BRITLIT UNIT 3

For, the people who were shovelling away on the housetops were jovial and full of glee; calling out to one another from the parapets, and now and then exchanging a facetious snowball—better-natured missile far than many a wordy jest—laughing heartily if it went right and not less heartily if it went wrong. The poulterers' shops were still half open, and the fruiterers' were radiant in their glory. There were great, round, pot-bellied baskets of chestnuts, shaped like the waistcoats of jolly old gentlemen, lolling at the doors, and tumbling out into the street in their apoplectic opulence. There were ruddy, brown-faced, broad-girthed Spanish Onions, shining in the fatness of their growth like Spanish Friars, and winking from their shelves in wanton slyness at the girls as they went by, and glanced demurely at the hung-up mistletoe. There were pears and apples, clustered high in blooming pyramids; there were bunches of grapes, made, in the shopkeepers' benevolence to dangle from conspicuous hooks, that people's mouths might water gratis as they passed; there were piles of filberts, mossy and brown, recalling, in their fragrance, ancient walks among the woods, and pleasant shufflings ankle deep through withered leaves; there were Norfolk Biffins, squat and swarthy, setting off the yellow of the oranges and lemons, and, in the great compactness of their juicy persons, urgently entreating and beseeching to be carried home in paper bags and eaten after dinner. PAGES 82/83

240Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 3 (Present) Significance: inanimate objects at crotchets Scrooge feelings of sadness of past to move to joy (sympathetic feelings as virtue) sympathy= pleasurable appetites Unite what is inside him to the outside world (inanimate objects) 82: street, baskets = men, filberts= experience in woods, not eating, apples talking, Attitude to notion of xmas Dickens suggests 2 spheres merged the shops were lively and exuded consumerism by making their goods and food almost life like by "urgently entreating and beseeching to be carried home." materialism is represented in a crostmas carol in a positive context that breeds sympathetic engagement between a consumer and seemingly inanimate objects. it is by contrasting the lively state of purchasing foods that are "beseeching to be carried home" to the gloomy depiction of that dickens emphasizes the role and importance of consumerism in awakening ones sympathies

Title: A Christmas Carol Author: Charles Dickens Speaker: Dickens ? Location: Staves Significance:

CHRISTMAS CAROL SUMMARY: 5 STAVES Stave 1: Description of scrooge Scrooges nehew and 2 men Scrooge at house Marley Stave 2: Ghost of Xmas Past (brightly glowing head) Childhood school days his engagement to Belle, a woman who leaves Scrooge because his lust for money eclipses his ability to love another Burns out light Stave 3: Ghost of XMAS Present (materials) London inanimate objects Cratchit family feast Tiny Tim (courageous boy whose kindness and humility warms Scrooge's heart) Nephew 2 starved children Stave 4: Ghost of XMAS future Unnamed mans recent death Businessmen discussing his riches Vagabonds trading his personal effects for cash Grave and promises to renounce insensitive ways Stave 5: Christmas spirit Street and sends turkey to cratchit house

Title: In Darkest England Author: Booth/Stead Speaker: Booth Location: Significance:

Chapter 1 "Why Darkest England?" Beginning Chapter 2 "The Submerged Tenth" (drowning metaphor from picture) Beginning Chapter 3 "The Homeless" Middle Chapter 4 "The Out Of Works" Middle Chapter 5 "On the Verge of the Abyss" END Chapter 6 "The Vicious" END

BLOUNT.No one in the woom! Oh, Miss Douglas! Pway don't let me disturb you. Where is Miss Vesey Georgina? [Taking Clara's chair as she rises.Evelyn (looking up, gives Clara a chair, and re−seats himself). (Aside). Insolent puppy! CLARA.Shall I tell her you are here, Sir Frederick? BLOUNT.Not for the world vewy pwetty girl this companion! CLARA.What did you think of the Panorama the other day, cousin Evelyn? Evelyn. "I cannot talk with civet in the room,A fine puss gentleman that's all perfume!" Rather good lines these. Blount. Stwange person, Mr. Evelyn! quite a chawacter! Indeed the Panowama gives you no idea of Naples adelightful place. I make it a wule to go there evewy second year I am vewy fond of twavelling. You'd like Wome (Rome) bad inns, but vewy fine wuins; gives you quite a taste for that sort of thing! EVELYN (reading). "How much a dunce that has been sent to roam Excels a dunce that has been kept at home."sfff BLOUNT (aside). That fellow Cowper says vewy odd things! Humph! it is beneath me to quawwell. (Aloud) It will not take long to wead the will, I suppose. Poor old Mordaunt I am his nearest male welation. He was vewy eccentwic. By the way, Miss Douglas, did you wemark my cuwicle? It is bwinging cuwicles into fashion. I should be most happy if you would allow me to dwive you out. Nay nay I should, upon my word. [Trying to take her hand.EVELYN (starting up). A wasp! a wasp! just going to settle. Take care of the wasp, Miss Douglas! BLOUNT. A wasp! where? don't bwing it this way? some people don't mind them! I've a particular dislike to wasps; they sting damnably! EVELYN.I beg pardon it's only a gad−fly. PAGE 230

ITitle: Money Author: Edward Bulwer Lytton Speaker: Blount Clara Evelyn Location: act 1 scene 1; beginning; after Sir John and G talk about Evelyn/order him around, before Evelyn proposes to Clara Significance: indirect behavior because he is a dependent and can't be explicitly sarcastic Blount flirting with Clara

Title: Fra Lippo Lippi Author: Robert Browning Speaker: Lippo or whoever is being quoted (narrated) Location: Significance:

LINES 81-142: Autobiographical Section (How he became a monk) Lines 143-269: Debates W/ PPL about lippos Art (too fleshy/real) Lines 270-335: LIPPOS theory of art (realistic) Lines 336-END: makes plead w/ present to atone for behavior

Title: Major Barbara Author: George Bernard Shaw Speaker: UNDERSHAFT IS MOUTH PIECE Location: Significance:

MAJOR BARBARA SUMMARY (3 ACTS): Act 1: Lady Britomart's house in Wilton Crescent Wants advice from son Sits everyone down (daughters and husbands) Undershat comes in and doesn't know who his kids are Comp btw barb and under Act 2: The Salvation Army shelter in West Ham Rummy(poor housewife feigning to be a fallen woman) and snobby price (layabout painter and con artist) Peter shirley (laborer fired for his age) and jenny Bill and jenny Bill and barb Undershaft visits Bill tries to get beat up GF new BF Undershaft and cusins Undershaft makes donation and barb leaves SA Act 3: Lady Britomart's house, later at the Undershaft munitions works in Perivale St. Andrews Everyone amazed Cusins declares that he is a foundling, and is thus eligible to inherit the business. Undershaft eventually overcomes Cusins' moral scruples about the nature of the business, arguing that paying his employees provides a much higher service to them than Barbara's Army service, which only prolongs their poverty; as an example, the firm has hired Peter. Cusins' gradual acceptance of Undershaft's logic makes Barbara more content to marry him, not less, because bringing a message of salvation to the factory workers, rather than to London slum-dwellers, will bring her more fulfilment.

Title: Money Author: Edward Bulwer Lytton Speaker: Sir John Georgina Lady Franklin-- good natured Blount Clara Evelyn Stout-- politician Glossmore-- politician Sharp-- attorney Grab Graves-- friend Smooth Old Member Location: Act 1: sir johns greed Evelyn as a sarcastic dependent ordered around Blount flirts with Clara (makes Evelyn jealous so he pretends there is a fly) Evelyn proposes the will scene (satirizes greed) Act 2: Act 3: Act 4: Act 5: Significance:

MONEY SUMMARY: 5 ACTS Act 1: WILL sir johns greed with G Evelyn as a sarcastic dependent ordered around Blount flirts with Clara (makes Evelyn jealous so he pretends there is a fly) Evelyn proposes and clara denies the will scene (satirizes greed) Act 2: EVELYNS $ Evelyn realizes influence of $ with painter Groginhole Evelyn bitter about $ Evelyn's revenge on Clara Sir John manipulates Evelyn to think G sent $ to old nurse Act 3: TESTS G TO GET OUT OF MARRIAGE (CHARITY TESTS VIRTUE) Clara tells Evelyn she is leaving England Evelyn pretends to lose all his money while gambling Evelyn presents himself as a charitable object to G and asks for her $ Act 5: Glossmore and Stout say that Evelyn is trying to get elected to escape destitution Evelyn thinks that G sent him money Clara explains herself and Sir John realizes Evelyn still has $ Georgina tells Evelyn she is now with Blount so Evelyn and Clara get together

"But you were always a good man of business, Jacob," faltered Scrooge, who now began to apply this to himself. "Business!" cried the Ghost, wringing its hands again. "Mankind was my business. The common welfare was my business; charity, mercy, forbearance, and benevolence, were, all, my business. The dealings of my trade were but a drop of water in the comprehensive ocean of my business!" "Hear me!" cried the Ghost. "My time is nearly gone." "I will," said Scrooge. "But don't be hard upon me! Don't be flowery, Jacob! Pray!" "How it is that I appear before you in a shape that you can see, I may not tell. I have sat invisible beside you many and many a day." It was not an agreeable idea. Scrooge shivered, and wiped the perspiration from his brow. "Is that the chance and hope you mentioned, Jacob?" he demanded, in a faltering voice. "It is.""I—I think I'd rather not," said Scrooge."Without their visits," said the Ghost, "you cannot hope to shun the path I tread. Expect the first to-morrow, when the bell tolls One." "Couldn't I take 'em all at once, and have it over, Jacob?" hinted Scrooge. PAGES 56-57

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 1 Significance: 56: business more materialism of carol opposed 57:funny and sympathetic to be reformable and hope

"At this festive season of the year, Mr. Scrooge," said the gentleman, taking up a pen, "it is more than usually desirable that we should make some slight provision for the Poor and destitute, who suffer greatly at the present time. Many thousands are in want of common necessaries; hundreds of thousands are in want of common comforts, sir." "Are there no prisons?" asked Scrooge. "Plenty of prisons," said the gentleman, laying down the pen again. "And the Union workhouses?" demanded Scrooge. "Are they still in operation?" "They are. Still," returned the gentleman, "I wish I could say they were not." "The Treadmill and the Poor Law are in full vigour, then?" said Scrooge. "Both very busy, sir." "Oh! I was afraid, from what you said at first, that something had occurred to stop them in their useful course," said Scrooge. "I'm very glad to hear it." "Under the impression that they scarcely furnish Christian cheer of mind or body to the multitude," returned the gentleman, "a few of us are endeavouring to raise a fund to buy the Poor some meat and drink, and means of warmth. We choose this time, because it is a time, of all others, when Want is keenly felt, and Abundance rejoices. What shall I put you down for?" "Nothing!" Scrooge replied."You wish to be anonymous?""I wish to be left alone," said Scrooge. "Since you ask me what I wish, gentlemen, that is my answer. I don't make merry myself at Christmas and I can't afford to make idle people merry. I help to support the establishments I have mentioned—they cost enough; and those who are badly off must go there." "Many can't go there; and many would rather die." "If they would rather die," said Scrooge, "they had better do it, and decrease the surplus population. Besides—excuse me—I don't know that." PAGES 44-45

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 1 after description of scrooge and Marley, before scrooge goes home and sees Marley Significance: The man Dickens starts with (cold, Malthusian, skeptical, and comical) 44/45: 2 charity seekers and nephew visit scrooge My taxes go to houses Lover of new poor law (embodiment) Cheap with himself

Up Scrooge went, not caring a button for that. Darkness is cheap, and Scrooge liked it. But before he shut his heavy door, he walked through his rooms to see that all was right. He had just enough recollection of the face to desire to do that. Sitting-room, bed-room, lumber-room. All as they should be. Nobody under the table, nobody under the sofa; a small fire in the grate; spoon and basin ready; and the little saucepan of gruel (Scrooge had a cold in his head) upon the hob. Nobody under the bed; nobody in the closet; nobody in his dressing-gown, which was hanging up in a suspicious attitude against the wall. Lumber-room as usual. Old fire- guard, old shoes, two fish-baskets, washing-stand on three legs, and a poker. Quite satisfied, he closed his door, and locked himself in; double-locked himself in, which was not his custom. PAGE 49

