- makers. In the next chapter their intimacy is increased when Troy encounters Bathsheba maintaining the bees; he helps her, donning the ridiculous-looking protective gear. When he mentions the famous sword exercise that soldiers learn, she confesses that she'd love to see it, and they set a date to meet. Bathsheba is reluctant to keep the date but comes at the last minute, and Troy shows her the sword exercise. He persuades her that the sword's edge is blunt as he sweeps the hissing, glittering sword around her. At the end of their meeting, as Bathsheba stands overwhelmed by the beauty and danger of the scene, Troy kisses her and disappears. Bathsheba has fallen in love. However, the narrator comments ominously, "When a strong woman recklessly throws away her strength, she is worse than a weak woman who has never had strength to throw away." Gabriel, too, feels the danger of her infatuation and decides to talk to her about it. Gabriel and Boldwood are the only ones who know that Troy was Fanny Robin's lover, whom she intended to marry when she ran away. Knowing this, he tries to hint at Troy's immoral character. Bathsheba refuses to listen, however, and tries to fire Gabriel from the farm again, but he refuses to leave unless she agrees to hire someone else as a bailiff. She will not, so he refuses to leave his post. As they part, he sees Troy coming to meet Bathsheba. When Bathsheba comes home, she overhears the servants gossiping about her and Troy, and she forbids them to speak about it. Then, she chastises Liddy and confesses that she loves Troy. In the midst of their conversation Bathsheba breaks down in tears; she has lost all her self-possession.

Commentary Both Bathsheba and Boldwood are otherwise strong people who nevertheless develop sudden weaknesses for a single person--Boldwood for Bathsheba and Bathsheba for Sergeant Troy. Both of them have spurned earlier lovers. By describing the sensory perceptions of these characters as enhanced, Hardy conveys the fact that they are experiencing emotions unprecedented for them. Bathsheba's first view of Troy is a perfect example; after utter darkness, she sees a handsome man in scarlet and brass. The sword exercise is another; Bathsheba is overpowered by the sensory experience of having the blade surround her from all directions, nearly touching her. Notice that Sergeant Troy is repeatedly linked to a bright, burning color of scarlet. Bathsheba can spot his red uniform in the field with ease. Hardy's many different narrative strategies are also at work in this section. The first of these is his manipulation of the plot's pace. Boldwood has just extracted a promise from Bathsheba that he will have an answer to his proposal in six weeks. Then, Hardy immediately introduces Sergeant Troy. In each meeting, their intimacy increases noticeably: In the first, they are physically thrown together and entangled; in the second, he receives her permission to work on the farm and offers her his watch; in the third, she agrees to meet him, and in the fourth, they kiss. The speed of this growing intimacy contrasts strongly with the slow development of Bathsheba's relations with Boldwood, thus, commenting on the difference in chemistry between Bathsheba and each man. Another emerging pattern is Hardy's method of introducing important characters. First, he shows them to us in action: Gabriel sees Bathsheba in her carriage; Bathsheba hears Boldwood ride up to the farm; she meets Troy in the wood; Gabriel meets Fanny Robin in the wood. In each of these scenes, the characters with whom we are already familiar know nothing about the character they are encountering except what they see at the time. Later, the omniscient narrator comes in and gives us background assessments of Boldwood, Bathsheba, Fanny, and Troy, in which we are given generalizations about their character and their approach to life. Finally, then, we come to see the characters at their truest, deepest level by watching how they are transformed by the events in the novel. Notice that the reader has much more room for interpretation when we first meet these characters in action. We have to decide what we think based on the clues Hardy gives us; later, then, we see whether these initial interpretations are borne out. Chapter 26, Bathsheba's conversation with Troy in the field, is an extreme example of deliberate narrative strategizing. The chapter consists almost wholly of dialogue, almost entirely lacking any narrative commentary or even description. We hear Troy's words, knowing him to be dishonest, and then we hear how Bathsheba responds to them; the narrator withholds his own speculations, putting almost all of the interpretive power in the hands of the reader. We experience the scene as Bathsheba does; however, because we have prior information--in addition to an objectivity she lacks--we know she misreads Troy's remarks, falling too quickly for his charming surface. This narrative situation creates in the reader a tense feeling of frustration as we watch Bathsheba enter Troy's trap.

shmoop

all_chapterized_books/44747-chapters/14.txt

finished_summaries/shmoop/The Red and the Black/section_13_part_0.txt

The Red and the Black.part 1.chapter 14

part 1, chapter 14

{"name": "Part 1, Chapter 14", "url": "https://web.archive.org/web/20200920104425/https://www.shmoop.com/study-guides/literature/red-and-the-black/summary/part-1-chapter-14", "summary": "Julien stresses about his friend Fouqe's offer to become business partners. He feels tempted to give up his ambitions and become a semi-wealthy businessman. One day, he kisses Madame de Renal on the mouth. He and she both know it's reckless, and from that point on, Madame makes sure to have her kids around when she's with him. Julien keeps thinking of new ways to seduce Madame, but none of them come to fruition. One day, Julien tries playing footsies with Madame in front of distinguished company. She disguises his move by dropping some scissors and making the touching look like an accident. Afterward, she orders Julien to be more careful around people. Julien goes to visit his old friend, Father Chelan. It looks like the old priest has finally been forced out of office. He's packing to leave.", "analysis": ""}

CHAPTER XIV THE ENGLISH SCISSORS A young girl of sixteen had a pink complexion, and yet used red rouge.--_Polidori_. Fouque's offer had, as a matter of fact, taken away all Julien's happiness; he could not make up his mind to any definite course. "Alas! perhaps I am lacking in character. I should have been a bad soldier of Napoleon. At least," he added, "my little intrigue with the mistress of the house will distract me a little." Happily for him, even in this little subordinate incident, his inner emotions quite failed to correspond with his flippant words. He was frightened of Madame de Renal because of her pretty dress. In his eyes, that dress was a vanguard of Paris. His pride refused to leave anything to chance and the inspiration of the moment. He made himself a very minute plan of campaign, moulded on the confidences of Fouque, and a little that he had read about love in the Bible. As he was very nervous, though he did not admit it to himself, he wrote down this plan. Madame de Renal was alone with him for a moment in the drawing-room on the following morning. "Have you no other name except Julien," she said. Our hero was at a loss to answer so nattering a question. This circumstance had not been anticipated in his plan. If he had not been stupid enough to have made a plan, Julien's quick wit would have served him well, and the surprise would only have intensified the quickness of his perception. He was clumsy, and exaggerated his clumsiness, Madame de Renal quickly forgave him. She attributed it to a charming frankness. And an air of frankness was the very thing which in her view was just lacking in this man who was acknowledged to have so much genius. "That little tutor of yours inspires me with a great deal of suspicion," said Madame Derville to her sometimes. "I think he looks as if he were always thinking, and he never acts without calculation. He is a sly fox." Julien remained profoundly humiliated by the misfortune of not having known what answer to make to Madame de Renal. "A man like I am ought to make up for this check!" and seizing the moment when they were passing from one room to another, he thought it was his duty to give Madame de Renal a kiss. Nothing could have been less tactful, nothing less agreeable, and nothing more imprudent both for him and for her. They were within an inch of being noticed. Madame de Renal thought him mad. She was frightened, and above all, shocked. This stupidity reminded her of M. Valenod. "What would happen to me," she said to herself, "if I were alone with him?" All her virtue returned, because her love was waning. She so arranged it that one of her children always remained with her. Julien found the day very tedious, and passed it entirely in clumsily putting into operation his plan of seduction. He did not look at Madame de Renal on a single occasion without that look having a reason, but nevertheless he was not sufficiently stupid to fail to see that he was not succeeding at all in being amiable, and was succeeding even less in being fascinating. Madame de Renal did not recover from her astonishment at finding him so awkward and at the same time so bold. "It is the timidity of love in men of intellect," she said to herself with an inexpressible joy. "Could it be possible that he had never been loved by my rival?" After breakfast Madame de Renal went back to the drawing-room to receive the visit of M. Charcot de Maugiron, the sub-prefect of Bray. She was working at a little frame of fancy-work some distance from the ground. Madame Derville was at her side; that was how she was placed when our hero thought it suitable to advance his boot in the full light and press the pretty foot of Madame de Renal, whose open-work stockings, and pretty Paris shoe were evidently attracting the looks of the gallant sub-prefect. Madame de Renal was very much afraid, and let fall her scissors, her ball of wool and her needles, so that Julien's movement could be passed for a clumsy effort, intended to prevent the fall of the scissors, which presumably he had seen slide. Fortunately, these little scissors of English steel were broken, and Madame de Renal did not spare her regrets that Julien had not succeeded in getting nearer to her. "You noticed them falling before I did--you could have prevented it, instead, all your zealousness only succeeding in giving me a very big kick." All this took in the sub-perfect, but not Madame Derville. "That pretty boy has very silly manners," she thought. The social code of a provincial capital never forgives this kind of lapse. Madame de Renal found an opportunity of saying to Julien, "Be prudent, I order you." Julien appreciated his own clumsiness. He was upset. He deliberated with himself for a long time, in order to ascertain whether or not he ought to be angry at the expression "I order you." He was silly enough to think she might have said "I order you," if it were some question concerning the children's education, but in answering my love she puts me on an equality. It is impossible to love without equality ... and all his mind ran riot in making common-places on equality. He angrily repeated to himself that verse of Corneille which Madame Derville had taught him some days before. "L'amour les egalites, et ne les cherche pas." Julien who had never had a mistress in his whole life, but yet insisted on playing the role of a Don Juan, made a shocking fool of himself all day. He had only one sensible idea. Bored with himself and Madame de Renal, he viewed with apprehension the advance of the evening when he would have to sit by her side in the darkness of the garden. He told M. de Renal that he was going to Verrieres to see the cure. He left after dinner, and only came back in the night. At Verrieres Julien found M. Chelan occupied in moving. He had just been deprived of his living; the curate Maslon was replacing him. Julien helped the good cure, and it occurred to him to write to Fouque that the irresistible mission which he felt for the holy ministry had previously prevented him from accepting his kind offer, but that he had just seen an instance of injustice, and that perhaps it would be safer not to enter into Holy Orders. Julien congratulated himself on his subtlety in exploiting the dismissal of the cure of Verrieres so as to leave himself a loop-hole for returning to commerce in the event of a gloomy prudence routing the spirit of heroism from his mind.