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 1 after men seeking charity and before Marley Significance: 49: no light or companions (self punishing) Ways in which dickens makes scrooge sympathetic = placed in scrooges Perspective + narrator becomes scrooges voice Dickens puts us in his mind for us to be sympathetic with his fear and doesn't Feed himself stuff Comical = we identify with skepticism/approach

The air was filled with phantoms, wandering hither and thither in restless haste, and moaning as they went. Every one of them wore chains like Marley's Ghost; some few (they might be guilty governments) were linked together; none were free. Many had been personally known to Scrooge in their lives. He had been quite familiar with one old ghost, in a white waistcoat, with a monstrous iron safe attached to its ankle, who cried piteously at being unable to assist a wretched woman with an infant, whom it saw below, upon a doorstep. The misery with them all was, clearly, that they sought to interfere, for good, in human matters, and had lost the power for ever. Page 57/59

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 1 END Significance: 59: need redemption

"Your lip is trembling," said the Ghost. "And what is that upon your cheek?" Scrooge muttered, with an unusual catching in his voice, that it was a pimple; and begged the Ghost to lead him where he would. "You recollect the way?" inquired the Spirit. "Remember it!" cried Scrooge with fervour; "I could walk it blindfold." "Strange to have forgotten it for so many years!" observed the Ghost. "Let us go on." "The school is not quite deserted," said the Ghost. "A solitary child, neglected by his friends, is left there still." Scrooge said he knew it. And he sobbed. They went, the Ghost and Scrooge, across the hall, to a door at the back of the house. It opened before them, and disclosed a long, bare, melancholy room, made barer still by lines of plain deal forms and desks. At one of these a lonely boy was reading near a feeble fire; and Scrooge sat down upon a form, and wept to see his poor forgotten self as he used to be. Not a latent echo in the house, not a squeak and scuffle from the mice behind the panelling, not a drip from the half-thawed water- spout in the dull yard behind, not a sigh among the leafless boughs of one despondent poplar, not the idle swinging of an empty store-house door, no, not a clicking in the fire, but fell upon the heart of Scrooge with a softening influence, and gave a freer passage to his tears. PAGES 64/65

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 2 (past) after marley before belle Significance: softening influence = melting 64: cry is first sign of redemption, self regard as virtue, sobbed = therapeutic, Scrooge was neglected, repressed painful memories Discover charitable part of him + sympathize with little self Criticism of sympathy = pleasure is self regard (egotism masking as generosity) Recollection of feelings

The curtains of his bed were drawn aside, I tell you, by a hand. Not the curtains at his feet, nor the curtains at his back, but those to which his face was addressed. The curtains of his bed were drawn aside; and Scrooge, starting up into a half-recumbent attitude, found himself face to face with the unearthly visitor who drew them: as close to it as I am now to you, and I am standing in the spirit at your elbow. PAGE 61

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 2 (the first of the three spirits PAST) Significance: 61: 1st ghost of xmas past Emphasize dramatic/personal by telling reader I'm with you

Then, with a rapidity of transition very foreign to his usual character, he said, in pity for his former self, "Poor boy!" and cried again. "I wish," Scrooge muttered, putting his hand in his pocket, and looking about him, after drying his eyes with his cuff: "but it's too late now." "What is the matter?" asked the Spirit. "Nothing," said Scrooge. "Nothing. There was a boy singing a Christmas Carol at my door last night. I should like to have given him something: that's all." PAGES 66

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 2 (the first of the three spirits PAST) Significance: Discover charitable part of him + sympathize with little self Criticism of sympathy = pleasure is self regard (egotism masking as generosity) 66: another little boy Recollection of feelings

"I have come to bring you home, dear brother!" said the child, clapping her tiny hands, and bending down to laugh. "To bring you home, home, home!" "Home, little Fan?" returned the boy. "Yes!" said the child, brimful of glee. "Home, for good and all. Home, for ever and ever. Father is so much kinder than he used to be, that home's like Heaven! He spoke so gently to me one dear night when I was going to bed, that I was not afraid to ask him once more if you might come home; and he said Yes, you should; and sent me in a coach to bring you. And you're to be a man!" said the child, opening her eyes, "and are never to come back here; but first, we're to be together all the Christmas long, and have the merriest time in all the world." PAGE 67

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 2 (the first of the three spirits PAST) Significance: Discover charitable part of him + sympathize with little self Criticism of sympathy = pleasure is self regard (egotism masking as generosity) 67: homelife harsh Recollection of feelings

"Spirit!" said Scrooge in a broken voice, "remove me from this place." "I told you these were shadows of the things that have been," said the Ghost. "That they are what they are, do not blame me!" "Remove me!" Scrooge exclaimed, "I cannot bear it!" He turned upon the Ghost, and seeing that it looked upon him with a face, in which in some strange way there were fragments of all the faces it had shown him, wrestled with it. "Leave me! Take me back. Haunt me no longer!" In the struggle, if that can be called a struggle in which the Ghost with no visible resistance on its own part was undisturbed by any effort of its adversary, Scrooge observed that its light was burning high and bright; and dimly connecting that with its influence over him, he seized the extinguisher-cap, and by a sudden action pressed it down upon its head. The Spirit dropped beneath it, so that the extinguisher covered its whole form; but though Scrooge pressed it down with all his force, he could not hide the light, which streamed from under it, in an unbroken flood upon the ground. He was conscious of being exhausted, and overcome by an irresistible drowsiness; and, further, of being in his own bed-room. He gave the cap a parting squeeze, in which his hand relaxed; and had barely time to reel to bed, before he sank into a heavy sleep. PAGE 76

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 2 (the first of the three spirits PAST) after belle and before street inanimate ojects Significance: 76: douses enlightenment - repress memories

Oh, a wonderful pudding! Bob Cratchit said, and calmly too, that he regarded it as the greatest success achieved by Mrs. Cratchit since their marriage. Mrs. Cratchit said that now the weight was off her mind, she would confess she had had her doubts about the quantity of flour. Everybody had something to say about it, but nobody said or thought it was at all a small pudding for a large family. It would have been flat heresy to do so. Any Cratchit would have blushed to hint at such a thing. "A Merry Christmas to us all, my dears. God bless us!"Which all the family re-echoed."God bless us every one!" said Tiny Tim, the last of all.He sat very close to his father's side upon his little stool. Bob held his withered little hand in his, as if he loved the child, and wished to keep him by his side, and dreaded that he might be taken from him. "Spirit," said Scrooge, with an interest he had never felt before, "tell me if Tiny Tim will live." "I see a vacant seat," replied the Ghost, "in the poor chimney- corner, and a crutch without an owner, carefully preserved. If these shadows remain unaltered by the Future, the child will die." "No, no," said Scrooge. "Oh, no, kind Spirit! say he will be spared." "If these shadows remain unaltered by the Future, none other of my race," returned the Ghost, "will find him here. What then? If he be like to die, he had better do it, and decrease the surplus population." Scrooge hung his head to hear his own words quoted by the Spirit, and was overcome with penitence and grief. "Man," said the Ghost, "if man you be in heart, not adamant, forbear that wicked cant until you have discovered What the surplus is, and Where it is. Will you decide what men shall live, what men shall die? It may be, that in the sight of Heaven, you are more worthless and less fit to live than millions like this poor man's child. Oh God! to hear the Insect on the leaf pronouncing on the too much life among his hungry brothers in the dust!" PAGES 88/89

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 3 (Present) Significance: Scrooge feelings of sadness of past to move to joy (sympathetic feelings as virtue) sympathy= pleasurable appetites Unite what is inside him to the outside world (inanimate objects) 89: Portrayal of tim Scrooge protective of tim, easily projected on by scrooge Spirit malthusian comment so feels bad 88: pudding, small but all say perfect, emotional involvement in group compensates For lack of material wealth

"And how did little Tim behave?" asked Mrs. Cratchit, when she had rallied Bob on his credulity, and Bob had hugged his daughter to his heart's content. "As good as gold," said Bob, "and better. Somehow he gets thoughtful, sitting by himself so much, and thinks the strangest things you ever heard. He told me, coming home, that he hoped the people saw him in the church, because he was a cripple, and it might be pleasant to them to remember upon Christmas Day, who made lame beggars walk, and blind men see." PAGE 87

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 3 (Present) Significance: Scrooge feelings of sadness of past to move to joy (sympathetic feelings as virtue) sympathy= pleasurable appetites Unite what is inside him to the outside world (inanimate objects) 86/87: Scrooge visit cratchits senses/appetites (pleasant) reawakened sympathies/appetites can now be applied to real people Self involvement : joy of materialism Cratchits are poor but happy (life where there is not wealth) Explicitly religious portrayal of tim (pious desirable boy devoted and not resentful)

There was nothing of high mark in this. They were not a handsome family; they were not well dressed; their shoes were far from being water-proof; their clothes were scanty; and Peter might have known, and very likely did, the inside of a pawnbroker's. But, they were happy, grateful, pleased with one another, and contented with the time; and when they faded, and looked happier yet in the bright sprinklings of the Spirit's torch at parting, Scrooge had his eye upon them, and especially on Tiny Tim, until the last. PAGE 91

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 3 (Present) Significance: Scrooge feelings of sadness of past to move to joy (sympathetic feelings as virtue) sympathy= pleasurable appetites Unite what is inside him to the outside world (inanimate objects) 91: scrooge taken to see emotional surplus that compels for material

It was his own room. There was no doubt about that. But it had undergone a surprising transformation. The walls and ceiling were so hung with living green, that it looked a perfect grove; from every part of which, bright gleaming berries glistened. The crisp leaves of holly, mistletoe, and ivy reflected back the light, as if so many little mirrors had been scattered there; and such a mighty blaze went roaring up the chimney, as that dull petrification of a hearth had never known in Scrooge's time, or Marley's, or for many and many a winter season gone. Heaped up on the floor, to form a kind of throne, were turkeys, geese, game, poultry, brawn, great joints of meat, sucking-pigs, long wreaths of sausages, mince-pies, plum-puddings, barrels of oysters, red-hot chestnuts, cherry-cheeked apples, juicy oranges, luscious pears, immense twelfth-cakes, and seething bowls of punch, that made the chamber dim with their delicious steam. PAGE 79

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 3 (Present) Significance: inanimate objects on street after burns light and before crotchets house Scrooge feelings of sadness of past to move to joy (sympathetic feelings as virtue) sympathy= pleasurable appetites Unite what is inside him to the outside world (inanimate objects) 79: pleasures of consumption (present contrasts with scrooge's life) Premonition of description of consumer items (life of their own) Vision of spirit suggests inanimate objects animate (sympathetic projection) Materialism good thing bc appreciate spirit rather than cold acquisition

Scrooge started back, appalled. Having them shown to him in this way, he tried to say they were fine children, but the words choked themselves, rather than be parties to a lie of such enormous magnitude. "Spirit! are they yours?" Scrooge could say no more. "They are Man's," said the Spirit, looking down upon them. "And they cling to me, appealing from their fathers. This boy is Ignorance. This girl is Want. Beware them both, and all of their degree, but most of all beware this boy, for on his brow I see that written which is Doom, unless the writing be erased. Deny it!" cried the Spirit, stretching out its hand towards the city. "Slander those who tell it ye! Admit it for your factious purposes, and make it worse. And abide the end!" "Have they no refuge or resource?" cried Scrooge. "Are there no prisons?" said the Spirit, turning on him for the last time with his own words. "Are there no workhouses?" PAGE 101

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 3 (Present) after crochet fam and before future Significance: Scrooge feelings of sadness of past to move to joy (sympathetic feelings as virtue) sympathy= pleasurable appetites Unite what is inside him to the outside world (inanimate objects) 101: stave 3 ends with vision appealing to scrooge and feelings are awakened

"No, no! There's father coming," cried the two young Cratchits, who were everywhere at once. "Hide, Martha, hide!" So Martha hid herself, and in came little Bob, the father, with at least three feet of comforter exclusive of the fringe, hanging down before him; and his threadbare clothes darned up and brushed, to look seasonable; and Tiny Tim upon his shoulder. Alas for Tiny Tim, he bore a little crutch, and had his limbs supported by an iron frame! PAGE 86

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 3 (Present) after inanimate objects in street and before pudding and before the spirit shows poor children to scrooge Significance: Scrooge feelings of sadness of past to move to joy (sympathetic feelings as virtue) sympathy= pleasurable appetites Unite what is inside him to the outside world (inanimate objects) 86/87: Scrooge visit cratchits senses/appetites (pleasant) reawakened sympathies/appetites can now be applied to real people Self involvement : joy of materialism Cratchits are poor but happy (life where there is not wealth) Explicitly religious portrayal of tim (pious desirable boy devoted and not resentful)