Part 1, Chapter 14

https://web.archive.org/web/20200920104425/https://www.shmoop.com/study-guides/literature/red-and-the-black/summary/part-1-chapter-14

Julien stresses about his friend Fouqe's offer to become business partners. He feels tempted to give up his ambitions and become a semi-wealthy businessman. One day, he kisses Madame de Renal on the mouth. He and she both know it's reckless, and from that point on, Madame makes sure to have her kids around when she's with him. Julien keeps thinking of new ways to seduce Madame, but none of them come to fruition. One day, Julien tries playing footsies with Madame in front of distinguished company. She disguises his move by dropping some scissors and making the touching look like an accident. Afterward, she orders Julien to be more careful around people. Julien goes to visit his old friend, Father Chelan. It looks like the old priest has finally been forced out of office. He's packing to leave.

cliffnotes

all_chapterized_books/161-chapters/38.txt

finished_summaries/cliffnotes/Sense and Sensibility/section_26_part_0.txt

Sense and Sensibility.chapter 38

chapter 38

{"name": "Chapter 38", "url": "https://web.archive.org/web/20201101060302/https://www.cliffsnotes.com/literature/s/sense-and-sensibility/summary-and-analysis/chapter-38", "summary": "Marianne continued to grieve over her dear sister's pain and over her own lack of control in the face of Elinor's fortitude. For several days, nothing more was heard about Edward and Lucy. The third day was \"so fine, so beautiful a Sunday as to draw many to Kensington Gardens.\" There Elinor met Anne Steele, who by eavesdropping on their conversation was able to tell her that Edward finally came to see Lucy and offered to release her from their engagement: \"But, to be sure, Lucy would not give ear to such kind of talking.\" Edward had decided to enter the Church and could not marry until he found a living. Elinor related this to Mrs. Jennings, who said, \"Wait for a living! Aye, we all know how that will end; they will wait for a twelvemonth, and finding no good comes of it, will set down upon a curacy of fifty pounds a year.\" Later, Elinor received a letter from Lucy confirming this information and hinting that she would appreciate any assistance people would give her.", "analysis": "This chapter affords an excellent example of the author's skill in depicting character and personality through dialogue. All of Anne Steele's vulgarity, lack of education, and weakness of character are revealed in her lengthy monologue. She is coy about \"the doctor's\" preference for her, which seems to exist wholly in her mind. She is completely mercenary in her constant talk of money and Edward's lack of it. She is wholly without reticence, even explaining how she listened at the door when Edward and Lucy were talking together in the drawing room. In complete contrast, Elinor, in her brief and discreet replies, shows her good breeding. She is naturally curious to know what has gone on between Edward and Lucy, but she does not ply Anne with questions, and she is genuinely horrified at hearing of Anne's eavesdropping: \"I certainly would not have suffered you to give me particulars of a conversation which you ought not to have known yourself.\""}

Mrs. Jennings was very warm in her praise of Edward's conduct, but only Elinor and Marianne understood its true merit. THEY only knew how little he had had to tempt him to be disobedient, and how small was the consolation, beyond the consciousness of doing right, that could remain to him in the loss of friends and fortune. Elinor gloried in his integrity; and Marianne forgave all his offences in compassion for his punishment. But though confidence between them was, by this public discovery, restored to its proper state, it was not a subject on which either of them were fond of dwelling when alone. Elinor avoided it upon principle, as tending to fix still more upon her thoughts, by the too warm, too positive assurances of Marianne, that belief of Edward's continued affection for herself which she rather wished to do away; and Marianne's courage soon failed her, in trying to converse upon a topic which always left her more dissatisfied with herself than ever, by the comparison it necessarily produced between Elinor's conduct and her own. She felt all the force of that comparison; but not as her sister had hoped, to urge her to exertion now; she felt it with all the pain of continual self-reproach, regretted most bitterly that she had never exerted herself before; but it brought only the torture of penitence, without the hope of amendment. Her mind was so much weakened that she still fancied present exertion impossible, and therefore it only dispirited her more. Nothing new was heard by them, for a day or two afterwards, of affairs in Harley Street, or Bartlett's Buildings. But though so much of the matter was known to them already, that Mrs. Jennings might have had enough to do in spreading that knowledge farther, without seeking after more, she had resolved from the first to pay a visit of comfort and inquiry to her cousins as soon as she could; and nothing but the hindrance of more visitors than usual, had prevented her going to them within that time. The third day succeeding their knowledge of the particulars, was so fine, so beautiful a Sunday as to draw many to Kensington Gardens, though it was only the second week in March. Mrs. Jennings and Elinor were of the number; but Marianne, who knew that the Willoughbys were again in town, and had a constant dread of meeting them, chose rather to stay at home, than venture into so public a place. An intimate acquaintance of Mrs. Jennings joined them soon after they entered the Gardens, and Elinor was not sorry that by her continuing with them, and engaging all Mrs. Jennings's conversation, she was herself left to quiet reflection. She saw nothing of the Willoughbys, nothing of Edward, and for some time nothing of anybody who could by any chance whether grave or gay, be interesting to her. But at last she found herself with some surprise, accosted by Miss Steele, who, though looking rather shy, expressed great satisfaction in meeting them, and on receiving encouragement from the particular kindness of Mrs. Jennings, left her own party for a short time, to join their's. Mrs. Jennings immediately whispered to Elinor, "Get it all out of her, my dear. She will tell you any thing if you ask. You see I cannot leave Mrs. Clarke." It was lucky, however, for Mrs. Jennings's curiosity and Elinor's too, that she would tell any thing WITHOUT being asked; for nothing would otherwise have been learnt. "I am so glad to meet you;" said Miss Steele, taking her familiarly by the arm--"for I wanted to see you of all things in the world." And then lowering her voice, "I suppose Mrs. Jennings has heard all about it. Is she angry?" "Not at all, I believe, with you." "That is a good thing. And Lady Middleton, is SHE angry?" "I cannot suppose it possible that she should be." "I am monstrous glad of it. Good gracious! I have had such a time of it! I never saw Lucy in such a rage in my life. She vowed at first she would never trim me up a new bonnet, nor do any thing else for me again, so long as she lived; but now she is quite come to, and we are as good friends as ever. Look, she made me this bow to my hat, and put in the feather last night. There now, YOU are going to laugh at me too. But why should not I wear pink ribbons? I do not care if it IS the Doctor's favourite colour. I am sure, for my part, I should never have known he DID like it better than any other colour, if he had not happened to say so. My cousins have been so plaguing me! I declare sometimes I do not know which way to look before them." She had wandered away to a subject on which Elinor had nothing to say, and therefore soon judged it expedient to find her way back again to the first. "Well, but Miss Dashwood," speaking triumphantly, "people may say what they chuse about Mr. Ferrars's declaring he would not have Lucy, for it is no such thing I can tell you; and it is quite a shame for such ill-natured reports to be spread abroad. Whatever Lucy might think about it herself, you know, it was no business of other people to set it down for certain." "I never heard any thing of the kind hinted at before, I assure you," said Elinor. "Oh, did not you? But it WAS said, I know, very well, and by more than one; for Miss Godby told Miss Sparks, that nobody in their senses could expect Mr. Ferrars to give up a woman like Miss Morton, with thirty thousand pounds to her fortune, for Lucy Steele that had nothing at all; and I had it from Miss Sparks myself. And besides that, my cousin Richard said himself, that when it came to the point he was afraid Mr. Ferrars would be off; and when Edward did not come near us for three days, I could not tell what to think myself; and I believe in my heart Lucy gave it up all for lost; for we came away from your brother's Wednesday, and we saw nothing of him not all Thursday, Friday, and Saturday, and did not know what was become of him. Once Lucy thought to write to him, but then her spirits rose against that. However this morning he came just as we came home from church; and then it all came out, how he had been sent for Wednesday to Harley Street, and been talked to by his mother and all of them, and how he had declared before them all that he loved nobody but Lucy, and nobody but Lucy would he have. And how he had been so worried by what passed, that as soon as he had went away from his mother's house, he had got upon his horse, and rid into the country, some where or other; and how he had stayed about at an inn all Thursday and Friday, on purpose to get the better of it. And after thinking it all over and over again, he said, it seemed to him as if, now he had no fortune, and no nothing at all, it would be quite unkind to keep her on to the engagement, because it must be for her loss, for he had nothing but two thousand pounds, and no hope of any thing else; and if he was to go into orders, as he had some thoughts, he could get nothing but a curacy, and how was they to live upon that?--He could not bear to think of her doing no better, and so he begged, if she had the least mind for it, to put an end to the matter directly, and leave him shift for himself. I heard him say all this as plain as could possibly be. And it was entirely for HER sake, and upon HER account, that he said a word about being off, and not upon his own. I will take my oath he never dropt a syllable of being tired of her, or of wishing to marry Miss Morton, or any thing like it. But, to be sure, Lucy would not give ear to such kind of talking; so she told him directly (with a great deal about sweet and love, you know, and all that--Oh, la! one can't repeat such kind of things you know)--she told him directly, she had not the least mind in the world to be off, for she could live with him upon a trifle, and how little so ever he might have, she should be very glad to have it all, you know, or something of the kind. So then he was monstrous happy, and talked on some time about what they should do, and they agreed he should take orders directly, and they must wait to be married till he got a living. And just then I could not hear any more, for my cousin called from below to tell me Mrs. Richardson was come in her coach, and would take one of us to Kensington Gardens; so I was forced to go into the room and interrupt them, to ask Lucy if she would like to go, but she did not care to leave Edward; so I just run up stairs and put on a pair of silk stockings and came off with the Richardsons." "I do not understand what you mean by interrupting them," said Elinor; "you were all in the same room together, were not you?" "No, indeed, not us. La! Miss Dashwood, do you think people make love when any body else is by? Oh, for shame!--To be sure you must know better than that. (Laughing affectedly.)--No, no; they were shut up in the drawing-room together, and all I heard was only by listening at the door." "How!" cried Elinor; "have you been repeating to me what you only learnt yourself by listening at the door? I am sorry I did not know it before; for I certainly would not have suffered you to give me particulars of a conversation which you ought not to have known yourself. How could you behave so unfairly by your sister?" "Oh, la! there is nothing in THAT. I only stood at the door, and heard what I could. And I am sure Lucy would have done just the same by me; for a year or two back, when Martha Sharpe and I had so many secrets together, she never made any bones of hiding in a closet, or behind a chimney-board, on purpose to hear what we said." Elinor tried to talk of something else; but Miss Steele could not be kept beyond a couple of minutes, from what was uppermost in her mind. "Edward talks of going to Oxford soon," said she; "but now he is lodging at No. --, Pall Mall. What an ill-natured woman his mother is, an't she? And your brother and sister were not very kind! However, I shan't say anything against them to YOU; and to be sure they did send us home in their own chariot, which was more than I looked for. And for my part, I was all in a fright for fear your sister should ask us for the huswifes she had gave us a day or two before; but, however, nothing was said about them, and I took care to keep mine out of sight. Edward have got some business at Oxford, he says; so he must go there for a time; and after THAT, as soon as he can light upon a Bishop, he will be ordained. I wonder what curacy he will get!--Good gracious! (giggling as she spoke) I'd lay my life I know what my cousins will say, when they hear of it. They will tell me I should write to the Doctor, to get Edward the curacy of his new living. I know they will; but I am sure I would not do such a thing for all the world.-- 'La!' I shall say directly, 'I wonder how you could think of such a thing? I write to the Doctor, indeed!'" "Well," said Elinor, "it is a comfort to be prepared against the worst. You have got your answer ready." Miss Steele was going to reply on the same subject, but the approach of her own party made another more necessary. "Oh, la! here come the Richardsons. I had a vast deal more to say to you, but I must not stay away from them not any longer. I assure you they are very genteel people. He makes a monstrous deal of money, and they keep their own coach. I have not time to speak to Mrs. Jennings about it myself, but pray tell her I am quite happy to hear she is not in anger against us, and Lady Middleton the same; and if anything should happen to take you and your sister away, and Mrs. Jennings should want company, I am sure we should be very glad to come and stay with her for as long a time as she likes. I suppose Lady Middleton won't ask us any more this bout. Good-by; I am sorry Miss Marianne was not here. Remember me kindly to her. La! if you have not got your spotted muslin on!--I wonder you was not afraid of its being torn." Such was her parting concern; for after this, she had time only to pay her farewell compliments to Mrs. Jennings, before her company was claimed by Mrs. Richardson; and Elinor was left in possession of knowledge which might feed her powers of reflection some time, though she had learnt very little more than what had been already foreseen and foreplanned in her own mind. Edward's marriage with Lucy was as firmly determined on, and the time of its taking place remained as absolutely uncertain, as she had concluded it would be;--every thing depended, exactly after her expectation, on his getting that preferment, of which, at present, there seemed not the smallest chance. As soon as they returned to the carriage, Mrs. Jennings was eager for information; but as Elinor wished to spread as little as possible intelligence that had in the first place been so unfairly obtained, she confined herself to the brief repetition of such simple particulars, as she felt assured that Lucy, for the sake of her own consequence, would choose to have known. The continuance of their engagement, and the means that were able to be taken for promoting its end, was all her communication; and this produced from Mrs. Jennings the following natural remark. "Wait for his having a living!--ay, we all know how THAT will end:--they will wait a twelvemonth, and finding no good comes of it, will set down upon a curacy of fifty pounds a-year, with the interest of his two thousand pounds, and what little matter Mr. Steele and Mr. Pratt can give her.--Then they will have a child every year! and Lord help 'em! how poor they will be!--I must see what I can give them towards furnishing their house. Two maids and two men, indeed!--as I talked of t'other day.--No, no, they must get a stout girl of all works.-- Betty's sister would never do for them NOW." The next morning brought Elinor a letter by the two-penny post from Lucy herself. It was as follows: "Bartlett's Building, March. "I hope my dear Miss Dashwood will excuse the liberty I take of writing to her; but I know your friendship for me will make you pleased to hear such a good account of myself and my dear Edward, after all the troubles we have went through lately, therefore will make no more apologies, but proceed to say that, thank God! though we have suffered dreadfully, we are both quite well now, and as happy as we must always be in one another's love. We have had great trials, and great persecutions, but however, at the same time, gratefully acknowledge many friends, yourself not the least among them, whose great kindness I shall always thankfully remember, as will Edward too, who I have told of it. I am sure you will be glad to hear, as likewise dear Mrs. Jennings, I spent two happy hours with him yesterday afternoon, he would not hear of our parting, though earnestly did I, as I thought my duty required, urge him to it for prudence sake, and would have parted for ever on the spot, would he consent to it; but he said it should never be, he did not regard his mother's anger, while he could have my affections; our prospects are not very bright, to be sure, but we must wait, and hope for the best; he will be ordained shortly; and should it ever be in your power to recommend him to any body that has a living to bestow, am very sure you will not forget us, and dear Mrs. Jennings too, trust she will speak a good word for us to Sir John, or Mr. Palmer, or any friend that may be able to assist us.--Poor Anne was much to blame for what she did, but she did it for the best, so I say nothing; hope Mrs. Jennings won't think it too much trouble to give us a call, should she come this way any morning, 'twould be a great kindness, and my cousins would be proud to know her.--My paper reminds me to conclude; and begging to be most gratefully and respectfully remembered to her, and to Sir John, and Lady Middleton, and the dear children, when you chance to see them, and love to Miss Marianne, "I am, &c." As soon as Elinor had finished it, she performed what she concluded to be its writer's real design, by placing it in the hands of Mrs. Jennings, who read it aloud with many comments of satisfaction and praise. "Very well indeed!--how prettily she writes!--aye, that was quite proper to let him be off if he would. That was just like Lucy.--Poor soul! I wish I COULD get him a living, with all my heart.--She calls me dear Mrs. Jennings, you see. She is a good-hearted girl as ever lived.--Very well upon my word. That sentence is very prettily turned. Yes, yes, I will go and see her, sure enough. How attentive she is, to think of every body!--Thank you, my dear, for shewing it me. It is as pretty a letter as ever I saw, and does Lucy's head and heart great credit."