"Very well, then!" cried the woman. "That's enough. Who's the worse for the loss of a few things like these? Not a dead man, I suppose." "No, indeed," said Mrs. Dilber, laughing. "If he wanted to keep 'em after he was dead, a wicked old screw," pursued the woman, "why wasn't he natural in his lifetime? If he had been, he'd have had somebody to look after him when he was struck with Death, instead of lying gasping out his last there, alone by himself." "It's the truest word that ever was spoke," said Mrs. Dilber. "It's a judgment on him." But the gallantry of her friends would not allow of this; and the man in faded black, mounting the breach first, produced his plunder. It was not extensive. A seal or two, a pencil-case, a pair of sleeve- buttons, and a brooch of no great value, were all. They were severally examined and appraised by old Joe, who chalked the sums he was disposed to give for each, upon the wall, and added them up into a total when he found there was nothing more to come. Mrs. Dilber was next. Sheets and towels, a little wearing apparel, two old-fashioned silver teaspoons, a pair of sugar-tongs, and a few boots. Her account was stated on the wall in the same manner. "I always give too much to ladies. It's a weakness of mine, and that's the way I ruin myself," said old Joe. PAGE 107/108

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 4 (Future) Significance:

Scrooge and the Phantom came into the presence of this man, just as a woman with a heavy bundle slunk into the shop. But she had scarcely entered, when another woman, similarly laden, came in too; and she was closely followed by a man in faded black, who was no less startled by the sight of them, than they had been upon the recognition of each other. After a short period of blank astonishment, in which the old man with the pipe had joined them, they all three burst into a laugh. "Let the charwoman alone to be the first!" cried she who had entered first. "Let the laundress alone to be the second; and let the undertaker's man alone to be the third. Look here, old Joe, here's a chance! If we haven't all three met here without meaning it!" PAGE 106

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 4 (Future) before redemption and after ppl talk of dead man Significance: 106: not worth anything commercially but emotionally (sentimental revivalist) Dickens emphasizing ppl selling off stuff that should have been personal/ Meaningful Dies without sentimental attachments

"Ghost of the Future!" he exclaimed, "I fear you more than any spectre I have seen. But as I know your purpose is to do me good, and as I hope to live to be another man from what I was, I am prepared to bear you company, and do it with a thankful heart. Will you not speak to me?" "No," said a great fat man with a monstrous chin, "I don't know much about it, either way. I only know he's dead." "When did he die?" inquired another."Last night, I believe.""Why, what was the matter with him?" asked a third, taking a vast quantity of snuff out of a very large snuff-box. "I thought he'd never die." "God knows," said the first, with a yawn. "What has he done with his money?" asked a red-faced gentleman with a pendulous excrescence on the end of his nose, that shook like the gills of a turkey-cock. "I haven't heard," said the man with the large chin, yawning again. "Left it to his company, perhaps. He hasn't left it to me. That's all I know." This pleasantry was received with a general laugh. "It's likely to be a very cheap funeral," said the same speaker; "for upon my life I don't know of anybody to go to it. Suppose we make up a party and volunteer?" "I don't mind going if a lunch is provided," observed the gentleman with the excrescence on his nose. "But I must be fed, if I make one." Another laugh. "Old Scratch has got his own at last, hey?" (scratch = devil) PAGE 103/104

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 4 (Future) before stuff being sold off and after present shows him children Significance: Scrooge's Fears! 103/104: not well liked

"What, the one as big as me?" returned the boy. "What a delightful boy!" said Scrooge. "It's a pleasure to talk to him. Yes, my buck!" "It's hanging there now," replied the boy."Is it?" said Scrooge. "Go and buy it.""Walk-ER!" exclaimed the boy."No, no," said Scrooge, "I am in earnest. Go and buy it, and tell 'em to bring it here, that I may give them the direction where to take it. Come back with the man, and I'll give you a shilling. Come back with him in less than five minutes and I'll give you half-a-crown!" The boy was off like a shot. He must have had a steady hand at a trigger who could have got a shot off half so fast. "I'll send it to Bob Cratchit's!" whispered Scrooge, rubbing his hands, and splitting with a laugh. "He sha'n't know who sends it. It's twice the size of Tiny Tim. Joe Miller never made such a joke as sending it to Bob's will be!" The hand in which he wrote the address was not a steady one, but write it he did, somehow, and went down-stairs to open the street door, ready for the coming of the poulterer's man. As he stood there, waiting his arrival, the knocker caught his eye. "I shall love it, as long as I live!" cried Scrooge, patting it with his hand. "I scarcely ever looked at it before. What an honest expression it has in its face! It's a wonderful knocker!—Here's the Turkey! Hallo! Whoop! How are you! Merry Christmas!" It was a Turkey! He never could have stood upon his legs, that bird. He would have snapped 'em short off in a minute, like sticks of sealing-wax. "Why, it's impossible to carry that to Camden Town," said Scrooge. "You must have a cab." The chuckle with which he said this, and the chuckle with which he paid for the Turkey, and the chuckle with which he paid for the cab, and the chuckle with which he recompensed the boy, were only to be exceeded by the chuckle with which he sat down breathless in his chair again, and chuckled till he cried. PAGE 120

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 5 (the end) Significance: 120: acts of generosity L $ for charity Looking at everyone for pleasure Interest and sympathetic engagement

He went to church, and walked about the streets, and watched the people hurrying to and fro, and patted children on the head, and questioned beggars, and looked down into the kitchens of houses, and up to the windows, and found that everything could yield him pleasure. He had never dreamed that any walk—that anything—could give him so much happiness. In the afternoon he turned his steps towards his nephew's house. 121/122

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 5 (the end) Significance: 120: acts of generosity L $ for charity Looking at everyone for pleasure Interest and sympathetic engagement

Some people laughed to see the alteration in him, but he let them laugh, and little heeded them; for he was wise enough to know that nothing ever happened on this globe, for good, at which some people did not have their fill of laughter in the outset; and knowing that such as these would be blind anyway, he thought it quite as well that they should wrinkle up their eyes in grins, as have the malady in less attractive forms. His own heart laughed: and that was quite enough for him. He had no further intercourse with Spirits, but lived upon the Total Abstinence Principle, ever afterwards; and it was always said of him, that he knew how to keep Christmas well, if any man alive possessed the knowledge. May that be truly said of us, and all of us! And so, as Tiny Tim observed, God bless Us, Every One! PAGE 124/125

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 5 (the end) Significance: 120: acts of generosity L $ for charity Looking at everyone for pleasure Interest and sympathetic engagement

"I am very sorry, sir," said Bob. "I am behind my time." "You are?" repeated Scrooge. "Yes. I think you are. Step this way, sir, if you please." "It's only once a year, sir," pleaded Bob, appearing from the Tank. "It shall not be repeated. I was making rather merry yesterday, sir." "Now, I'll tell you what, my friend," said Scrooge, "I am not going to stand this sort of thing any longer. And therefore," he continued, leaping from his stool, and giving Bob such a dig in the waistcoat that he staggered back into the Tank again; "and therefore I am about to raise your salary!" PAGE 123

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 5 (the end) Significance: 120: acts of generosity L $ for charity Looking at everyone for pleasure Interest and sympathetic engagement

Really, for a man who had been out of practice for so many years, it was a splendid laugh, a most illustrious laugh. The father of a long, long line of brilliant laughs! "I don't know what day of the month it is!" said Scrooge. "I don't know how long I've been among the Spirits. I don't know anything. I'm quite a baby. Never mind. I don't care. I'd rather be a baby. Hallo! Whoop! Hallo here!" PAGE 119

Title: A Christmas Carol Author: Charles Dickens Speaker: Location: Stave 5 (the end) after future and before turkey Significance: 120: acts of generosity L $ for charity Looking at everyone for pleasure Interest and sympathetic engagement

MARLEY was dead, to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner. Scrooge signed it. And Scrooge's name was good upon 'Change, for anything he chose to put his hand to. Old Marley was as dead as a door-nail. Mind! I don't mean to say that I know, of my own knowledge, what there is particularly dead about a door-nail. I might have been inclined, myself, to regard a coffin-nail as the deadest piece of ironmongery in the trade. But the wisdom of our ancestors is in the simile; and my unhallowed hands shall not disturb it, or the Country's done for. You will therefore permit me to repeat, emphatically, that Marley was as dead as a door-nail. PAGE 39

Title: A Christmas Carol Author: Charles Dickens Speaker: Dickens (narrator) Location: Stave 1 (marley's ghost) beginning and before describes cold heart of scrooge Significance: 39: colloquial language Speaker = version of dickens

"It is required of every man," the Ghost returned, "that the spirit within him should walk abroad among his fellowmen, and travel far and wide; and if that spirit goes not forth in life, it is condemned to do so after death. It is doomed to wander through the world—oh, woe is me!—and witness what it cannot share, but might have shared on earth, and turned to happiness!" "Jacob," he said, imploringly. "Old Jacob Marley, tell me more. Speak comfort to me, Jacob!" PAGE 54-55

Title: A Christmas Carol Author: Charles Dickens Speaker: Marley Location: Stave 1 Significance:

"It matters little," she said, softly. "To you, very little. Another idol has displaced me; and if it can cheer and comfort you in time to come, as I would have tried to do, I have no just cause to grieve." "What Idol has displaced you?" he rejoined."A golden one.""This is the even-handed dealing of the world!" he said. "There is nothing on which it is so hard as poverty; and there is nothing it professes to condemn with such severity as the pursuit of wealth!" "You fear the world too much," she answered, gently. "All your other hopes have merged into the hope of being beyond the chance of its sordid reproach. I have seen your nobler aspirations fall off one by one, until the master-passion, Gain, engrosses you. Have I not?" "What then?" he retorted. "Even if I have grown so much wiser, what then? I am not changed towards you." She shook her head."Am I?""Our contract is an old one. It was made when we were both poor and content to be so, until, in good season, we could improve our worldly fortune by our patient industry. You are changed. When it was made, you were another man." "I was a boy," he said impatiently. "Your own feeling tells you that you were not what you are," she returned. "I am. That which promised happiness when we were one in heart, is fraught with misery now that we are two. How often and how keenly I have thought of this, I will not say. It is enough that I have thought of it, and can release you." PAGE 72/73

Title: A Christmas Carol Author: Charles Dickens Speaker: belle and scrooge Location: Stave 2 (the first of the three spirits PAST) after school past and before scrooge burns light Significance: Page 72: scrooge heartless to belle, scrooge no confidence in her or him or domestic World, women softens man to domestic world female influence scrooge sounds like undershirt

"It's humbug still!" said Scrooge. "I won't believe it." (for Scrooge observed it closely) of cash- boxes, keys, padlocks, ledgers, deeds, and heavy purses wrought in steel. His body was transparent; so that Scrooge, observing him, and looking through his waistcoat, could see the two buttons on his coat behind. Scrooge had often heard it said that Marley had no bowels, but he had never believed it until now. No, nor did he believe it even now. Though he looked the phantom through and through, and saw it standing before him; though he felt the chilling influence of its death-cold eyes; and marked the very texture of the folded kerchief bound about its head and chin, which wrapper he had not observed before; he was still incredulous, and fought against his senses. "How now!" said Scrooge, caustic and cold as ever. "What do you want with me?" "Much!"—Marley's voice, no doubt about it."Who are you?""Ask me who I was.""Who were you then?" said Scrooge, raising his voice. "You're particular, for a shade." He was going to say "to a shade," but substituted this, as more appropriate. "You don't believe in me," observed the Ghost."I don't," said Scrooge."What evidence would you have of my reality beyond that of your senses?""I don't know," said Scrooge."Why do you doubt your senses?""Because," said Scrooge, "a little thing affects them. A slight disorder of the stomach makes them cheats. You may be an undigested bit of beef, a blot of mustard, a crumb of cheese, a fragment of an underdone potato. There's more of gravy than of grave about you, whatever you are!" Scrooge was not much in the habit of cracking jokes, nor did he feel, in his heart, by any means waggish then. PAGES 51-52