Chapter 38

https://web.archive.org/web/20201101060302/https://www.cliffsnotes.com/literature/s/sense-and-sensibility/summary-and-analysis/chapter-38

Marianne continued to grieve over her dear sister's pain and over her own lack of control in the face of Elinor's fortitude. For several days, nothing more was heard about Edward and Lucy. The third day was "so fine, so beautiful a Sunday as to draw many to Kensington Gardens." There Elinor met Anne Steele, who by eavesdropping on their conversation was able to tell her that Edward finally came to see Lucy and offered to release her from their engagement: "But, to be sure, Lucy would not give ear to such kind of talking." Edward had decided to enter the Church and could not marry until he found a living. Elinor related this to Mrs. Jennings, who said, "Wait for a living! Aye, we all know how that will end; they will wait for a twelvemonth, and finding no good comes of it, will set down upon a curacy of fifty pounds a year." Later, Elinor received a letter from Lucy confirming this information and hinting that she would appreciate any assistance people would give her.

This chapter affords an excellent example of the author's skill in depicting character and personality through dialogue. All of Anne Steele's vulgarity, lack of education, and weakness of character are revealed in her lengthy monologue. She is coy about "the doctor's" preference for her, which seems to exist wholly in her mind. She is completely mercenary in her constant talk of money and Edward's lack of it. She is wholly without reticence, even explaining how she listened at the door when Edward and Lucy were talking together in the drawing room. In complete contrast, Elinor, in her brief and discreet replies, shows her good breeding. She is naturally curious to know what has gone on between Edward and Lucy, but she does not ply Anne with questions, and she is genuinely horrified at hearing of Anne's eavesdropping: "I certainly would not have suffered you to give me particulars of a conversation which you ought not to have known yourself."

pinkmonkey

all_chapterized_books/110-chapters/06.txt

finished_summaries/pinkmonkey/Tess of the D'Urbervilles/section_1_part_3.txt

Tess of the D'Urbervilles.chapter 6

chapter 6

{"name": "CHAPTER 6", "url": "https://web.archive.org/web/20180820050202/http://www.pinkmonkey.com/booknotes/monkeynotes/pmTessD14.asp", "summary": "On her way home, Tess takes a van. She becomes the center of attraction with her flowers and berries. When she arrives home, she finds that a letter has already come from Mrs. D'Urberville, offering her a job. Surprised by the quickness of the offer, she is a bit suspicious of it, especially since the handwriting in the letter is very masculine in appearance. As an alternative to this offer of tending fowls for the D'Urbervilles, Tess looks for a job in Marlott and finds there is nothing available. As a result, she decides to go to Trantridge so she can earn enough money to pay for a new horse.", "analysis": "Notes Enthralled with Tess, Alec does not waste time in making her an offer of employment in Trantridge. He sends a letter to her about the job and signs it as his mother. Tess feels uneasy about the offer, but the rest of her family rejoices at the good news. They are all delighted that Tess has favorably impressed their wealthy kinsfolk and believes that Tess's employment will relieve them of their impoverishment. A naive Joan foresees a wedding between Alec and her daughter; but passion, not marriage is on Alec's mind"}

Tess went down the hill to Trantridge Cross, and inattentively waited to take her seat in the van returning from Chaseborough to Shaston. She did not know what the other occupants said to her as she entered, though she answered them; and when they had started anew she rode along with an inward and not an outward eye. One among her fellow-travellers addressed her more pointedly than any had spoken before: "Why, you be quite a posy! And such roses in early June!" Then she became aware of the spectacle she presented to their surprised vision: roses at her breasts; roses in her hat; roses and strawberries in her basket to the brim. She blushed, and said confusedly that the flowers had been given to her. When the passengers were not looking she stealthily removed the more prominent blooms from her hat and placed them in the basket, where she covered them with her handkerchief. Then she fell to reflecting again, and in looking downwards a thorn of the rose remaining in her breast accidentally pricked her chin. Like all the cottagers in Blackmoor Vale, Tess was steeped in fancies and prefigurative superstitions; she thought this an ill omen--the first she had noticed that day. The van travelled only so far as Shaston, and there were several miles of pedestrian descent from that mountain-town into the vale to Marlott. Her mother had advised her to stay here for the night, at the house of a cottage-woman they knew, if she should feel too tired to come on; and this Tess did, not descending to her home till the following afternoon. When she entered the house she perceived in a moment from her mother's triumphant manner that something had occurred in the interim. "Oh yes; I know all about it! I told 'ee it would be all right, and now 'tis proved!" "Since I've been away? What has?" said Tess rather wearily. Her mother surveyed the girl up and down with arch approval, and went on banteringly: "So you've brought 'em round!" "How do you know, mother?" "I've had a letter." Tess then remembered that there would have been time for this. "They say--Mrs d'Urberville says--that she wants you to look after a little fowl-farm which is her hobby. But this is only her artful way of getting 'ee there without raising your hopes. She's going to own 'ee as kin--that's the meaning o't." "But I didn't see her." "You zid somebody, I suppose?" "I saw her son." "And did he own 'ee?" "Well--he called me Coz." "An' I knew it! Jacky--he called her Coz!" cried Joan to her husband. "Well, he spoke to his mother, of course, and she do want 'ee there." "But I don't know that I am apt at tending fowls," said the dubious Tess. "Then I don't know who is apt. You've be'n born in the business, and brought up in it. They that be born in a business always know more about it than any 'prentice. Besides, that's only just a show of something for you to do, that you midn't feel beholden." "I don't altogether think I ought to go," said Tess thoughtfully. "Who wrote the letter? Will you let me look at it?" "Mrs d'Urberville wrote it. Here it is." The letter was in the third person, and briefly informed Mrs Durbeyfield that her daughter's services would be useful to that lady in the management of her poultry-farm, that a comfortable room would be provided for her if she could come, and that the wages would be on a liberal scale if they liked her. "Oh--that's all!" said Tess. "You couldn't expect her to throw her arms round 'ee, an' to kiss and to coll 'ee all at once." Tess looked out of the window. "I would rather stay here with father and you," she said. "But why?" "I'd rather not tell you why, mother; indeed, I don't quite know why." A week afterwards she came in one evening from an unavailing search for some light occupation in the immediate neighbourhood. Her idea had been to get together sufficient money during the summer to purchase another horse. Hardly had she crossed the threshold before one of the children danced across the room, saying, "The gentleman's been here!" Her mother hastened to explain, smiles breaking from every inch of her person. Mrs d'Urberville's son had called on horseback, having been riding by chance in the direction of Marlott. He had wished to know, finally, in the name of his mother, if Tess could really come to manage the old lady's fowl-farm or not; the lad who had hitherto superintended the birds having proved untrustworthy. "Mr d'Urberville says you must be a good girl if you are at all as you appear; he knows you must be worth your weight in gold. He is very much interested in 'ee--truth to tell." Tess seemed for the moment really pleased to hear that she had won such high opinion from a stranger when, in her own esteem, she had sunk so low. "It is very good of him to think that," she murmured; "and if I was quite sure how it would be living there, I would go any-when." "He is a mighty handsome man!" "I don't think so," said Tess coldly. "Well, there's your chance, whether or no; and I'm sure he wears a beautiful diamond ring!" "Yes," said little Abraham, brightly, from the window-bench; "and I seed it! and it did twinkle when he put his hand up to his mistarshers. Mother, why did our grand relation keep on putting his hand up to his mistarshers?" "Hark at that child!" cried Mrs Durbeyfield, with parenthetic admiration. "Perhaps to show his diamond ring," murmured Sir John, dreamily, from his chair. "I'll think it over," said Tess, leaving the room. "Well, she's made a conquest o' the younger branch of us, straight off," continued the matron to her husband, "and she's a fool if she don't follow it up." "I don't quite like my children going away from home," said the haggler. "As the head of the family, the rest ought to come to me." "But do let her go, Jacky," coaxed his poor witless wife. "He's struck wi' her--you can see that. He called her Coz! He'll marry her, most likely, and make a lady of her; and then she'll be what her forefathers was." John Durbeyfield had more conceit than energy or health, and this supposition was pleasant to him. "Well, perhaps that's what young Mr d'Urberville means," he admitted; "and sure enough he mid have serious thoughts about improving his blood by linking on to the old line. Tess, the little rogue! And have she really paid 'em a visit to such an end as this?" Meanwhile Tess was walking thoughtfully among the gooseberry-bushes in the garden, and over Prince's grave. When she came in her mother pursued her advantage. "Well, what be you going to do?" she asked. "I wish I had seen Mrs d'Urberville," said Tess. "I think you mid as well settle it. Then you'll see her soon enough." Her father coughed in his chair. "I don't know what to say!" answered the girl restlessly. "It is for you to decide. I killed the old horse, and I suppose I ought to do something to get ye a new one. But--but--I don't quite like Mr d'Urberville being there!" The children, who had made use of this idea of Tess being taken up by their wealthy kinsfolk (which they imagined the other family to be) as a species of dolorifuge after the death of the horse, began to cry at Tess's reluctance, and teased and reproached her for hesitating. "Tess won't go-o-o and be made a la-a-dy of!--no, she says she wo-o-on't!" they wailed, with square mouths. "And we shan't have a nice new horse, and lots o' golden money to buy fairlings! And Tess won't look pretty in her best cloze no mo-o-ore!" Her mother chimed in to the same tune: a certain way she had of making her labours in the house seem heavier than they were by prolonging them indefinitely, also weighed in the argument. Her father alone preserved an attitude of neutrality. "I will go," said Tess at last. Her mother could not repress her consciousness of the nuptial vision conjured up by the girl's consent. "That's right! For such a pretty maid as 'tis, this is a fine chance!" Tess smiled crossly. "I hope it is a chance for earning money. It is no other kind of chance. You had better say nothing of that silly sort about parish." Mrs Durbeyfield did not promise. She was not quite sure that she did not feel proud enough, after the visitor's remarks, to say a good deal. Thus it was arranged; and the young girl wrote, agreeing to be ready to set out on any day on which she might be required. She was duly informed that Mrs d'Urberville was glad of her decision, and that a spring-cart should be sent to meet her and her luggage at the top of the Vale on the day after the morrow, when she must hold herself prepared to start. Mrs d'Urberville's handwriting seemed rather masculine. "A cart?" murmured Joan Durbeyfield doubtingly. "It might have been a carriage for her own kin!" Having at last taken her course Tess was less restless and abstracted, going about her business with some self-assurance in the thought of acquiring another horse for her father by an occupation which would not be onerous. She had hoped to be a teacher at the school, but the fates seemed to decide otherwise. Being mentally older than her mother she did not regard Mrs Durbeyfield's matrimonial hopes for her in a serious aspect for a moment. The light-minded woman had been discovering good matches for her daughter almost from the year of her birth.

CHAPTER 6

https://web.archive.org/web/20180820050202/http://www.pinkmonkey.com/booknotes/monkeynotes/pmTessD14.asp

On her way home, Tess takes a van. She becomes the center of attraction with her flowers and berries. When she arrives home, she finds that a letter has already come from Mrs. D'Urberville, offering her a job. Surprised by the quickness of the offer, she is a bit suspicious of it, especially since the handwriting in the letter is very masculine in appearance. As an alternative to this offer of tending fowls for the D'Urbervilles, Tess looks for a job in Marlott and finds there is nothing available. As a result, she decides to go to Trantridge so she can earn enough money to pay for a new horse.

Notes Enthralled with Tess, Alec does not waste time in making her an offer of employment in Trantridge. He sends a letter to her about the job and signs it as his mother. Tess feels uneasy about the offer, but the rest of her family rejoices at the good news. They are all delighted that Tess has favorably impressed their wealthy kinsfolk and believes that Tess's employment will relieve them of their impoverishment. A naive Joan foresees a wedding between Alec and her daughter; but passion, not marriage is on Alec's mind

sparknotes

all_chapterized_books/174-chapters/04.txt

finished_summaries/sparknotes/The Picture of Dorian Gray/section_1_part_2.txt

The Picture of Dorian Gray.chapter 4

chapter 4

{"name": "Chapter 4", "url": "https://web.archive.org/web/20210228142327/https://www.sparknotes.com/lit/doriangray/section2/", "summary": "One month later, while waiting in Lord Henry's home for his host to arrive, Dorian discusses music with Lord Henry's wife, Victoria. When Lord Henry arrives, Dorian rushes to him, eager to share the news that he has fallen in love. The girl, he reports, is Sibyl Vane, an actress who plays Shakespeare's heroines in repertoire in a cheap London theater. Dorian admits to discovering her while wandering through the slums: inspired by Lord Henry's advice to \"know everything about life,\" he had entered a playhouse. Despite the tawdriness of the locale and his disdain for the theater owner, Dorian decided that the star, Sibyl Vane, was the finest actress he had ever seen. After several trips to the theater, the owner insisted that Dorian meet Ms. Vane, who, awed by the attentions of such a handsome gentleman, declared that she would refer to him as \"Prince Charming. Lord Henry, amused by this development, agrees to accompany Dorian to see Sibyl Vane play the lead in Romeo and Juliet the following night. Basil is to join them, and Dorian remarks that Basil sent him his portrait, framed, a few days earlier. After Dorian leaves, Lord Henry muses on his influence over the young man, reflecting on how fascinating the psychology of another human being can be. He then dresses and goes out to dinner. He comes home late that night and finds a telegram from Dorian waiting for him. It states that he is engaged to be married to Sibyl Vane", "analysis": "The Picture of Dorian Gray is a curious mixture of different genres. It displays Wilde's incomparable talent for social comedy and satire, even as it veers toward the formula for Gothic literature. Gothic fiction, which was tremendously popular in the late eighteenth and early nineteenth centuries, focused on tales of romance, cruelty, and horror. By the end of the nineteenth century, the formula had changed considerably, but these basic tenets remained intact. Dorian's mysterious and melodramatic heritage alludes to conventions of the Gothic novel: his wicked grandfather, his parents' cursed elopement, his father's murder, and his mother's early death represent a type of moody romance popular among Gothic authors. As the critic Donald Lawler points out, Dorian's ancestry is identical to that of the main characters in three of Wilde's short stories. The first two chapters of the novel show Lord Henry's powers of seduction, but in Chapters Three and Four Lord Henry himself is seduced. Strictly speaking, it is not a person who draws Lord Henry in, but the possibility of having a profound effect on a person, namely Dorian: \"there was something terribly enthralling in the exercise of influence.\" To project his soul onto Dorian and seize his spirit just as Dorian has seized Basil's imagination becomes Lord Henry's greatest desire. In Lord Henry's mind, life and art are not only connected but interchangeable. By molding Dorian into \"a marvellous type\" of boy, Lord Henry believes that he is countering the effects of \"an age so limited and vulgar\" as his own. He imagines that he will take his place among such masters as the great Italian artist Michelangelo, with whom he shares the imperative to create something of beauty. The fact that Lord Henry considers the life of another human being a viable medium for artistic expression indicates \"he new manner in art\" that Wilde so tirelessly advocated. Indeed, many readers might find Lord Henry heartless, given his willingness to watch Dorian's development with practically no thought of consequence. After all, Dorian's beauty is all that matters to him, and \"t was no matter how it all ended, or was destined to end.\" This behavior merely links Lord Henry to the tenets of aestheticism, whereby beauty is of primary importance, and vice and virtue--as Wilde states in the novel's preface--are nothing more than \"materials for an art.\" If the opening chapters position the three main characters in a triangular relationship, wherein Lord Henry and Basil vie for Dorian's soul and affections, Lord Henry quickly wins at the end of Chapter Three. In Dorian's declaration that he will miss his appointment with Basil in order to hear Lord Henry speak, we see that Lord Henry's hopes to dominate and influence the young man have more or less been fulfilled. Dorian gives his affections over largely because of Lord Henry's conversational skill; he asks Lord Henry to \"promise to talk to me all the time.\" Indeed, Lord Henry is a great talker, a wonderful philosopher of \"the new Hedonism,\" but, unlike Dorian, he acts on nothing that would damage his respectable reputation or life."}