Title: A Christmas Carol Author: Charles Dickens Speaker: scrooge dickens Marley Location: Stave 1 after men and before past Significance: 51: marley Jokester (bowels = compassion) 52: "stomach" joke/pun more dinner than death

Oh! But he was a tight-fisted hand at the grindstone, Scrooge! a squeezing, wrenching, grasping, scraping, clutching, covetous, old sinner! Hard and sharp as flint, from which no steel had ever struck out generous fire; secret, and self-contained, and solitary as an oyster. The cold within him froze his old features, nipped his pointed nose, shrivelled his cheek, stiffened his gait; made his eyes red, his thin lips blue; and spoke out shrewdly in his grating voice. A frosty rime was on his head, and on his eyebrows, and his wiry chin. He carried his own low temperature always about with him; he iced his office in the dog-days; and didn't thaw it one degree at Christmas. PAGE 40

Title: A Christmas Carol Author: Charles Dickens Speaker: Dickens (narrator) Location: Stave 1 beginning after marleys death and before 2 men seeking charity to scrooge Significance: 40: metaphors of temp (freezing cold) not charitable and depicts scrooge Tight fisted = $ Generosity = fire Nothing in him, the charity is iced in him The man Dickens starts with (cold, Malthusian, skeptical, and comical)

But what did Scrooge care! It was the very thing he liked. To edge his way along the crowded paths of life, warning all human sympathy to keep its distance, was what the knowing ones call "nuts" to Scrooge. PAGE 41

Title: A Christmas Carol Author: Charles Dickens Speaker: dickens Location: Stave 1 Significance: 41: unsociable

Give me six months, then go, see Something in Sant' Ambrogio's! Bless the nuns! They want a cast o' my office. I shall paint God in the midst, Madonna and her babe, Ringed by a bowery, flowery angel-brood, Lilies and vestments and white faces, sweet As puff on puff of grated orris-root When ladies crowd to Church at midsummer. Painters who need his patience). Well, all these Secured at their devotion, up shall come Out of a corner when you least expect, As one by a dark stair into a great light, Music and talking, who but Lippo! I!— Mazed, motionless, and moonstruck—I'm the man! Back I shrink—what is this I see and hear? I, caught up with my monk's-things by mistake, My old serge gown and rope that goes all round, And so all's saved for me, and for the church A pretty picture gained. Go, six months hence! Your hand, sir, and good-bye: no lights, no lights! The street's hushed, and I know my own way back, Don't fear me! There's the grey beginning. Zooks! 287/288/289

Title: Fra Lippo Lippi Author: Robert Browning Speaker: Location: ATONE BEHAVIOR after his theory of art END Significance: puts himself in painting showing power of an artist friendly! Poverty makes one an acute observer; life depends on it Hypocrisy of religious and social institutions that stunt human spirit All people are of interest and value

And I do these wild things in sheer despite, And play the fooleries you catch me at, In pure rage! The old mill-horse, out at grass 285

Title: Fra Lippo Lippi Author: Robert Browning Speaker: Location: DEBATE after auto and before theory of art Significance: just be outsider Poverty makes one an acute observer; life depends on it Hypocrisy of religious and social institutions that stunt human spirit All people are of interest and value

—For what? Do you feel thankful, ay or no, For this fair town's face, yonder river's line, The mountain round it and the sky above, Much more the figures of man, woman, child, These are the frame to? What's it all about? To be passed over, despised? or dwelt upon, Wondered at? oh, this last of course!—you say. But why not do as well as say,—paint these Just as they are, careless what comes of it? God's works—paint any one, and count it crime To let a truth slip. Don't object, "His works Are here already; nature is complete: Suppose you reproduce her—(which you can't) There's no advantage! you must beat her, then." For, don't you mark? we're made so that we love First when we see them painted, things we have passed Perhaps a hundred times nor cared to see; And so they are better, painted—better to us, Which is the same thing. Art was given for that; God uses us to help each other so, Lending our minds out. Have you noticed, now, 286

Title: Fra Lippo Lippi Author: Robert Browning Speaker: Location: hippos theory of art after debate and before plead to atone for behavior Significance: paint anything even if painted wrong art was given to see more Clearly and point out reality of life Poverty makes one an acute observer; life depends on it Hypocrisy of religious and social institutions that stunt human spirit All people are of interest and value

I painted a Saint Laurence six months since At Prato, splashed the fresco in fine style: "How looks my painting, now the scaffold's down?" I ask a brother: "Hugely," he returns— "Already not one phiz of your three slaves Who turn the Deacon off his toasted side, But's scratched and prodded to our heart's content, The pious people have so eased their own With coming to say prayers there in a rage: We get on fast to see the bricks beneath. Expect another job this time next year, For pity and religion grow i' the crowd— Your painting serves its purpose!" Hang the fools! 287

Title: Fra Lippo Lippi Author: Robert Browning Speaker: Location:hippos theory of art after debate and before plead to atone for behavior Significance: LIPPOS portrayal of st Lawrence pals response has been scratching faces bc they think real ppl feel religion Poverty makes one an acute observer; life depends on it Hypocrisy of religious and social institutions that stunt human spirit All people are of interest and value

Come, what am I a beast for? tell us, now! I was a baby when my mother died And father died and left me in the street. I starved there, God knows how, a year or two On fig-skins, melon-parings, rinds and shucks, Refuse and rubbish. One fine frosty day, My stomach being empty as your hat, The wind doubled me up and down I went. Old Aunt Lapaccia trussed me with one hand, (Its fellow was a stinger as I knew) And so along the wall, over the bridge, By the straight cut to the convent. Six words there, While I stood munching my first bread that month: "So, boy, you're minded," quoth the good fat father Wiping his own mouth, 'twas refection-time,— "To quit this very miserable world? Will you renounce" . . . "the mouthful of bread?" thought I; By no means! Brief, they made a monk of me; I did renounce the world, its pride and greed, Palace, farm, villa, shop, and banking-house, Trash, such as these poor devils of Medici Have given their hearts to—all at eight years old. Well, sir, I found in time, you may be sure, 'Twas not for nothing—the good bellyful, The warm serge and the rope that goes all round, And day-long blessed idleness beside! uch a to-do! They tried me with their books: Lord, they'd have taught me Latin in pure waste! Flower o' the clove. All the Latin I construe is, "amo" I love! But, mind you, when a boy starves in the streets Eight years together, as my fortune was, Watching folk's faces to know who will fling The bit of half-stripped grape-bunch he desires, And who will curse or kick him for his pains,— Which gentleman processional and fine, Holding a candle to the Sacrament, Will wink and let him lift a plate and catch The droppings of the wax to sell again, Or holla for the Eight and have him whipped,— How say I?—nay, which dog bites, which lets drop His bone from the heap of offal in the street,— Why, soul and sense of him grow sharp alike, He learns the look of things, and none the less For admonition from the hunger-pinch. I had a store of such remarks, be sure, Which, after I found leisure, turned to use. I drew men's faces on my copy-books, Scrawled them within the antiphonary's marge, Joined legs and arms to the long music-notes, Found eyes and nose and chin for A's and B's, And made a string of pictures of the world Betwixt the ins and outs of verb and noun, 281/282

Title: Fra Lippo Lippi Author: Robert Browning Speaker: monk or lippo Location: AUTOBIOGRAPHY after beginning and BEFORE debates about his art Significance: hasn't actually renounced the world (contradiction btw eating food boy wanted and telling him to renounce) = hypocrisy I'm good at looking at faces after starving art talent Poverty makes one an acute observer; life depends on it Hypocrisy of religious and social institutions that stunt human spirit All people are of interest and value shows hypocrisy of the monk had to make a deal to get food by denouncing worldly things f

I am poor brother Lippo, by your leave! You need not clap your torches to my face. Zooks, what's to blame? you think you see a monk! What, 'tis past midnight, and you go the rounds, And here you catch me at an alley's end Where sportive ladies leave their doors ajar? The Carmine's my cloister: hunt it up, Do,—harry out, if you must show your zeal, Whatever rat, there, haps on his wrong hole, And nip each softling of a wee white mouse, Weke, weke, that's crept to keep him company! Aha, you know your betters! Then, you'll take Your hand away that's fiddling on my throat, And please to know me likewise. Who am I? Why, one, sir, who is lodging with a friend Three streets off—he's a certain . . . how d'ye call? Master—a ...Cosimo of the Medici, I' the house that caps the corner. Boh! you were best! Remember and tell me, the day you're hanged, How you affected such a gullet's-gripe! But you, sir, it concerns you that your knaves Pick up a manner nor discredit you: Zooks, are we pilchards, that they sweep the streets And count fair price what comes into their net? He's Judas to a tittle, that man is! Just such a face! Why, sir, you make amends. Lord, I'm not angry! Bid your hang-dogs go Drink out this quarter-florin to the health Of the munificent House that harbours me (And many more beside, lads! more beside!) And all's come square again. PAGE 279

Title: Fra Lippo Lippi Author: Robert Browning Speaker: LIPPO to cops Location: beginning and before autobiography Significance: 279 established (night watch, gets on the good side of cops to talk to them) Convo = self revelation (280) Monk painter who has to paint saints but rather prostitutes (contradiction) torches = night, out of convent and apprehended by night watch monk near a brothel is bad he admits carmine= cloister gives him status, artist constrained by law = catholic monk constrained cops back off after he mentions Cosimo Emotional constructs shift and he says they were bested One has become engratiating so Lippo has upperhand performing act = bribing Browning and the dramatic monologue - invokes presence of others Reader has to imagine setting and moment Artistic creation captures moment in dramatic sequence Very stagey Expounding his theory of art (bucking victorian notions of propriety)

Yes, I'm the painter, since you style me so. What, brother Lippo's doings, up and down, You know them and they take you? like enough! I saw the proper twinkle in your eye— 'Tell you, I liked your looks at very first. Let's sit and set things straight now, hip to haunch. Here's spring come, and the nights one makes up bands To roam the town and sing out carnival, And I've been three weeks shut within my mew, A-painting for the great man, saints and saints And saints again. I could not paint all night— Ouf! I leaned out of window for fresh air. There came a hurry of feet and little feet, A sweep of lute strings, laughs, and whifts of song, — Flower o' the broom, Take away love, and our earth is a tomb! Flower o' the quince, And a face that looked up . . . zooks, sir, flesh and blood, That's all I'm made of! Into shreds it went, Curtain and counterpane and coverlet, All the bed-furniture—a dozen knots, There was a ladder! Down I let myself, Hands and feet, scrambling somehow, and so dropped, And after them. I came up with the sun PAGE 280

Title: Fra Lippo Lippi Author: Robert Browning Speaker: lippo to cops Location: BEGINNING - why he is outside as a monk before autobiographical Significance: I heard singing and decided to come Browning and the dramatic monologue - invokes presence of others Reader has to imagine setting and moment Artistic creation captures moment in dramatic sequence Very stagey Expounding his theory of art (bucking victorian notions of propriety) 280: antagonism btw society's rules vs being yourself (removes what energizes you) Poverty makes one an acute observer; life depends on it Hypocrisy of religious and social institutions that stunt human spirit All people are of interest and value

"Rub all out!" Well, well, there's my life, in short, And so the thing has gone on ever since. I'm grown a man no doubt, I've broken bounds: You should not take a fellow eight years old And make him swear to never kiss the girls. I'm my own master, paint now as I please— Having a friend, you see, in the Corner-house! Lord, it's fast holding by the rings in front— Those great rings serve more purposes than just To plant a flag in, or tie up a horse! And yet the old schooling sticks, the old grave eyes Are peeping o'er my shoulder as I work, The heads shake still—"It's art's decline, my son! 284

Title: Fra Lippo Lippi Author: Robert Browning Speaker: prior Location: DEBATE after auto and before theory of art Significance: disgusted by fleshiness challenge lippo faces outside and inside convent monk gives him a little more freedom Poverty makes one an acute observer; life depends on it Hypocrisy of religious and social institutions that stunt human spirit All people are of interest and value

And hereupon he bade me daub away. Thank you! my head being crammed, the walls a blank, Never was such prompt disemburdening. First, every sort of monk, the black and white, I drew them, fat and lean: then, folk at church, From good old gossips waiting to confess Their cribs of barrel-droppings, candle-ends,— To the breathless fellow at the altar-foot, Fresh from his murder, safe and sitting there With the little children round him in a row Of admiration, half for his beard and half For that white anger of his victim's son Shaking a fist at him with one fierce arm, Signing himself with the other because of Christ (Whose sad face on the cross sees only this After the passion of a thousand years) Till some poor girl, her apron o'er her head, (Which the intense eyes looked through) came at eve On tiptoe, said a word, dropped in a loaf, Her pair of earrings and a bunch of flowers'' The monks closed in a circle and praised loud Till checked, taught what to see and not to see, Being simple bodies,—"That's the very man! Look at the boy who stoops to pat the dog! That woman's like the Prior's niece who comes To care about his asthma: it's the life!'' But there my triumph's straw-fire flared and funked; Their betters took their turn to see and say: The Prior and the learned pulled a face And stopped all that in no time. "How? what's here? Quite from the mark of painting, bless us all! Faces, arms, legs, and bodies like the true As much as pea and pea! it's devil's-game! Your business is not to catch men with show, With homage to the perishable clay, But lift them over it, ignore it all, Make them forget there's such a thing as flesh. Your business is to paint the souls of men— Man's soul, and it's a fire, smoke . . . no, it's not . . . It's vapour done up like a new-born babe— (In that shape when you die it leaves your mouth) It's . . . well, what matters talking, it's the soul! Give us no more of body than shows soul! Here's Giotto, with his Saint a-praising God, That sets us praising—why not stop with him? Why put all thoughts of praise out of our head With wonder at lines, colours, and what not? Paint the soul, never mind the legs and arms! Rub all out, try at it a second time. Oh, that white smallish female with the breasts, 283/284

Title: Fra Lippo Lippi Author: Robert Browning Speaker: prior Location: DEBATES ABOUT ART after autobiography and before his theory of art Significance: painting everyone, everyone interesting even evil paints what really seees monks think too fleshy and too much human sense inarticulate about what he should paint Poverty makes one an acute observer; life depends on it Hypocrisy of religious and social institutions that stunt human spirit All people are of interest and value

This summer the attention of the civilised world has been arrested by the story which Mr. Stanley has told of Darkest Africa and his journeyings across the heart of the Lost Continent. In all that spirited narrative of heroic endeavour, nothing has so much impressed the imagination, as his description of the immense forest, which offered an almost impenetrable barrier to his advance. PAGE 291

Title: In Darkest England Author: Booth/Stead Speaker: Booth Location: Chapter 1 "Why Darkest England?" Beginning Significance: Salvation Army response to urban poverty and inadequacy of new poor law/attitudes Easier to apply to inoffensive objects (tiny tim) so focus on criminal poor 291- racism in opening pages Contrasts savages and animals to urban poor Strategically smart for audience by referencing best seller But uses content of book to compare domestic africa (natives are wretched And barbaric is in england poor) OFFENSIVE METAPHORS The white man's burden: obligation to lift everyone up Stead felt motivated by it (smug superiority with ethinic + desire to help) Solving african natives problems + urban poor contribute to christian uplift

In taking this course I am aware that I cut myself off from a wide and attractive field; but as a practical man, dealing with sternly prosaic facts, I must confine my attention to that particular section of the problem which clamours most pressingly for a solution. Only one thing I may say in passing. Then is nothing in my scheme which will bring it into collision either with Socialists of the State, or Socialists of the Municipality, with Individualists or Nationalists, or any of the various schools of though in the great field of social economics−− excepting only those anti−christian economists who hold that it is an offence against the doctrine of the survival of the fittest to try to save the weakest from going to the wall, and who believe that when once a man is down the supreme duty of a self−regarding Society is to jump upon him. Such economists will naturally be disappointed with this book I venture to believe that all others will find nothing in it to offend their favourite theories, but perhaps something of helpful suggestion which they may utilise hereafter. PAGE 297

Title: In Darkest England Author: Booth/Stead Speaker: Booth Location: Chapter 2 "The Submerged Tenth" (drowning metaphor from picture) Beginning Significance: 297: one form of economic thinking Science says jump on poor when down + cruelty Distance himself from modern science/eco thinking 299: sternly prosaic facts Sees himself as contribution to scientific literature Stats fundamental to survey poor 208 figures Salvation Army response to urban poverty and inadequacy of new poor law/attitudes Easier to apply to inoffensive objects (tiny tim) so focus on criminal poor What SA wanted to do poster/allegory of what they do

What, then, is the standard towards which we may venture to aim with some prospect of realisation in our time? It is a very humble one, but if realised it would solve the worst problems of modern Society. It is the standard of the London Cab Horse. When in the streets of London a Cab Horse, weary or careless or stupid, trips and falls and lies stretched out in the midst of the traffic there is no question of debating how he came to stumble before we try to get him on his legs again. The Cab Horse is a very real illustration of poor broken−down humanity; he usually falls down because of overwork and underfeeding. If you put him on his feet without altering his conditions, it would only be to give him another dose of agony; but first of all you'll have to pick him up again. It may have been through overwork or underfeeding, or it may have been all his own fault that he has broken his knees and smashed the shafts, but that does not matter. If not for his own sake, then merely in order to prevent an obstruction of the traffic, all attention is concentrated upon the question of how we are to get him on his legs again. Tin load is taken off, the harness is unbuckled, or, if need be, cut, and everything is done to help him up. Then he is put in the shafts again and once more restored to his regular round of work. That is the first point. The second is that every Cab Horse in London has three things; a shelter for the night, food for its stomach, and work allotted to it by which it can earn its corn. PAGE 298

Title: In Darkest England Author: Booth/Stead Speaker: Booth Location: Chapter 2 "The Submerged Tenth" (drowning metaphor from picture) Beginning Significance: 298: sarcasm Human falls (your fault!) Wouldn't say that to horse Treat people as well as treat horses Can't afford to have obstruction Water + Bind wounds then see where to go from there Primary model even above religious ambition Aleve our skepticism by giving us real reports and normal ppl In Darkest England as journalistic exposé Crusading journalist facts/figures (explicitly identified as journal) Reporters

How can we take the census of those who have fallen below the Cab Horse standard to which it is our aim to elevate the most wretched of our countrymen? The moment you attempt to answer this question, you are confronted by the fact that the Social Problem has scarcely been studied at all scientifically. Go to Mudie's and ask for all the books that have been written on the subject, and you will be surprised to find how few there are. There are probably more scientific books treating of diabetes or of gout than there are dealing with the great social malady which eats out the vitals of such numbers of our people. Mr. Charles Booth attempts to form some kind of an idea as to the numbers of those with whom we have to deal. PAGE 299

Title: In Darkest England Author: Booth/Stead Speaker: Booth Location: Chapter 2 "The Submerged Tenth" (drowning metaphor from picture) Beginning Significance: 299: sternly prosaic facts Sees himself as contribution to scientific literature Stats fundamental to survey poor 208 figures

The following are some statements taken down by the same Officer from twelve men whom he found sleeping on the Embankment on the nights of June 13th and 14th, 1890:− PAGE 304

Title: In Darkest England Author: Booth/Stead Speaker: Booth Location: Chapter 3 "The Homeless" Middle Significance: Pg 304- specific sample The poor actually talking about how they live

Here is the return of one of my Officers who was told off this summer to report upon the actual condition of the Homeless who have no roof to shelter them in all London: −− There are still a large number of Londoners and a considerable percentage of wanderers from the country in search of work, who find themselves at nightfall destitute. These now betake themselves to the seats under the plane trees on the Embankment. Formerly they endeavoured to occupy all the seats, but the lynx−eyed Metropolitan Police declined to allow any such proceedings, and the dossers, knowing the invariable kindness of the City Police, made tracks for that portion of the Embankment which, lying east of the Temple, comes under the control of the Civic Fathers. The intelligent−looking elderly man, who was just fixing himself up on a seat, informed me that he frequently made that his night's abode. "You see," quoth he, "there's nowhere else so comfortable. I was here last night, and Monday and Tuesday as well, that's four nights this week. I had no money for lodgings, couldn't earn any, try as I might. I've had one bit of bread to−day nothing else whatever, and I've earned nothing to−day or yesterday; I had threepence the day before. Gets my living by carrying parcels, or minding horses, or odd jobs of that sort. You see I haven't got my health, that's where it is. I used to work on the London General Omnibus Company and after that on the Road Car Company, but I had to go to the infirmary with bronchitis and couldn't get work after that. Yes! its very fair out here of nights, seats rather hard, but a bit of waste paper makes it a lot softer. We have women sleep here often, and children, too. They're very well conducted, and there's seldom many rows here, you see, because everybody's tired out. We're too sleepy to make a row." PAGE 303

Title: In Darkest England Author: Booth/Stead Speaker: Booth Location: Chapter 3 "The Homeless" Middle Significance: PG 303- report bury issues 303: fired bc health problem but not bitter (appealing)

How many are there who have made similar attempts and have failed, and we have heard of them no more! Yet none of them proposed to deal with more than the mere fringe of the evil which, God helping me, I will try to face in all its immensity. Most Schemes that are put forward for the Improvement of the Circumstances of the People are either avowedly or actually limited to those whose condition least needs amelioration. The Utopians, the economists, and most of the philanthropists propound remedies, which, if adopted to−morrow, would only affect the aristocracy of the miserable. It is the thrifty, the industrious, the sober, the thoughtful who can take advantage of these plans. But the thrifty, the industrious, the sober, and the thoughtful are already very well able for the most part to take care of themselves. No one will ever make even a visible dint on the Morass of Squalor who does not deal with the improvident, the lazy, the vicious, and the criminal. 311

Title: In Darkest England Author: Booth/Stead Speaker: Booth Location: Chapter 4 "The Out Of Works" Middle Significance: 311: poor not morally virtuous? Criminal need religious uplift, not just tim

To get a man soundly saved it is not enough to put on him a pair of new breeches, to give him regular work, or even to give him a University education. These things are all outside a man, and if the inside remains unchanged you have wasted your labour. You must in some way or other graft upon the man's nature a new nature, which has in it the element of the Divine. All that I propose in this book is governed by that principle. 317

Title: In Darkest England Author: Booth/Stead Speaker: Booth Location: Chapter 5 "On the Verge of the Abyss" END Significance: 317*- saving souls only way to deal with vicious, book has overtly christina orientation, Austince sees bible verses, argumentative techniques to convince non religious ppl passage is making proposals about how to save a person you don't save them by giving the, clothes and job and education but by changing nature

That is an authentic human document−−a transcript from the life of one among thousands who go down inarticulate into the depths, They die and make no sign, or, worse still, they continue to exist, carrying about with them, year after year, the bitter ashes of a life from which the furnace of misfortune has burnt away all joy, and hope, and strength. 315

Title: In Darkest England Author: Booth/Stead Speaker: Booth Location: Chapter 5 "On the Verge of the Abyss" END Significance: depths = sea of despair/drowning Irony to drowning imagery

Mere lectures against the evil habit are, however, of no avail. We have to recognise, that the gin−palace, like many other evils, although a poisonous, is still a natural outgrowth of our social conditions. The tap−room in many cases is the poor man's only parlour. Many a man takes to beer, not from the love of beer, but from a natural craving for the light, warmth, company, and comfort which is thrown in along with the beer, and which he cannot get excepting by buying beer. Reformers will never get rid of the drink shop until they can outbid it in the subsidiary attractions which it offers to its customers. Then, again, let us never forget that the temptation to drink is strongest when want is sharpest and misery the most acute. A well−fed man is not driven to drink by the craving that torments the hungry; and the comfortable do not crave for the boon of forgetfulness. Gin is the only Lethe of the miserable. 319

Title: In Darkest England Author: Booth/Stead Speaker: Booth Location: Chapter 6 "The Vicious" END Significance: 319: vices Warmth and civil in tavern with beer Social centers

The question of the harlots is, however, quite as insoluble by the ordinary methods. For these unfortunates no one who looks below the surface can fail to have the deepest sympathy. Some there are, no doubt, perhaps many, who−−whether from inherited passion or from evil education−−have deliberately embarked upon a life of vice, but with the majority it is not so. Even those who deliberately and of free choice adopt the profession of a prostitute, do so under the stress of temptations which few moralists seem to realise. Terrible as the fact is, there is no doubt it is a fact that there is no industrial career in which for a short time a beautiful girl can make as much money with as little trouble as the profession of a courtesan. The case recently tried at the Lewes assizes, in which the wife of an officer in the army admitted that while living as a kept mistress she had received as much as #4,000 a year, was no doubt very exceptional. Even the most successful adventuresses seldom make the income of a Cabinet Minister. But take women in professions and in businesses all round, and the number of young women who have received #500 in one year for the sale of their person is larger than the number of women of all ages who make a similar sum by honest industry. It is only the very few who draw these gilded prizes, and they only do it for a very short time. But it is the few prizes in every profession which allure the multitude, who think little of the many blanks. And speaking broadly, vice offers to every good−looking girl during the first bloom of her youth and beauty more money than she can earn by labour in any field of industry open to her sex. The penalty exacted afterwards is disease, degradation and death, but these things at first are hidden from her sight. 320/321