One afternoon, a month later, Dorian Gray was reclining in a luxurious arm-chair, in the little library of Lord Henry's house in Mayfair. It was, in its way, a very charming room, with its high panelled wainscoting of olive-stained oak, its cream-coloured frieze and ceiling of raised plasterwork, and its brickdust felt carpet strewn with silk, long-fringed Persian rugs. On a tiny satinwood table stood a statuette by Clodion, and beside it lay a copy of Les Cent Nouvelles, bound for Margaret of Valois by Clovis Eve and powdered with the gilt daisies that Queen had selected for her device. Some large blue china jars and parrot-tulips were ranged on the mantelshelf, and through the small leaded panes of the window streamed the apricot-coloured light of a summer day in London. Lord Henry had not yet come in. He was always late on principle, his principle being that punctuality is the thief of time. So the lad was looking rather sulky, as with listless fingers he turned over the pages of an elaborately illustrated edition of Manon Lescaut that he had found in one of the book-cases. The formal monotonous ticking of the Louis Quatorze clock annoyed him. Once or twice he thought of going away. At last he heard a step outside, and the door opened. "How late you are, Harry!" he murmured. "I am afraid it is not Harry, Mr. Gray," answered a shrill voice. He glanced quickly round and rose to his feet. "I beg your pardon. I thought--" "You thought it was my husband. It is only his wife. You must let me introduce myself. I know you quite well by your photographs. I think my husband has got seventeen of them." "Not seventeen, Lady Henry?" "Well, eighteen, then. And I saw you with him the other night at the opera." She laughed nervously as she spoke, and watched him with her vague forget-me-not eyes. She was a curious woman, whose dresses always looked as if they had been designed in a rage and put on in a tempest. She was usually in love with somebody, and, as her passion was never returned, she had kept all her illusions. She tried to look picturesque, but only succeeded in being untidy. Her name was Victoria, and she had a perfect mania for going to church. "That was at Lohengrin, Lady Henry, I think?" "Yes; it was at dear Lohengrin. I like Wagner's music better than anybody's. It is so loud that one can talk the whole time without other people hearing what one says. That is a great advantage, don't you think so, Mr. Gray?" The same nervous staccato laugh broke from her thin lips, and her fingers began to play with a long tortoise-shell paper-knife. Dorian smiled and shook his head: "I am afraid I don't think so, Lady Henry. I never talk during music--at least, during good music. If one hears bad music, it is one's duty to drown it in conversation." "Ah! that is one of Harry's views, isn't it, Mr. Gray? I always hear Harry's views from his friends. It is the only way I get to know of them. But you must not think I don't like good music. I adore it, but I am afraid of it. It makes me too romantic. I have simply worshipped pianists--two at a time, sometimes, Harry tells me. I don't know what it is about them. Perhaps it is that they are foreigners. They all are, ain't they? Even those that are born in England become foreigners after a time, don't they? It is so clever of them, and such a compliment to art. Makes it quite cosmopolitan, doesn't it? You have never been to any of my parties, have you, Mr. Gray? You must come. I can't afford orchids, but I spare no expense in foreigners. They make one's rooms look so picturesque. But here is Harry! Harry, I came in to look for you, to ask you something--I forget what it was--and I found Mr. Gray here. We have had such a pleasant chat about music. We have quite the same ideas. No; I think our ideas are quite different. But he has been most pleasant. I am so glad I've seen him." "I am charmed, my love, quite charmed," said Lord Henry, elevating his dark, crescent-shaped eyebrows and looking at them both with an amused smile. "So sorry I am late, Dorian. I went to look after a piece of old brocade in Wardour Street and had to bargain for hours for it. Nowadays people know the price of everything and the value of nothing." "I am afraid I must be going," exclaimed Lady Henry, breaking an awkward silence with her silly sudden laugh. "I have promised to drive with the duchess. Good-bye, Mr. Gray. Good-bye, Harry. You are dining out, I suppose? So am I. Perhaps I shall see you at Lady Thornbury's." "I dare say, my dear," said Lord Henry, shutting the door behind her as, looking like a bird of paradise that had been out all night in the rain, she flitted out of the room, leaving a faint odour of frangipanni. Then he lit a cigarette and flung himself down on the sofa. "Never marry a woman with straw-coloured hair, Dorian," he said after a few puffs. "Why, Harry?" "Because they are so sentimental." "But I like sentimental people." "Never marry at all, Dorian. Men marry because they are tired; women, because they are curious: both are disappointed." "I don't think I am likely to marry, Harry. I am too much in love. That is one of your aphorisms. I am putting it into practice, as I do everything that you say." "Who are you in love with?" asked Lord Henry after a pause. "With an actress," said Dorian Gray, blushing. Lord Henry shrugged his shoulders. "That is a rather commonplace _debut_." "You would not say so if you saw her, Harry." "Who is she?" "Her name is Sibyl Vane." "Never heard of her." "No one has. People will some day, however. She is a genius." "My dear boy, no woman is a genius. Women are a decorative sex. They never have anything to say, but they say it charmingly. Women represent the triumph of matter over mind, just as men represent the triumph of mind over morals." "Harry, how can you?" "My dear Dorian, it is quite true. I am analysing women at present, so I ought to know. The subject is not so abstruse as I thought it was. I find that, ultimately, there are only two kinds of women, the plain and the coloured. The plain women are very useful. If you want to gain a reputation for respectability, you have merely to take them down to supper. The other women are very charming. They commit one mistake, however. They paint in order to try and look young. Our grandmothers painted in order to try and talk brilliantly. _Rouge_ and _esprit_ used to go together. That is all over now. As long as a woman can look ten years younger than her own daughter, she is perfectly satisfied. As for conversation, there are only five women in London worth talking to, and two of these can't be admitted into decent society. However, tell me about your genius. How long have you known her?" "Ah! Harry, your views terrify me." "Never mind that. How long have you known her?" "About three weeks." "And where did you come across her?" "I will tell you, Harry, but you mustn't be unsympathetic about it. After all, it never would have happened if I had not met you. You filled me with a wild desire to know everything about life. For days after I met you, something seemed to throb in my veins. As I lounged in the park, or strolled down Piccadilly, I used to look at every one who passed me and wonder, with a mad curiosity, what sort of lives they led. Some of them fascinated me. Others filled me with terror. There was an exquisite poison in the air. I had a passion for sensations.... Well, one evening about seven o'clock, I determined to go out in search of some adventure. I felt that this grey monstrous London of ours, with its myriads of people, its sordid sinners, and its splendid sins, as you once phrased it, must have something in store for me. I fancied a thousand things. The mere danger gave me a sense of delight. I remembered what you had said to me on that wonderful evening when we first dined together, about the search for beauty being the real secret of life. I don't know what I expected, but I went out and wandered eastward, soon losing my way in a labyrinth of grimy streets and black grassless squares. About half-past eight I passed by an absurd little theatre, with great flaring gas-jets and gaudy play-bills. A hideous Jew, in the most amazing waistcoat I ever beheld in my life, was standing at the entrance, smoking a vile cigar. He had greasy ringlets, and an enormous diamond blazed in the centre of a soiled shirt. 'Have a box, my Lord?' he said, when he saw me, and he took off his hat with an air of gorgeous servility. There was something about him, Harry, that amused me. He was such a monster. You will laugh at me, I know, but I really went in and paid a whole guinea for the stage-box. To the present day I can't make out why I did so; and yet if I hadn't--my dear Harry, if I hadn't--I should have missed the greatest romance of my life. I see you are laughing. It is horrid of you!" "I am not laughing, Dorian; at least I am not laughing at you. But you should not say the greatest romance of your life. You should say the first romance of your life. You will always be loved, and you will always be in love with love. A _grande passion_ is the privilege of people who have nothing to do. That is the one use of the idle classes of a country. Don't be afraid. There are exquisite things in store for you. This is merely the beginning." "Do you think my nature so shallow?" cried Dorian Gray angrily. "No; I think your nature so deep." "How do you mean?" "My dear boy, the people who love only once in their lives are really the shallow people. What they call their loyalty, and their fidelity, I call either the lethargy of custom or their lack of imagination. Faithfulness is to the emotional life what consistency is to the life of the intellect--simply a confession of failure. Faithfulness! I must analyse it some day. The passion for property is in it. There are many things that we would throw away if we were not afraid that others might pick them up. But I don't want to interrupt you. Go on with your story." "Well, I found myself seated in a horrid little private box, with a vulgar drop-scene staring me in the face. I looked out from behind the curtain and surveyed the house. It was a tawdry affair, all Cupids and cornucopias, like a third-rate wedding-cake. The gallery and pit were fairly full, but the two rows of dingy stalls were quite empty, and there was hardly a person in what I suppose they called the dress-circle. Women went about with oranges and ginger-beer, and there was a terrible consumption of nuts going on." "It must have been just like the palmy days of the British drama." "Just like, I should fancy, and very depressing. I began to wonder what on earth I should do when I caught sight of the play-bill. What do you think the play was, Harry?" "I should think 'The Idiot Boy', or 'Dumb but Innocent'. Our fathers used to like that sort of piece, I believe. The longer I live, Dorian, the more keenly I feel that whatever was good enough for our fathers is not good enough for us. In art, as in politics, _les grandperes ont toujours tort_." "This play was good enough for us, Harry. It was Romeo and Juliet. I must admit that I was rather annoyed at the idea of seeing Shakespeare done in such a wretched hole of a place. Still, I felt interested, in a sort of way. At any rate, I determined to wait for the first act. There was a dreadful orchestra, presided over by a young Hebrew who sat at a cracked piano, that nearly drove me away, but at last the drop-scene was drawn up and the play began. Romeo was a stout elderly gentleman, with corked eyebrows, a husky tragedy voice, and a figure like a beer-barrel. Mercutio was almost as bad. He was played by the low-comedian, who had introduced gags of his own and was on most friendly terms with the pit. They were both as grotesque as the scenery, and that looked as if it had come out of a country-booth. But Juliet! Harry, imagine a girl, hardly seventeen years of age, with a little, flowerlike face, a small Greek head with plaited coils of dark-brown hair, eyes that were violet wells of passion, lips that were like the petals of a rose. She was the loveliest thing I had ever seen in my life. You said to me once that pathos left you unmoved, but that beauty, mere beauty, could fill your eyes with tears. I tell you, Harry, I could hardly see this girl for the mist of tears that came across me. And her voice--I never heard such a voice. It was very low at first, with deep mellow notes that seemed to fall singly upon one's ear. Then it became a little louder, and sounded like a flute or a distant hautboy. In the garden-scene it had all the tremulous ecstasy that one hears just before dawn when nightingales are singing. There were moments, later on, when it had the wild passion of violins. You know how a voice can stir one. Your voice and the voice of Sibyl Vane are two things that I shall never forget. When I close my eyes, I hear them, and each of them says something different. I don't know which to follow. Why should I not love her? Harry, I do love her. She is everything to me in life. Night after night I go to see her play. One evening she is Rosalind, and the next evening she is Imogen. I have seen her die in the gloom of an Italian tomb, sucking the poison from her lover's lips. I have watched her wandering through the forest of Arden, disguised as a pretty boy in hose and doublet and dainty cap. She has been mad, and has come into the presence of a guilty king, and given him rue to wear and bitter herbs to taste of. She has been innocent, and the black hands of jealousy have crushed her reedlike throat. I have seen her in every age and in every costume. Ordinary women never appeal to one's imagination. They are limited to their century. No glamour ever transfigures them. One knows their minds as easily as one knows their bonnets. One can always find them. There is no mystery in any of them. They ride in the park in the morning and chatter at tea-parties in the afternoon. They have their stereotyped smile and their fashionable manner. They are quite obvious. But an actress! How different an actress is! Harry! why didn't you tell me that the only thing worth loving is an actress?" "Because I have loved so many of them, Dorian." "Oh, yes, horrid people with dyed hair and painted faces." "Don't run down dyed hair and painted faces. There is an extraordinary charm in them, sometimes," said Lord Henry. "I wish now I had not told you about Sibyl Vane." "You could not have helped telling me, Dorian. All through your life you will tell me everything you do." "Yes, Harry, I believe that is true. I cannot help telling you things. You have a curious influence over me. If I ever did a crime, I would come and confess it to you. You would understand me." "People like you--the wilful sunbeams of life--don't commit crimes, Dorian. But I am much obliged for the compliment, all the same. And now tell me--reach me the matches, like a good boy--thanks--what are your actual relations with Sibyl Vane?" Dorian Gray leaped to his feet, with flushed cheeks and burning eyes. "Harry! Sibyl Vane is sacred!" "It is only the sacred things that are worth touching, Dorian," said Lord Henry, with a strange touch of pathos in his voice. "But why should you be annoyed? I suppose she will belong to you some day. When one is in love, one always begins by deceiving one's self, and one always ends by deceiving others. That is what the world calls a romance. You know her, at any rate, I suppose?" "Of course I know her. On the first night I was at the theatre, the horrid old Jew came round to the box after the performance was over and offered to take me behind the scenes and introduce me to her. I was furious with him, and told him that Juliet had been dead for hundreds of years and that her body was lying in a marble tomb in Verona. I think, from his blank look of amazement, that he was under the impression that I had taken too much champagne, or something." "I am not surprised." "Then he asked me if I wrote for any of the newspapers. I told him I never even read them. He seemed terribly disappointed at that, and confided to me that all the dramatic critics were in a conspiracy against him, and that they were every one of them to be bought." "I should not wonder if he was quite right there. But, on the other hand, judging from their appearance, most of them cannot be at all expensive." "Well, he seemed to think they were beyond his means," laughed Dorian. "By this time, however, the lights were being put out in the theatre, and I had to go. He wanted me to try some cigars that he strongly recommended. I declined. The next night, of course, I arrived at the place again. When he saw me, he made me a low bow and assured me that I was a munificent patron of art. He was a most offensive brute, though he had an extraordinary passion for Shakespeare. He told me once, with an air of pride, that his five bankruptcies were entirely due to 'The Bard,' as he insisted on calling him. He seemed to think it a distinction." "It was a distinction, my dear Dorian--a great distinction. Most people become bankrupt through having invested too heavily in the prose of life. To have ruined one's self over poetry is an honour. But when did you first speak to Miss Sibyl Vane?" "The third night. She had been playing Rosalind. I could not help going round. I had thrown her some flowers, and she had looked at me--at least I fancied that she had. The old Jew was persistent. He seemed determined to take me behind, so I consented. It was curious my not wanting to know her, wasn't it?" "No; I don't think so." "My dear Harry, why?" "I will tell you some other time. Now I want to know about the girl." "Sibyl? Oh, she was so shy and so gentle. There is something of a child about her. Her eyes opened wide in exquisite wonder when I told her what I thought of her performance, and she seemed quite unconscious of her power. I think we were both rather nervous. The old Jew stood grinning at the doorway of the dusty greenroom, making elaborate speeches about us both, while we stood looking at each other like children. He would insist on calling me 'My Lord,' so I had to assure Sibyl that I was not anything of the kind. She said quite simply to me, 'You look more like a prince. I must call you Prince Charming.'" "Upon my word, Dorian, Miss Sibyl knows how to pay compliments." "You don't understand her, Harry. She regarded me merely as a person in a play. She knows nothing of life. She lives with her mother, a faded tired woman who played Lady Capulet in a sort of magenta dressing-wrapper on the first night, and looks as if she had seen better days." "I know that look. It depresses me," murmured Lord Henry, examining his rings. "The Jew wanted to tell me her history, but I said it did not interest me." "You were quite right. There is always something infinitely mean about other people's tragedies." "Sibyl is the only thing I care about. What is it to me where she came from? From her little head to her little feet, she is absolutely and entirely divine. Every night of my life I go to see her act, and every night she is more marvellous." "That is the reason, I suppose, that you never dine with me now. I thought you must have some curious romance on hand. You have; but it is not quite what I expected." "My dear Harry, we either lunch or sup together every day, and I have been to the opera with you several times," said Dorian, opening his blue eyes in wonder. "You always come dreadfully late." "Well, I can't help going to see Sibyl play," he cried, "even if it is only for a single act. I get hungry for her presence; and when I think of the wonderful soul that is hidden away in that little ivory body, I am filled with awe." "You can dine with me to-night, Dorian, can't you?" He shook his head. "To-night she is Imogen," he answered, "and to-morrow night she will be Juliet." "When is she Sibyl Vane?" "Never." "I congratulate you." "How horrid you are! She is all the great heroines of the world in one. She is more than an individual. You laugh, but I tell you she has genius. I love her, and I must make her love me. You, who know all the secrets of life, tell me how to charm Sibyl Vane to love me! I want to make Romeo jealous. I want the dead lovers of the world to hear our laughter and grow sad. I want a breath of our passion to stir their dust into consciousness, to wake their ashes into pain. My God, Harry, how I worship her!" He was walking up and down the room as he spoke. Hectic spots of red burned on his cheeks. He was terribly excited. Lord Henry watched him with a subtle sense of pleasure. How different he was now from the shy frightened boy he had met in Basil Hallward's studio! His nature had developed like a flower, had borne blossoms of scarlet flame. Out of its secret hiding-place had crept his soul, and desire had come to meet it on the way. "And what do you propose to do?" said Lord Henry at last. "I want you and Basil to come with me some night and see her act. I have not the slightest fear of the result. You are certain to acknowledge her genius. Then we must get her out of the Jew's hands. She is bound to him for three years--at least for two years and eight months--from the present time. I shall have to pay him something, of course. When all that is settled, I shall take a West End theatre and bring her out properly. She will make the world as mad as she has made me." "That would be impossible, my dear boy." "Yes, she will. She has not merely art, consummate art-instinct, in her, but she has personality also; and you have often told me that it is personalities, not principles, that move the age." "Well, what night shall we go?" "Let me see. To-day is Tuesday. Let us fix to-morrow. She plays Juliet to-morrow." "All right. The Bristol at eight o'clock; and I will get Basil." "Not eight, Harry, please. Half-past six. We must be there before the curtain rises. You must see her in the first act, where she meets Romeo." "Half-past six! What an hour! It will be like having a meat-tea, or reading an English novel. It must be seven. No gentleman dines before seven. Shall you see Basil between this and then? Or shall I write to him?" "Dear Basil! I have not laid eyes on him for a week. It is rather horrid of me, as he has sent me my portrait in the most wonderful frame, specially designed by himself, and, though I am a little jealous of the picture for being a whole month younger than I am, I must admit that I delight in it. Perhaps you had better write to him. I don't want to see him alone. He says things that annoy me. He gives me good advice." Lord Henry smiled. "People are very fond of giving away what they need most themselves. It is what I call the depth of generosity." "Oh, Basil is the best of fellows, but he seems to me to be just a bit of a Philistine. Since I have known you, Harry, I have discovered that." "Basil, my dear boy, puts everything that is charming in him into his work. The consequence is that he has nothing left for life but his prejudices, his principles, and his common sense. The only artists I have ever known who are personally delightful are bad artists. Good artists exist simply in what they make, and consequently are perfectly uninteresting in what they are. A great poet, a really great poet, is the most unpoetical of all creatures. But inferior poets are absolutely fascinating. The worse their rhymes are, the more picturesque they look. The mere fact of having published a book of second-rate sonnets makes a man quite irresistible. He lives the poetry that he cannot write. The others write the poetry that they dare not realize." "I wonder is that really so, Harry?" said Dorian Gray, putting some perfume on his handkerchief out of a large, gold-topped bottle that stood on the table. "It must be, if you say it. And now I am off. Imogen is waiting for me. Don't forget about to-morrow. Good-bye." As he left the room, Lord Henry's heavy eyelids drooped, and he began to think. Certainly few people had ever interested him so much as Dorian Gray, and yet the lad's mad adoration of some one else caused him not the slightest pang of annoyance or jealousy. He was pleased by it. It made him a more interesting study. He had been always enthralled by the methods of natural science, but the ordinary subject-matter of that science had seemed to him trivial and of no import. And so he had begun by vivisecting himself, as he had ended by vivisecting others. Human life--that appeared to him the one thing worth investigating. Compared to it there was nothing else of any value. It was true that as one watched life in its curious crucible of pain and pleasure, one could not wear over one's face a mask of glass, nor keep the sulphurous fumes from troubling the brain and making the imagination turbid with monstrous fancies and misshapen dreams. There were poisons so subtle that to know their properties one had to sicken of them. There were maladies so strange that one had to pass through them if one sought to understand their nature. And, yet, what a great reward one received! How wonderful the whole world became to one! To note the curious hard logic of passion, and the emotional coloured life of the intellect--to observe where they met, and where they separated, at what point they were in unison, and at what point they were at discord--there was a delight in that! What matter what the cost was? One could never pay too high a price for any sensation. He was conscious--and the thought brought a gleam of pleasure into his brown agate eyes--that it was through certain words of his, musical words said with musical utterance, that Dorian Gray's soul had turned to this white girl and bowed in worship before her. To a large extent the lad was his own creation. He had made him premature. That was something. Ordinary people waited till life disclosed to them its secrets, but to the few, to the elect, the mysteries of life were revealed before the veil was drawn away. Sometimes this was the effect of art, and chiefly of the art of literature, which dealt immediately with the passions and the intellect. But now and then a complex personality took the place and assumed the office of art, was indeed, in its way, a real work of art, life having its elaborate masterpieces, just as poetry has, or sculpture, or painting. Yes, the lad was premature. He was gathering his harvest while it was yet spring. The pulse and passion of youth were in him, but he was becoming self-conscious. It was delightful to watch him. With his beautiful face, and his beautiful soul, he was a thing to wonder at. It was no matter how it all ended, or was destined to end. He was like one of those gracious figures in a pageant or a play, whose joys seem to be remote from one, but whose sorrows stir one's sense of beauty, and whose wounds are like red roses. Soul and body, body and soul--how mysterious they were! There was animalism in the soul, and the body had its moments of spirituality. The senses could refine, and the intellect could degrade. Who could say where the fleshly impulse ceased, or the psychical impulse began? How shallow were the arbitrary definitions of ordinary psychologists! And yet how difficult to decide between the claims of the various schools! Was the soul a shadow seated in the house of sin? Or was the body really in the soul, as Giordano Bruno thought? The separation of spirit from matter was a mystery, and the union of spirit with matter was a mystery also. He began to wonder whether we could ever make psychology so absolute a science that each little spring of life would be revealed to us. As it was, we always misunderstood ourselves and rarely understood others. Experience was of no ethical value. It was merely the name men gave to their mistakes. Moralists had, as a rule, regarded it as a mode of warning, had claimed for it a certain ethical efficacy in the formation of character, had praised it as something that taught us what to follow and showed us what to avoid. But there was no motive power in experience. It was as little of an active cause as conscience itself. All that it really demonstrated was that our future would be the same as our past, and that the sin we had done once, and with loathing, we would do many times, and with joy. It was clear to him that the experimental method was the only method by which one could arrive at any scientific analysis of the passions; and certainly Dorian Gray was a subject made to his hand, and seemed to promise rich and fruitful results. His sudden mad love for Sibyl Vane was a psychological phenomenon of no small interest. There was no doubt that curiosity had much to do with it, curiosity and the desire for new experiences, yet it was not a simple, but rather a very complex passion. What there was in it of the purely sensuous instinct of boyhood had been transformed by the workings of the imagination, changed into something that seemed to the lad himself to be remote from sense, and was for that very reason all the more dangerous. It was the passions about whose origin we deceived ourselves that tyrannized most strongly over us. Our weakest motives were those of whose nature we were conscious. It often happened that when we thought we were experimenting on others we were really experimenting on ourselves. While Lord Henry sat dreaming on these things, a knock came to the door, and his valet entered and reminded him it was time to dress for dinner. He got up and looked out into the street. The sunset had smitten into scarlet gold the upper windows of the houses opposite. The panes glowed like plates of heated metal. The sky above was like a faded rose. He thought of his friend's young fiery-coloured life and wondered how it was all going to end. When he arrived home, about half-past twelve o'clock, he saw a telegram lying on the hall table. He opened it and found it was from Dorian Gray. It was to tell him that he was engaged to be married to Sibyl Vane.