Title: In Darkest England Author: Booth/Stead Speaker: Booth Location: Chapter 6 "The Vicious" END Significance: 320 prosituton - practical but no resentment

BARBARA. Well? CUSINS. Not a ray of hope. Everything perfect, wonderful, real. It only needs a cathedral to be a heavenly city instead of a hellish one. BARBARA. Have you found out whether they have done anything for old Peter Shirley. CUSINS. They have found him a job as gatekeeper and timekeeper. He's frightfully miserable. He calls the timekeeping brainwork,and says he isn't used to it; and his gate lodge is so splendidthat he's ashamed to use the rooms, and skulks in the scullery. BARBARA. Poor Peter! Stephen arrives from the town. He carries a fieldglass. STEPHEN [enthusiastically] Have you two seen the place? Why did you leave us? CUSINS. I wanted to see everything I was not intended to see; and Barbara wanted to make the men talk. STEPHEN. Have you found anything discreditable? CUSINS. No. They call him Dandy Andy and are proud of his being a cunning old rascal; but it's all horribly, frightfully,immorally, unanswerably perfect. Sarah arrives. SARAH. Heavens! what a place! [She crosses to the trolley]. Did you see the nursing home!? [She sits down on the shell]. STEPHEN. Did you see the libraries and schools!? SARAH. Did you see the ballroom and the banqueting chamber in the Town Hall!? STEPHEN. Have you gone into the insurance fund, the pension fund, the building society, the various applications of co-operation!? 130

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 3 Shaws alt solution to poor: Creative evolution/life force Only do good work in human society when impt elements of culture join forces Arts conce religion capa Give poor pwr (well fed) THE FOUNDRY ACT 3 130- wonderful jobs and amenities Shaw shows corporation doing socially responsible things for employers Enterprise like this makes morally consequence of wealth rather than cause undershaft= capital dofus= art barb= conventionalist Significance:

LADY BRITOMART. My dear Stephen: where is the money to come from? It is easy enough for you and the other children to live on my income as long as we are in the same house; but I can't keep four families in four separate houses. You know how poor my father is: he has barely seven thousand a year now; and really, if he were not the Earl of Stevenage, he would have to give up society. He can do nothing for us: he says, naturally enough, that it is absurd that he should be asked to provide for the children of a man who is rolling in money. You see, Stephen, your father must be fabulously wealthy, because there is always a war going on somewhere. STEPHEN. You need not remind me of that, mother. I have hardly ever opened a newspaper in my life without seeing our name in it. The Undershaft torpedo! The Undershaft quick firers! The Undershaft ten inch! the Undershaft disappearing rampart gun! the Undershaft submarine! and now the Undershaft aerial battleship! At Harrow they called me the Woolwich Infant. At Cambridge it was the same. A little brute at King's who was always trying to get up revivals, spoilt my Bible--your first birthday present to me--by writing under my name, "Son and heir to Undershaft and Lazarus, Death and Destruction Dealers: address, Christendom and Judea." But that was not so bad as the way I was kowtowed to everywhere because my father was making millions by selling cannons. 55

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 1 Significance: 56- cruelty from weapons

UNDERSHAFT. One moment, Mr Lomax. I am rather interested in the Salvation Army. Its motto might be my own: Blood and Fire. LOMAX [shocked] But not your sort of blood and fire, you know. UNDERSHAFT. My sort of blood cleanses: my sort of fire purifies. BARBARA. So do ours. Come down to-morrow to my shelter--the West Ham shelter--and see what we're doing. We're going to march to a great meeting in the Assembly Hall at Mile End. Come and see the shelter and then march with us: it will do you a lot of good. Can you play anything? UNDERSHAFT. In my youth I earned pennies, and even shillings occasionally, in the streets and in public house 69

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 1 Significance: 69: interest in SA competitions

UNDERSHAFT. May I ask have you ever saved a maker of cannons? BARBARA. No. Will you let me try? UNDERSHAFT. Well, I will make a bargain with you. If I go to see you to-morrow in your Salvation Shelter, will you come the day after to see me in my cannon works? BARBARA. Take care. It may end in your giving up the cannons for the sake of the Salvation Army. UNDERSHAFT. Are you sure it will not end in your giving up the Salvation Army for the sake of the cannons? BARBARA. I will take my chance of that. UNDERSHAFT. And I will take my chance of the other. [They shake hands on it]. Where is your shelter? BARBARA. In West Ham. At the sign of the cross. Ask anybody in Canning Town. Where are your works? UNDERSHAFT. In Perivale St Andrews. At the sign of the sword. Ask anybody in Europe. 71/72

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 1 Significance: 72: sets up play

STEPHEN. What could they do? He does not actually break the law. LADY BRITOMART. Not break the law! He is always breaking the law. He broke the law when he was born: his parents were not married. STEPHEN. Mother! Is that true? LADY BRITOMART. Of course it's true: that was why we separated. STEPHEN. He married without letting you know this! LADY BRITOMART [rather taken aback by this inference] Oh no. To do Andrew justice, that was not the sort of thing he did.Besides, you know the Undershaft motto: Unashamed. Everybody page 10 / 193 knew. STEPHEN. But you said that was why you separated. LADY BRITOMART. Yes, because he was not content with being a foundling himself: he wanted to disinherit you for anotherfoundling. That was what I couldn't stand. 56

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 1 Significance: Eccentric in notions of inheritance: When I die I want handled by another foundling

LADY BRITOMART [peremptorily] Sit down, all of you. [They sit. Cusins crosses to the window and seats himself there. Lomax takes a chair. Barbara sits at the writing table and Sarah on thesettee]. I don't in the least know what you are laughing at, Adolphus. I am surprised at you, though I expected nothing better from Charles Lomax. CUSINS [in a remarkably gentle voice] Barbara has been trying to teach me the West Ham Salvation March. LADY BRITOMART. I see nothing to laugh at in that; nor should you if you are really converted. CUSINS [sweetly] You were not present. It was really funny, I believe. LOMAX. Ripping. LADY BRITOMART. Be quiet, Charles. Now listen to me, children. Your father is coming here this evening. [General stupefaction]. LOMAX [remonstrating] Oh I say! LADY BRITOMART. You are not called on to say anything, Charles. SARAH. Are you serious, mother? LADY BRITOMART. Of course I am serious. It is on your account, Sarah, and also on Charles's. [Silence. Charles looks painfully unworthy]. I hope you are not going to object, Barbara. BARBARA. I! why should I? My father has a soul to be saved like anybody else. He's quite welcome as far as I am concerned. LOMAX [still remonstrant] But really, don't you know! Oh I say! LADY BRITOMART [frigidly] What do you wish to convey, Charles? 65

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 1 Significance: introduces devil

MORRISON [at the door] The--er--Mr Undershaft. [He retreats in confusion]. Andrew Undershaft comes in. All rise. Lady Britomart meets him in the middle of the room behind the settee. Andrew is, on the surface, a stoutish, easygoing elderly man, with kindly patient manners, and an engaging simplicity of character. But he has a watchful, deliberate, waiting, listening face, and formidable reserves of power, both bodily and mental, in his capacious chest and long head. His gentleness is partly that of a strong man who has learnt by experience that his natural grip hurts ordinary people unless he handles them very carefully, and partly the mellowness of age and success. He is also a little shy in his present very delicate situation. LADY BRITOMART. Good evening, Andrew. UNDERSHAFT. How d'ye do, my dear. LADY BRITOMART. You look a good deal older. UNDERSHAFT [apologetically] I AM somewhat older. [With a touch of courtship] Time has stood still with you. LADY BRITOMART [promptly] Rubbish! This is your family. UNDERSHAFT [surprised] Is it so large? I am sorry to say my memory is failing very badly in some things. [He offers his hand with paternal kindness to Lomax]. LOMAX [jerkily shaking his hand] Ahdedoo. UNDERSHAFT. I can see you are my eldest. I am very glad to meet you again, my boy. LOMAX [remonstrating] No but look here don't you know--[Overcome] Oh I say! LADY BRITOMART [recovering from momentary speechlessness] Andrew: do you mean to say that you don't remember how many children you have? UNDERSHAFT. Well, I am afraid I--. They have grown so much--er. Am I making any ridiculous mistake? I may as well confess: I recollect only one son. But so many things have happened since, of course--er-- LADY BRITOMART [decisively] Andrew: you are talking nonsense. Of course you have only one son. UNDERSHAFT. Perhaps you will be good enough to introduce me, my dear. LADY BRITOMART. That is Charles Lomax, who is engaged to Sarah. UNDERSHAFT. My dear sir, I beg your pardon. LOMAX. Notatall. Delighted, I assure you. LADY BRITOMART. This is Stephen. UNDERSHAFT [bowing] Happy to make your acquaintance, Mr Stephen. Then [going to Cusins] you must be my son. [Taking Cusins' handsin his] How are you, my young friend? [To Lady Britomart] He isvery like you, my love. CUSINS. You flatter me, Mr Undershaft. My name is Cusins: engaged to Barbara. [Very explicitly] That is Major Barbara Undershaft,of the Salvation Army. That is Sarah, your second daughter. This is Stephen Undershaft, your son. UNDERSHAFT. My dear Stephen, I beg your pardon. STEPHEN. Not at all. UNDERSHAFT. Mr Cusins: I am much indebted to you for explaining so precisely. [Turning to Sarah] Barbara, my dear-- SARAH [prompting him] Sarah. UNDERSHAFT. Sarah, of course. [They shake hands. He goes over to Barbara] Barbara--I am right this time, I hope. BARBARA. Quite right. [They shake hands]. 65/66/67

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 1 Significance: 65: butler announce He seems alert and sensitive which undercuts him as mean

LOMAX [leniently] Well, the more destructive war becomes, the sooner it will be abolished, eh? UNDERSHAFT. Not at all. The more destructive war becomes the more fascinating we find it. No, Mr Lomax, I am obliged to you formaking the usual excuse for my trade; but I am not ashamed of it.I am not one of those men who keep their morals and their business in watertight compartments. All the spare money my trade rivals spend on hospitals, cathedrals and other receptacles for conscience money, I devote to experiments and researches in improved methods of destroying life and property. I have always done so; and I always shall. Therefore your Christmas card moralities of peace on earth and goodwill among men are of no use to me. Your Christianity, which enjoins you to resist not evil, and to turn the other cheek, would make me a bankrupt. My morality--my religion--must have a place for cannons and torpedoes in it. 70/71

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 1 Significance: 70: shaws principle (morally need power)

STEPHEN. But the girls are all right. They are engaged. LADY BRITOMART [complacently] Yes: I have made a very good match for Sarah. Charles Lomax will be a millionaire at 35. But that isten years ahead; and in the meantime his trustees cannot underthe terms of his father's will allow him more than 800 pounds a year. STEPHEN. But the will says also that if he increases his income by his own exertions, they may double the increase. LADY BRITOMART. Charles Lomax's exertions are much more likely to decrease his income than to increase it. Sarah will have to findat least another 800 pounds a year for the next ten years; andeven then they will be as poor as church mice. And what about Barbara? I thought Barbara was going to make the most brilliant career of all of you. And what does she do? Joins the Salvation Army; discharges her maid; lives on a pound a week; and walks in one evening with a professor of Greek whom she has picked up in the street, and who pretends to be a Salvationist, and actually plays the big drum for her in public because he has fallen head over ears in love with her. 53/54

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 1 Significance: Wants advice from son 53- sarcasm bc a lot of $ Stephen frightened when she says inviting father

BILL. I don't want to be forgive be you, or be ennybody. Wot I did I'll pay for. I tried to get me own jawr broke to settisfaw you-- JENNY [distressed] Oh no-- BILL [impatiently] Tell y'I did: cawn't you listen to wot's beintold you? All I got be it was bein made a sight of in the public street for me pains. Well, if I cawn't settisfaw you one way, Ican another. Listen ere! I ad two quid saved agen the frost; an I've a pahnd of it left. A mate n mine last week ad words withthe Judy e's goin to marry. E give er wot-for; an e's bin fined fifteen bob. E ad a right to it er because they was goin to be marrid; but I adn't no right to it you; so put anather fawv bobon an call it a pahnd's worth. [He produces a sovereign]. Ere'sthe money. Take it; and let's av no more o your forgivin anprayin and your Major jawrin me. Let wot I done be done and paid for; and let there be a end of it. 103

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 2 Significance:

BARBARA. Hullo, Bill! Back already! BILL [nagging at her] Bin talkin ever sense, av you? BARBARA. Pretty nearly. Well, has Todger paid you out for poor Jenny's jaw? BILL. NO he ain't. BARBARA. I thought your jacket looked a bit snowy. BILL. So it is snowy. You want to know where the snow come from, don't you? BARBARA. Yes. BILL. Well, it come from off the ground in Parkinses Corner in Kennintahn. It got rubbed off be my shoulders see? BARBARA. Pity you didn't rub some off with your knees, Bill! That would have done you a lot of good. BILL [with your mirthless humor] I was saving another man's knees at the time. E was kneelin on my ed, so e was. JENNY. Who was kneeling on your head? BILL. Todger was. E was prayin for me: prayin comfortable with me as a carpet. So was Mog. So was the ole bloomin meetin. Mog she sez "O Lord break is stubborn spirit; but don't urt is dear art."That was wot she said. "Don't urt is dear art"! An er bloke-- thirteen stun four!--kneelin wiv all is weight on me. Funny, ain't it? JENNY. Oh no. We're so sorry, Mr Walker. BARBARA [enjoying it frankly] Nonsense! of course it's funny. Served you right, Bill! You must have done something to him first. 102

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 2 Significance: 101- bill comes back and todger had prayed for him 102- bills logic is that he will pay (tolerance of domestic abuse), admirable about waker, Parallel to undershaft, has $ to pay to be guilt free and not be burdened with Societal expectations (wants to buy moral freedom)

BARBARA [moving nearer to the drum] Have we got money enough to keep the shelter open? MRS BAINES. I hope we shall have enough to keep all the shelters open. Lord Saxmundham has promised us five thousand pounds-- BARBARA. Hooray! JENNY. Glory! MRS BAINES. --if-- BARBARA. "If!" If what? MRS BAINES. If five other gentlemen will give a thousand each to make it up to ten thousand. BARBARA. Who is Lord Saxmundham? I never heard of him. 105

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 2 Significance: 105: sax mundham is alcohol, a or lbm people have

UNDERSHAFT [sardonically gallant] Mrs Baines: you are irresistible. I can't disappoint you; and I can't deny myself the satisfaction of making Bodger pay up. You shall have your five thousand pounds. MRS BAINES. Thank God! UNDERSHAFT. You don't thank me? MRS BAINES. Oh sir, don't try to be cynical: don't be ashamed of being a good man. The Lord will bless you abundantly; and our prayers will be like a strong fortification round you all thedays of your life. 106

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 2 Significance: 106: dramatic sign og check (consequence of moment) Causes bull to say to barb "what price salvation now?" Bc he gave $ and sells weapons so moral freedom but bill doesn't (107) Barb loses faith in army (realizes SA in pocket of rich)

BARBARA. Drunkenness and Murder! My God: why hast thou forsaken me? She sinks on the form with her face buried in her hands. The march passes away into silence. Bill Walker steals across to her. BILL [taunting] Wot prawce Selvytion nah? SHIRLEY. Don't you hit her when she's down. BILL. She it me wen aw wiz dahn. Waw shouldn't I git a bit o me own back? BARBARA [raising her head] I didn't take your money, Bill. 111

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 2 Significance: 111: barb has been naive about where support of army comes from

RUMMY. Who saved you, Mr. Price? Was it Major Barbara? PRICE. No: I come here on my own. I'm goin to be Bronterre O'Brien Price, the converted painter. I know wot they like. I'lltell em how I blasphemed and gambled and wopped my poor old mother-- RUMMY [shocked] Used you to beat your mother? PRICE. Not likely. She used to beat me. No matter: you come and listen to the converted painter, and you'll hear how she was a pious woman that taught me me prayers at er knee, an how I used to come home drunk and drag her out o bed be er snow white airs, an lam into er with the poker. 77

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 2 Significance: 77- they want you to be bad and saved Both doing a scam SA wanted ppl filled with moral turpitude but both tell fraudulent story to get handout

JENNY [supporting him] Come! pluck up. I'll get you something to eat. You'll be all right then. PRICE [rising and hurrying officiously to take the old man off Jenny's hands] Poor old man! Cheer up, brother: you'll find rest and peace and appiness ere. Hurry up with the food, miss: e's fair done. [Jenny hurries into the shelter]. Ere, buck up, daddy! She's fetchin y'a thick slice o breadn treacle, an a mug o skyblue. [He seats him at the corner of the table]. RUMMY [gaily] Keep up your old art! Never say die! SHIRLEY. I'm not an old man. I'm ony 46. I'm as good as ever I was. The grey patch come in my hair before I was thirty. All it wants is three pennorth o hair dye: am I to be turned on the streets to starve for it? Holy God! I've worked ten to twelve hours a day since I was thirteen, and paid my way all through; and now am I to be thrown into the gutter and my job given to a young man that can do it no better than me because I've black hair that goes white at the first change? 78

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 2 Significance: 78- capitalist abuse SA does good but produces hypocrisy in poor Encourages perform gratefulness Unfair to make them hypocritical Falsely admit to moral turpitude shows that he was a good worker and discriminated against for his age he loses his dignity because he is having to perform as a sinner when really he was discrimated against by capitalistic institutions which SA serves he is hesitant to take handout he is of interest and value, presents poor person on own terms

SHIRLEY [looking at it ravenously but not touching it, and crying like a child] I never took anything before. JENNY [petting him] Come, come! the Lord sends it to you: he wasn't above taking bread from his friends; and why should you be? Besides, when we find you a job you can pay us for it if you like. SHIRLEY [eagerly] Yes, yes: that's true. I can pay you back: it's only a loan. [Shivering] Oh Lord! oh Lord! [He turns to the table and attacks the meal ravenously]. 79

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 2 Significance: 79- hurts dignity and perstic of pwr Humiliated and hard worker Doesn't want to put on an act Shaw suggests that SA bribes people to put on an act of gratefulness and claim Poverty their fault (moral turpitude) Taking pressure of capitalistic system Poor need to be given powers and then moral virtues (charity shouldnt be bribe of fault)

RUMMY [fervently] Glory Hallelujah! Bill Walker, a rough customer of about 25, appears at the yard gate and looks malevolently at Jenny. JENNY. That makes me so happy. When you say that, I feel wiced for loitering here. I must get to work again. She is hurrying to the shelter, when the new-comer moves quickly up to the door and intercepts her. His manner is so threatening that she retreats as he comes at her truculently, driving herdown the yard. BILL. I know you. You're the one that took away my girl. You're the one that set er agen me. Well, I'm goin to av er out. Not that I care a curse for her or you: see? But I'll let er know;and I'll let you know. I'm goin to give er a doin that'll teacher to cut away from me. Now in with you and tell er to come out afore I come in and kick er out. Tell er Bill Walker wants er. She'll know what that means; and if she keeps me waitin it'll be worse. You stop to jaw back at me; and I'll start on you: d'ye hear? There's your way. In you go. [He takes her by the arm and slings her towards the door of the shelter. She falls on her hand and knee. Rummy helps her up again]. PRICE [rising, and venturing irresolutely towards Bill]. Easy there, mate. She ain't doin you no arm. BILL. Who are you callin mate? [Standing over him threateningly]. You're goin to stand up for her, are you? Put up your ands. RUMMY [running indignantly to him to scold him]. Oh, you great brute-- [He instantly swings his left hand back against herface. She screams and reels back to the trough, where shesits down, covering her bruised face with her hands and rocking and moaning with pain]. JENNY [going to her]. Oh God forgive you! How could you strike an old woman like that? BILL [seizing her by the hair so violently that she also screams, and tearing her away from the old woman]. You Gawd forgive me again and I'll Gawd forgive you one on the jaw that'll stop you prayin for a week. [Holding her and turning fiercely on Price]. Av you anything to say agen it? Eh? PRICE [intimidated]. No, matey: she ain't anything to do with me. 80

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 2 Significance: 80- not disadvantaged, violent to rummy

SHIRLEY [with blighting contempt] Yes: you like an old man to hit, don't you, when you've finished with the women. I ain't seen you hit a young one yet. BILL [stung] You lie, you old soupkitchener, you. There was a young man here. Did I offer to hit him or did I not? SHIRLEY. Was he starvin or was he not? Was he a man or only a crosseyed thief an a loafer? Would you hit my son-in-law's brother? BILL. Who's he? SHIRLEY. Todger Fairmile o Balls Pond. Him that won 20 pounds off the Japanese wrastler at the music hall by standin out 17 minutes4 seconds agen him. BILL [sullenly] I'm no music hall wrastler. Can he box? SHIRLEY. Yes: an you can't. BILL. Wot! I can't, can't I? Wot's that you say [threatening him]? SHIRLEY [not budging an inch] Will you box Todger Fairmile if I put him on to you? Say the word. BILL. [subsiding with a slouch] I'll stand up to any man alive, if he was ten Todger Fairmiles. But I don't set up to be a perfessional. 82

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 2 Significance: 81- barb and bill, new bf is shirley's brother

BARBARA [quite sunny and fearless] What did you come to us for? BILL. I come for my girl, see? I come to take her out o this and to break er jaws for her. BARBARA [complacently] You see I was right about your trade. [Bill, on the point of retorting furiously, finds himself, to hisgreat shame and terror, in danger of crying instead. He sits down again suddenly]. What's her name? BILL [dogged] Er name's Mog Abbijam: thats wot her name is. BARBARA. Oh, she's gone to Canning Town, to our barracks there. BILL [fortified by his resentment of Mog's perfidy] is she? [Vindictively] Then I'm goin to Kennintahn arter her. [He crosses to the gate; hesitates; finally comes back at Barbara]. Are you lyin to me to get shut o me? BARBARA. I don't want to get shut of you. I want to keep you here and save your soul. You'd better stay: you're going to have a bad time today, Bill. BILL. Who's goin to give it to me? You, props. BARBARA. Someone you don't believe in. But you'll be glad afterwards. BILL [slinking off] I'll go to Kennintahn to be out o the reach o your tongue. [Suddenly turning on her with intense malice] And if I don't find Mog there, I'll come back and do two years for you, selp me Gawd if I don't! BARBARA [a shade kindlier, if possible] It's no use, Bill. She's got another bloke. BILL. Wot! BARBARA. One of her own converts. He fell in love with her when he saw her with her soul saved, and her face clean, and her hair washed. BILL [surprised] Wottud she wash it for, the carroty slut? It's red. BARBARA. It's quite lovely now, because she wears a new look in her eyes with it. It's a pity you're too late. The new bloke hasput your nose out of joint, Bill. BILL. I'll put his nose out o joint for him. Not that I care a curse for her, mind that. But I'll teach her to drop me as if I was dirt. And I'll teach him to meddle with my Judy. Wots iz bleedin name? BARBARA. Sergeant Todger Fairmile. SHIRLEY [rising with grim joy] I'll go with him, miss. I want to see them two meet. I'll take him to the infirmary when it's over. 85/86

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 2 Significance: 89- shaw likes bill , worked on by army

UNDERSHAFT. Never mind me, my dear. Go about your work; and let me watch it for a while. BARBARA. All right. UNDERSHAFT. For instance, what's the matter with that out-patient over there? BARBARA [looking at Bill, whose attitude has never changed, and whose expression of brooding wrath has deepened] Oh, we shall cure him in no time. Just watch. [She goes over to Bill andwaits. He glances up at her and casts his eyes down again, uneasy, but grimmer than ever]. It would be nice to just stamp on Mog Habbijam's face, wouldn't it, Bill? BILL [starting up from the trough in consternation] It's a lie: Inever said so. [She shakes her head]. Who told you wot was in my mind? BARBARA. Only your new friend. BILL. Wot new friend? BARBARA. The devil, Bill. When he gets round people they get miserable, just like you. BILL [with a heartbreaking attempt at devil-may-care cheerfulness] I ain't miserable. [He sits down again, and stretches his legs in an attempt to seem indifferent]. 89