Chapter 4

https://web.archive.org/web/20210228142327/https://www.sparknotes.com/lit/doriangray/section2/

One month later, while waiting in Lord Henry's home for his host to arrive, Dorian discusses music with Lord Henry's wife, Victoria. When Lord Henry arrives, Dorian rushes to him, eager to share the news that he has fallen in love. The girl, he reports, is Sibyl Vane, an actress who plays Shakespeare's heroines in repertoire in a cheap London theater. Dorian admits to discovering her while wandering through the slums: inspired by Lord Henry's advice to "know everything about life," he had entered a playhouse. Despite the tawdriness of the locale and his disdain for the theater owner, Dorian decided that the star, Sibyl Vane, was the finest actress he had ever seen. After several trips to the theater, the owner insisted that Dorian meet Ms. Vane, who, awed by the attentions of such a handsome gentleman, declared that she would refer to him as "Prince Charming. Lord Henry, amused by this development, agrees to accompany Dorian to see Sibyl Vane play the lead in Romeo and Juliet the following night. Basil is to join them, and Dorian remarks that Basil sent him his portrait, framed, a few days earlier. After Dorian leaves, Lord Henry muses on his influence over the young man, reflecting on how fascinating the psychology of another human being can be. He then dresses and goes out to dinner. He comes home late that night and finds a telegram from Dorian waiting for him. It states that he is engaged to be married to Sibyl Vane

The Picture of Dorian Gray is a curious mixture of different genres. It displays Wilde's incomparable talent for social comedy and satire, even as it veers toward the formula for Gothic literature. Gothic fiction, which was tremendously popular in the late eighteenth and early nineteenth centuries, focused on tales of romance, cruelty, and horror. By the end of the nineteenth century, the formula had changed considerably, but these basic tenets remained intact. Dorian's mysterious and melodramatic heritage alludes to conventions of the Gothic novel: his wicked grandfather, his parents' cursed elopement, his father's murder, and his mother's early death represent a type of moody romance popular among Gothic authors. As the critic Donald Lawler points out, Dorian's ancestry is identical to that of the main characters in three of Wilde's short stories. The first two chapters of the novel show Lord Henry's powers of seduction, but in Chapters Three and Four Lord Henry himself is seduced. Strictly speaking, it is not a person who draws Lord Henry in, but the possibility of having a profound effect on a person, namely Dorian: "there was something terribly enthralling in the exercise of influence." To project his soul onto Dorian and seize his spirit just as Dorian has seized Basil's imagination becomes Lord Henry's greatest desire. In Lord Henry's mind, life and art are not only connected but interchangeable. By molding Dorian into "a marvellous type" of boy, Lord Henry believes that he is countering the effects of "an age so limited and vulgar" as his own. He imagines that he will take his place among such masters as the great Italian artist Michelangelo, with whom he shares the imperative to create something of beauty. The fact that Lord Henry considers the life of another human being a viable medium for artistic expression indicates "he new manner in art" that Wilde so tirelessly advocated. Indeed, many readers might find Lord Henry heartless, given his willingness to watch Dorian's development with practically no thought of consequence. After all, Dorian's beauty is all that matters to him, and "t was no matter how it all ended, or was destined to end." This behavior merely links Lord Henry to the tenets of aestheticism, whereby beauty is of primary importance, and vice and virtue--as Wilde states in the novel's preface--are nothing more than "materials for an art." If the opening chapters position the three main characters in a triangular relationship, wherein Lord Henry and Basil vie for Dorian's soul and affections, Lord Henry quickly wins at the end of Chapter Three. In Dorian's declaration that he will miss his appointment with Basil in order to hear Lord Henry speak, we see that Lord Henry's hopes to dominate and influence the young man have more or less been fulfilled. Dorian gives his affections over largely because of Lord Henry's conversational skill; he asks Lord Henry to "promise to talk to me all the time." Indeed, Lord Henry is a great talker, a wonderful philosopher of "the new Hedonism," but, unlike Dorian, he acts on nothing that would damage his respectable reputation or life.

shmoop

all_chapterized_books/28054-chapters/70.txt

finished_summaries/shmoop/The Brothers Karamazov/section_69_part_0.txt

The Brothers Karamazov.book 11.chapter 1

book 11, chapter 1

{"name": "Book 11, Chapter 1", "url": "https://web.archive.org/web/20201023112808/https://www.shmoop.com/study-guides/literature/brothers-karamazov/summary/book-11-chapter-1", "summary": "Alyosha heads off to visit Grushenka, who is in quite a state. After Mitya's arrest, Grushenka was sick for almost five weeks. Now, two months later, she's doing better, although she's lost some weight. Incidentally, she has let the old man Maximov stay on with her out of charity, and he entertains her with funny stories. We learn that the trial is the next day. Grushenka has just returned from a visit to Mitya, where they had a terrible argument over Grushenka's former Polish lover. It seems that now the Poles are living in incredible poverty, and Grushenka sends them small sums of money from time to time out of pity. Right before she went to visit Mitya that day, she had stopped by the Poles', where her former lover had tried to seduce her with music. Grushenka thought it was funny; Mitya did not. Grushenka has her own cause for jealousy. She believes Mitya is back in love with Katerina, who's hired a fancy Moscow doctor to diagnose Mitya as insane. The thinking here is that since the whole town thinks Mitya is guilty, it might be better to argue that he's insane. Ivan, to Alyosha's surprise, has also visited Dmitri, who has told Grushenka that he and Ivan have a secret. Alyosha promises to find out their secret for Grushenka, and leaves.", "analysis": ""}

Book XI. Ivan Chapter I. At Grushenka's Alyosha went towards the cathedral square to the widow Morozov's house to see Grushenka, who had sent Fenya to him early in the morning with an urgent message begging him to come. Questioning Fenya, Alyosha learned that her mistress had been particularly distressed since the previous day. During the two months that had passed since Mitya's arrest, Alyosha had called frequently at the widow Morozov's house, both from his own inclination and to take messages for Mitya. Three days after Mitya's arrest, Grushenka was taken very ill and was ill for nearly five weeks. For one whole week she was unconscious. She was very much changed--thinner and a little sallow, though she had for the past fortnight been well enough to go out. But to Alyosha her face was even more attractive than before, and he liked to meet her eyes when he went in to her. A look of firmness and intelligent purpose had developed in her face. There were signs of a spiritual transformation in her, and a steadfast, fine and humble determination that nothing could shake could be discerned in her. There was a small vertical line between her brows which gave her charming face a look of concentrated thought, almost austere at the first glance. There was scarcely a trace of her former frivolity. It seemed strange to Alyosha, too, that in spite of the calamity that had overtaken the poor girl, betrothed to a man who had been arrested for a terrible crime, almost at the instant of their betrothal, in spite of her illness and the almost inevitable sentence hanging over Mitya, Grushenka had not yet lost her youthful cheerfulness. There was a soft light in the once proud eyes, though at times they gleamed with the old vindictive fire when she was visited by one disturbing thought stronger than ever in her heart. The object of that uneasiness was the same as ever--Katerina Ivanovna, of whom Grushenka had even raved when she lay in delirium. Alyosha knew that she was fearfully jealous of her. Yet Katerina Ivanovna had not once visited Mitya in his prison, though she might have done it whenever she liked. All this made a difficult problem for Alyosha, for he was the only person to whom Grushenka opened her heart and from whom she was continually asking advice. Sometimes he was unable to say anything. Full of anxiety he entered her lodging. She was at home. She had returned from seeing Mitya half an hour before, and from the rapid movement with which she leapt up from her chair to meet him he saw that she had been expecting him with great impatience. A pack of cards dealt for a game of "fools" lay on the table. A bed had been made up on the leather sofa on the other side and Maximov lay, half-reclining, on it. He wore a dressing- gown and a cotton nightcap, and was evidently ill and weak, though he was smiling blissfully. When the homeless old man returned with Grushenka from Mokroe two months before, he had simply stayed on and was still staying with her. He arrived with her in rain and sleet, sat down on the sofa, drenched and scared, and gazed mutely at her with a timid, appealing smile. Grushenka, who was in terrible grief and in the first stage of fever, almost forgot his existence in all she had to do the first half- hour after her arrival. Suddenly she chanced to look at him intently: he laughed a pitiful, helpless little laugh. She called Fenya and told her to give him something to eat. All that day he sat in the same place, almost without stirring. When it got dark and the shutters were closed, Fenya asked her mistress: "Is the gentleman going to stay the night, mistress?" "Yes; make him a bed on the sofa," answered Grushenka. Questioning him more in detail, Grushenka learned from him that he had literally nowhere to go, and that "Mr. Kalganov, my benefactor, told me straight that he wouldn't receive me again and gave me five roubles." "Well, God bless you, you'd better stay, then," Grushenka decided in her grief, smiling compassionately at him. Her smile wrung the old man's heart and his lips twitched with grateful tears. And so the destitute wanderer had stayed with her ever since. He did not leave the house even when she was ill. Fenya and her grandmother, the cook, did not turn him out, but went on serving him meals and making up his bed on the sofa. Grushenka had grown used to him, and coming back from seeing Mitya (whom she had begun to visit in prison before she was really well) she would sit down and begin talking to "Maximushka" about trifling matters, to keep her from thinking of her sorrow. The old man turned out to be a good story-teller on occasions, so that at last he became necessary to her. Grushenka saw scarcely any one else beside Alyosha, who did not come every day and never stayed long. Her old merchant lay seriously ill at this time, "at his last gasp" as they said in the town, and he did, in fact, die a week after Mitya's trial. Three weeks before his death, feeling the end approaching, he made his sons, their wives and children, come upstairs to him at last and bade them not leave him again. From that moment he gave strict orders to his servants not to admit Grushenka and to tell her if she came, "The master wishes you long life and happiness and tells you to forget him." But Grushenka sent almost every day to inquire after him. "You've come at last!" she cried, flinging down the cards and joyfully greeting Alyosha, "and Maximushka's been scaring me that perhaps you wouldn't come. Ah, how I need you! Sit down to the table. What will you have--coffee?" "Yes, please," said Alyosha, sitting down at the table. "I am very hungry." "That's right. Fenya, Fenya, coffee," cried Grushenka. "It's been made a long time ready for you. And bring some little pies, and mind they are hot. Do you know, we've had a storm over those pies to-day. I took them to the prison for him, and would you believe it, he threw them back to me: he would not eat them. He flung one of them on the floor and stamped on it. So I said to him: 'I shall leave them with the warder; if you don't eat them before evening, it will be that your venomous spite is enough for you!' With that I went away. We quarreled again, would you believe it? Whenever I go we quarrel." Grushenka said all this in one breath in her agitation. Maximov, feeling nervous, at once smiled and looked on the floor. "What did you quarrel about this time?" asked Alyosha. "I didn't expect it in the least. Only fancy, he is jealous of the Pole. 'Why are you keeping him?' he said. 'So you've begun keeping him.' He is jealous, jealous of me all the time, jealous eating and sleeping! He even took it into his head to be jealous of Kuzma last week." "But he knew about the Pole before?" "Yes, but there it is. He has known about him from the very beginning, but to-day he suddenly got up and began scolding about him. I am ashamed to repeat what he said. Silly fellow! Rakitin went in as I came out. Perhaps Rakitin is egging him on. What do you think?" she added carelessly. "He loves you, that's what it is: he loves you so much. And now he is particularly worried." "I should think he might be, with the trial to-morrow. And I went to him to say something about to-morrow, for I dread to think what's going to happen then. You say that he is worried, but how worried I am! And he talks about the Pole! He's too silly! He is not jealous of Maximushka yet, anyway." "My wife was dreadfully jealous over me, too," Maximov put in his word. "Jealous of you?" Grushenka laughed in spite of herself. "Of whom could she have been jealous?" "Of the servant girls." "Hold your tongue, Maximushka, I am in no laughing mood now; I feel angry. Don't ogle the pies. I shan't give you any; they are not good for you, and I won't give you any vodka either. I have to look after him, too, just as though I kept an almshouse," she laughed. "I don't deserve your kindness. I am a worthless creature," said Maximov, with tears in his voice. "You would do better to spend your kindness on people of more use than me." "Ech, every one is of use, Maximushka, and how can we tell who's of most use? If only that Pole didn't exist, Alyosha. He's taken it into his head to fall ill, too, to-day. I've been to see him also. And I shall send him some pies, too, on purpose. I hadn't sent him any, but Mitya accused me of it, so now I shall send some! Ah, here's Fenya with a letter! Yes, it's from the Poles--begging again!" Pan Mussyalovitch had indeed sent an extremely long and characteristically eloquent letter in which he begged her to lend him three roubles. In the letter was enclosed a receipt for the sum, with a promise to repay it within three months, signed by Pan Vrublevsky as well. Grushenka had received many such letters, accompanied by such receipts, from her former lover during the fortnight of her convalescence. But she knew that the two Poles had been to ask after her health during her illness. The first letter Grushenka got from them was a long one, written on large notepaper and with a big family crest on the seal. It was so obscure and rhetorical that Grushenka put it down before she had read half, unable to make head or tail of it. She could not attend to letters then. The first letter was followed next day by another in which Pan Mussyalovitch begged her for a loan of two thousand roubles for a very short period. Grushenka left that letter, too, unanswered. A whole series of letters had followed--one every day--all as pompous and rhetorical, but the loan asked for, gradually diminishing, dropped to a hundred roubles, then to twenty-five, to ten, and finally Grushenka received a letter in which both the Poles begged her for only one rouble and included a receipt signed by both. Then Grushenka suddenly felt sorry for them, and at dusk she went round herself to their lodging. She found the two Poles in great poverty, almost destitution, without food or fuel, without cigarettes, in debt to their landlady. The two hundred roubles they had carried off from Mitya at Mokroe had soon disappeared. But Grushenka was surprised at their meeting her with arrogant dignity and self-assertion, with the greatest punctilio and pompous speeches. Grushenka simply laughed, and gave her former admirer ten roubles. Then, laughing, she told Mitya of it and he was not in the least jealous. But ever since, the Poles had attached themselves to Grushenka and bombarded her daily with requests for money and she had always sent them small sums. And now that day Mitya had taken it into his head to be fearfully jealous. "Like a fool, I went round to him just for a minute, on the way to see Mitya, for he is ill, too, my Pole," Grushenka began again with nervous haste. "I was laughing, telling Mitya about it. 'Fancy,' I said, 'my Pole had the happy thought to sing his old songs to me to the guitar. He thought I would be touched and marry him!' Mitya leapt up swearing.... So, there, I'll send them the pies! Fenya, is it that little girl they've sent? Here, give her three roubles and pack a dozen pies up in a paper and tell her to take them. And you, Alyosha, be sure to tell Mitya that I did send them the pies." "I wouldn't tell him for anything," said Alyosha, smiling. "Ech! You think he is unhappy about it. Why, he's jealous on purpose. He doesn't care," said Grushenka bitterly. "On purpose?" queried Alyosha. "I tell you you are silly, Alyosha. You know nothing about it, with all your cleverness. I am not offended that he is jealous of a girl like me. I would be offended if he were not jealous. I am like that. I am not offended at jealousy. I have a fierce heart, too. I can be jealous myself. Only what offends me is that he doesn't love me at all. I tell you he is jealous now _on purpose_. Am I blind? Don't I see? He began talking to me just now of that woman, of Katerina, saying she was this and that, how she had ordered a doctor from Moscow for him, to try and save him; how she had ordered the best counsel, the most learned one, too. So he loves her, if he'll praise her to my face, more shame to him! He's treated me badly himself, so he attacked me, to make out I am in fault first and to throw it all on me. 'You were with your Pole before me, so I can't be blamed for Katerina,' that's what it amounts to. He wants to throw the whole blame on me. He attacked me on purpose, on purpose, I tell you, but I'll--" Grushenka could not finish saying what she would do. She hid her eyes in her handkerchief and sobbed violently. "He doesn't love Katerina Ivanovna," said Alyosha firmly. "Well, whether he loves her or not, I'll soon find out for myself," said Grushenka, with a menacing note in her voice, taking the handkerchief from her eyes. Her face was distorted. Alyosha saw sorrowfully that from being mild and serene, it had become sullen and spiteful. "Enough of this foolishness," she said suddenly; "it's not for that I sent for you. Alyosha, darling, to-morrow--what will happen to-morrow? That's what worries me! And it's only me it worries! I look at every one and no one is thinking of it. No one cares about it. Are you thinking about it even? To-morrow he'll be tried, you know. Tell me, how will he be tried? You know it's the valet, the valet killed him! Good heavens! Can they condemn him in place of the valet and will no one stand up for him? They haven't troubled the valet at all, have they?" "He's been severely cross-examined," observed Alyosha thoughtfully; "but every one came to the conclusion it was not he. Now he is lying very ill. He has been ill ever since that attack. Really ill," added Alyosha. "Oh, dear! couldn't you go to that counsel yourself and tell him the whole thing by yourself? He's been brought from Petersburg for three thousand roubles, they say." "We gave these three thousand together--Ivan, Katerina Ivanovna and I--but she paid two thousand for the doctor from Moscow herself. The counsel Fetyukovitch would have charged more, but the case has become known all over Russia; it's talked of in all the papers and journals. Fetyukovitch agreed to come more for the glory of the thing, because the case has become so notorious. I saw him yesterday." "Well? Did you talk to him?" Grushenka put in eagerly. "He listened and said nothing. He told me that he had already formed his opinion. But he promised to give my words consideration." "Consideration! Ah, they are swindlers! They'll ruin him. And why did she send for the doctor?" "As an expert. They want to prove that Mitya's mad and committed the murder when he didn't know what he was doing"; Alyosha smiled gently; "but Mitya won't agree to that." "Yes; but that would be the truth if he had killed him!" cried Grushenka. "He was mad then, perfectly mad, and that was my fault, wretch that I am! But, of course, he didn't do it, he didn't do it! And they are all against him, the whole town. Even Fenya's evidence went to prove he had done it. And the people at the shop, and that official, and at the tavern, too, before, people had heard him say so! They are all, all against him, all crying out against him." "Yes, there's a fearful accumulation of evidence," Alyosha observed grimly. "And Grigory--Grigory Vassilyevitch--sticks to his story that the door was open, persists that he saw it--there's no shaking him. I went and talked to him myself. He's rude about it, too." "Yes, that's perhaps the strongest evidence against him," said Alyosha. "And as for Mitya's being mad, he certainly seems like it now," Grushenka began with a peculiarly anxious and mysterious air. "Do you know, Alyosha, I've been wanting to talk to you about it for a long time. I go to him every day and simply wonder at him. Tell me, now, what do you suppose he's always talking about? He talks and talks and I can make nothing of it. I fancied he was talking of something intellectual that I couldn't understand in my foolishness. Only he suddenly began talking to me about a babe--that is, about some child. 'Why is the babe poor?' he said. 'It's for that babe I am going to Siberia now. I am not a murderer, but I must go to Siberia!' What that meant, what babe, I couldn't tell for the life of me. Only I cried when he said it, because he said it so nicely. He cried himself, and I cried, too. He suddenly kissed me and made the sign of the cross over me. What did it mean, Alyosha, tell me? What is this babe?" "It must be Rakitin, who's been going to see him lately," smiled Alyosha, "though ... that's not Rakitin's doing. I didn't see Mitya yesterday. I'll see him to-day." "No, it's not Rakitin; it's his brother Ivan Fyodorovitch upsetting him. It's his going to see him, that's what it is," Grushenka began, and suddenly broke off. Alyosha gazed at her in amazement. "Ivan's going? Has he been to see him? Mitya told me himself that Ivan hasn't been once." "There ... there! What a girl I am! Blurting things out!" exclaimed Grushenka, confused and suddenly blushing. "Stay, Alyosha, hush! Since I've said so much I'll tell the whole truth--he's been to see him twice, the first directly he arrived. He galloped here from Moscow at once, of course, before I was taken ill; and the second time was a week ago. He told Mitya not to tell you about it, under any circumstances; and not to tell any one, in fact. He came secretly." Alyosha sat plunged in thought, considering something. The news evidently impressed him. "Ivan doesn't talk to me of Mitya's case," he said slowly. "He's said very little to me these last two months. And whenever I go to see him, he seems vexed at my coming, so I've not been to him for the last three weeks. H'm!... if he was there a week ago ... there certainly has been a change in Mitya this week." "There has been a change," Grushenka assented quickly. "They have a secret, they have a secret! Mitya told me himself there was a secret, and such a secret that Mitya can't rest. Before then, he was cheerful--and, indeed, he is cheerful now--but when he shakes his head like that, you know, and strides about the room and keeps pulling at the hair on his right temple with his right hand, I know there is something on his mind worrying him.... I know! He was cheerful before, though, indeed, he is cheerful to-day." "But you said he was worried." "Yes, he is worried and yet cheerful. He keeps on being irritable for a minute and then cheerful and then irritable again. And you know, Alyosha, I am constantly wondering at him--with this awful thing hanging over him, he sometimes laughs at such trifles as though he were a baby himself." "And did he really tell you not to tell me about Ivan? Did he say, 'Don't tell him'?" "Yes, he told me, 'Don't tell him.' It's you that Mitya's most afraid of. Because it's a secret: he said himself it was a secret. Alyosha, darling, go to him and find out what their secret is and come and tell me," Grushenka besought him with sudden eagerness. "Set my mind at rest that I may know the worst that's in store for me. That's why I sent for you." "You think it's something to do with you? If it were, he wouldn't have told you there was a secret." "I don't know. Perhaps he wants to tell me, but doesn't dare to. He warns me. There is a secret, he tells me, but he won't tell me what it is." "What do you think yourself?" "What do I think? It's the end for me, that's what I think. They all three have been plotting my end, for Katerina's in it. It's all Katerina, it all comes from her. She is this and that, and that means that I am not. He tells me that beforehand--warns me. He is planning to throw me over, that's the whole secret. They've planned it together, the three of them--Mitya, Katerina, and Ivan Fyodorovitch. Alyosha, I've been wanting to ask you a long time. A week ago he suddenly told me that Ivan was in love with Katerina, because he often goes to see her. Did he tell me the truth or not? Tell me, on your conscience, tell me the worst." "I won't tell you a lie. Ivan is not in love with Katerina Ivanovna, I think." "Oh, that's what I thought! He is lying to me, shameless deceiver, that's what it is! And he was jealous of me just now, so as to put the blame on me afterwards. He is stupid, he can't disguise what he is doing; he is so open, you know.... But I'll give it to him, I'll give it to him! 'You believe I did it,' he said. He said that to me, to me. He reproached me with that! God forgive him! You wait, I'll make it hot for Katerina at the trial! I'll just say a word then ... I'll tell everything then!" And again she cried bitterly. "This I can tell you for certain, Grushenka," Alyosha said, getting up. "First, that he loves you, loves you more than any one in the world, and you only, believe me. I know. I do know. The second thing is that I don't want to worm his secret out of him, but if he'll tell me of himself to- day, I shall tell him straight out that I have promised to tell you. Then I'll come to you to-day, and tell you. Only ... I fancy ... Katerina Ivanovna has nothing to do with it, and that the secret is about something else. That's certain. It isn't likely it's about Katerina Ivanovna, it seems to me. Good-by for now." Alyosha shook hands with her. Grushenka was still crying. He saw that she put little faith in his consolation, but she was better for having had her sorrow out, for having spoken of it. He was sorry to leave her in such a state of mind, but he was in haste. He had a great many things to do still.

Book 11, Chapter 1

https://web.archive.org/web/20201023112808/https://www.shmoop.com/study-guides/literature/brothers-karamazov/summary/book-11-chapter-1

Alyosha heads off to visit Grushenka, who is in quite a state. After Mitya's arrest, Grushenka was sick for almost five weeks. Now, two months later, she's doing better, although she's lost some weight. Incidentally, she has let the old man Maximov stay on with her out of charity, and he entertains her with funny stories. We learn that the trial is the next day. Grushenka has just returned from a visit to Mitya, where they had a terrible argument over Grushenka's former Polish lover. It seems that now the Poles are living in incredible poverty, and Grushenka sends them small sums of money from time to time out of pity. Right before she went to visit Mitya that day, she had stopped by the Poles', where her former lover had tried to seduce her with music. Grushenka thought it was funny; Mitya did not. Grushenka has her own cause for jealousy. She believes Mitya is back in love with Katerina, who's hired a fancy Moscow doctor to diagnose Mitya as insane. The thinking here is that since the whole town thinks Mitya is guilty, it might be better to argue that he's insane. Ivan, to Alyosha's surprise, has also visited Dmitri, who has told Grushenka that he and Ivan have a secret. Alyosha promises to find out their secret for Grushenka, and leaves.