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 2 Significance: 89- shaw likes bill , worked on by army

BARBARA. Well, if you're happy, why don't you look happy, as we do? BILL [his legs curling back in spite of him] I'm appy enough, I tell you. Why don't you lea me alown? Wot av I done to you? I ain't smashed your face, av I? BARBARA [softly: wooing his soul] It's not me that's getting at you, Bill. BILL. Who else is it? BARBARA. Somebody that doesn't intend you to smash women's faces, I suppose. Somebody or something that wants to make a man of you. BILL [blustering] Make a man o ME! Ain't I a man? eh? ain't I a man? Who sez I'm not a man? BARBARA. There's a man in you somewhere, I suppose. But why did he let you hit poor little Jenny Hill? That wasn't very manly ofhim, was it? BILL [tormented] Av done with it, I tell you. Chock it. I'm sick of your Jenny Ill and er silly little face. BARBARA. Then why do you keep thinking about it? Why does it keep coming up against you in your mind? You're not getting converted,are you? BILL [with conviction] Not ME. Not likely. Not arf. BARBARA. That's right, Bill. Hold out against it. Put out your strength. Don't let's get you cheap. Todger Fairmile said he wrestled for three nights against his Salvation harder than he ever wrestled with the Jap at the music hall. He gave in to the Jap when his arm was going to break. But he didn't give in to his salvation until his heart was going to break. Perhaps you'll escape that. You haven't any heart, have you? BILL. Wot dye mean? Wy ain't I got a art the same as ennybody else? BARBARA. A man with a heart wouldn't have bashed poor little Jenny's face, would he? BILL [almost crying] Ow, will you lea me alown? Av I ever offered to meddle with you, that you come noggin and provowkin me lawk this? [He writhes convulsively from his eyes to his toes]. BARBARA [with a steady soothing hand on his arm and a gentle voice that never lets him go] It's your soul that's hurting you,Bill, and not me. We've been through it all ourselves. Come with us, Bill. [He looks wildly round]. To brave manhood on earth and eternal glory in heaven. [He is on the point of breaking down]. Come. [A drum is heard in the shelter; and Bill, with a gasp, escapes from the spell as Barbara turns quickly. Adolphus enters from the shelter with a big drum]. Oh! there you are, Dolly. Let me introduce a new friend of mine, Mr Bill Walker. This is my bloke, Bill: Mr Cusins. [Cusins salutes with his drumstick]. BILL. Goin to marry im? BARBARA. Yes. BILL [fervently] Gawd elp im! Gawd elp im! BARBARA. Why? Do you think he won't be happy with me? BILL. I've only ad to stand it for a mornin: e'll av to stand it for a lifetime. CUSINS. That is a frightful reflection, Mr Walker. But I can't tear myself away from her. BILL. Well, I can. [To Barbara] Eah! do you know where I'm goin to, and wot I'm goin to do? BARBARA. Yes: you're going to heaven; and you're coming back here before the week's out to tell me so. BILL. You lie. I'm goin to Kennintahn, to spit in Todger Fairmile's eye. I bashed Jenny Ill's face; and now I'll get me own face bashed and come back and show it to er. E'll it me ardern I it er. That'll make us square. [To Adolphus] Is that fair or is it not? You're a genlmn: you oughter know. BARBARA. Two black eyes wont make one white one, Bill. BILL. I didn't ast you. Cawn't you never keep your mahth shut? I ast the genlmn. CUSINS [reflectively] Yes: I think you're right, Mr Walker. Yes: I should do it. It's curious: it's exactly what an ancient Greek would have done. 90/91

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 2 Significance: 91- bull tries not to feel guilty about jenny and spits in toms eye to get beat up

UNDERSHAFT. You shall see. All religious organizations exist by selling themselves to the rich. CUSINS. Not the Army. That is the Church of the poor. UNDERSHAFT. All the more reason for buying it. CUSINS. I don't think you quite know what the Army does for the poor. UNDERSHAFT. Oh yes I do. It draws their teeth: that is enough for me--as a man of business-- CUSINS. Nonsense! It makes them sober-- UNDERSHAFT. I prefer sober workmen. The profits are larger. CUSINS. --honest-- UNDERSHAFT. Honest workmen are the most economical. CUSINS. --attached to their homes-- UNDERSHAFT. So much the better: they will put up with anything sooner than change their shop. CUSINS. --happy-- UNDERSHAFT. An invaluable safeguard against revolution. CUSINS. --unselfish-- UNDERSHAFT. Indifferent to their own interests, which suits me exactly. CUSINS. --with their thoughts on heavenly things-- UNDERSHAFT [rising] And not on Trade Unionism nor Socialism. Excellent. CUSINS [revolted] You really are an infernal old rascal. 98

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 2 Significance: Act 2 shows SA in pocket of rich bc survives off donations 98: pulls teeth Capitalism makes them carry load of guilt and carry religion that makes them Quiet and good for employers

BILL [cynically, aside to Barbara, his voice and accent horribly debased] Wot prawce Selvytion nah? BARBARA. Stop. [Undershaft stops writing: they all turn to her in surprise]. Mrs Baines: are you really going to take this money? MRS BRINES [astonished] Why not, dear? BARBARA. Why not! Do you know what my father is? Have you forgotten that Lord Saxmundham is Bodger the whisky man? Do you remember how we implored the County Council to stop him from writing Bodger's Whisky in letters of fire against the sky; so that the poor drinkruined creatures on the embankment could not wake up from their snatches of sleep without being reminded of their deadly thirst by that wicked sky sign? Do you know that the worst thing I have had to fight here is not the devil, but Bodger, Bodger, Bodger, with his whisky, his distilleries, and his tied houses? Are you going to make our shelter another tied house for him, and ask me to keep it? BILL. Rotten drunken whisky it is too. MRS BRINES. Dear Barbara: Lord Saxmundham has a soul to be saved like any of us. If heaven has found the way to make a good use ofhis money, are we to set ourselves up against the answer to our prayers? BARBARA. I know he has a soul to be saved. Let him come down here; and I'll do my best to help him to his salvation. But hewants to send his cheque down to buy us, and go on being as wicked as ever. 107

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 2 Significance: Bc he gave $ and sells weapons so moral freedom but bill doesn't (107) Barb loses faith in army (realizes SA in pocket of rich)

BARBARA. Oh there you are, Mr Shirley! [Between them] This is my father: I told you he was a Secularist, didn't I? Perhaps you'llbe able to comfort one another. UNDERSHAFT [startled] A Secularist! Not the least in the world: on the contrary, a confirmed mystic. BARBARA. Sorry, I'm sure. By the way, papa, what is your religion--in case I have to introduce you again? UNDERSHAFT. My religion? Well, my dear, I am a Millionaire. That is my religion. BARBARA. Then I'm afraid you and Mr Shirley wont be able to comfort one another after all. You're not a Millionaire, are you, Peter? SHIRLEY. No; and proud of it. UNDERSHAFT [gravely] Poverty, my friend, is not a thing to be proud of. SHIRLEY [angrily] Who made your millions for you? Me and my like. What's kep us poor? Keepin you rich. I wouldn't have your conscience, not for all your income. UNDERSHAFT. I wouldn't have your income, not for all your conscience, Mr Shirley. [He goes to the penthouse and sits down on a form]. 88

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 2 Significance: Pg 88- undershaft visits SA

CUSINS. You know, I do not admit that I am imposing on Barbara. I am quite genuinely interested in the views of the Salvation Army. The fact is, I am a sort of collector of religions; and thecurious thing is that I find I can believe them all. By the way, have you any religion? UNDERSHAFT. Yes. CUSINS. Anything out of the common? UNDERSHAFT. Only that there are two things necessary to Salvation. CUSINS [disappointed, but polite] Ah, the Church Catechism. Charles Lomax also belongs to the Established Church. UNDERSHAFT. The two things are-- CUSINS. Baptism and-- UNDERSHAFT. No. Money and gunpowder. CUSINS [surprised, but interested] That is the general opinion of our governing classes. The novelty is in hearing any man confess it. UNDERSHAFT. Just so. CUSINS. Excuse me: is there any place in your religion for honor, justice, truth, love, mercy and so forth? UNDERSHAFT. Yes: they are the graces and luxuries of a rich, strong, and safe life. CUSINS. Suppose one is forced to choose between them and money or gunpowder? UNDERSHAFT. Choose money and gunpowder; for without enough of both you cannot afford the others. CUSINS. That is your religion? UNDERSHAFT. Yes. 93

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 2 Significance: Pg 92- hangout with barbara Everyone agrees but impolite to say so Capitalism makes them carry load of guilt and carry religion that makes them Quiet and good for employers

THE WOMAN. Feel better otter your meal, sir? THE MAN. No. Call that a meal! Good enough for you, props; but wot is it to me, an intelligent workin man. THE WOMAN. Workin man! Wot are you? THE MAN. Painter. THE WOMAN [sceptically] Yus, I dessay. THE MAN. Yus, you dessay! I know. Every loafer that can't do nothink calls isself a painter. Well, I'm a real painter:grainer, finisher, thirty-eight bob a week when I can get it. THE WOMAN. Then why don't you go and get it? THE MAN. I'll tell you why. Fust: I'm intelligent--fffff! it'srotten cold here [he dances a step or two]--yes: intelligentbeyond the station o life into which it has pleased thecapitalists to call me; and they don't like a man that seesthrough em. Second, an intelligent bein needs a doo share of appiness; so I drink somethink cruel when I get the chawnce.Third, I stand by my class and do as little as I can so's toleave arf the job for me fellow workers. Fourth, I'm fly enoughto know wots inside the law and wots outside it; and inside it Ido as the capitalists do: pinch wot I can lay me ands on. In aproper state of society I am sober, industrious and honest: inRome, so to speak, I do as the Romans do. Wots the consequence? When trade is bad--and it's rotten bad just now--and the employers az to sack arf their men, they generally start on me. 75/76

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 2 Significance: SA does good but produces hypocrisy in poor Encourages perform gratefulness Unfair to make them hypocritical Falsely admit to moral turpitude 75- rummy and snobby Creates characters: working class Aggressive class awareness POV - capitalistic against us sense of class identity reveals snobbys character

price: Wots YOUR name? THE WOMAN. Rummy Mitchens, sir. PRICE [quaffing the remains of his milk to her] Your elth, Miss Mitchens. RUMMY [correcting him] Missis Mitchens. PRICE. Wot! Oh Rummy, Rummy! Respectable married woman, Rummy, gittin rescued by the Salvation Army by pretendin to be a bad un.Same old game! RUMMY. What am I to do? I can't starve. Them Salvation lasses is dear good girls; but the better you are, the worse they likes to think you were before they rescued you. Why shouldn't they av a bit o credit, poor loves? They're worn to rags by their work. And where would they get the money to rescue us if we was to let on we're no worse than other people? You know what ladies and gentlemen are. 76/77

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 2 Significance: pretending to be bad 77- they want you to be bad and saved Both doing a scam SA wanted ppl filled with moral turpitude but both tell fraudulent story to get handout

BARBARA. Is the bargain closed, Dolly? Does your soul belong to him now? CUSINS. No: the price is settled: that is all. The real tug of war is still to come. What about the moral question? LADY BRITOMART. There is no moral question in the matter at all, Adolphus. You must simply sell cannons and weapons to people whose cause is right and just, and refuse them to foreigners and criminals. UNDERSHAFT [determinedly] No: none of that. You must keep the true faith of an Armorer, or you don't come in here. CUSINS. What on earth is the true faith of an Armorer? UNDERSHAFT. To give arms to all men who offer an honest price for them, without respect of persons or principles: to aristocrat and republican, to Nihilist and Tsar, to Capitalist and Socialist, to Protestant and Catholic, to burglar and policeman, to black man white man and yellow man 138

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 3 Significance: 138: adolphus must do what undershaft does

UNDERSHAFT. Hatred is the coward's revenge for being intimidated. Dare you make war on war? Here are the means: my friend Mr Lomax is sitting on them. 147

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 3 Significance: 147: peaceful purpose of convention Peace + sell to right ppl (war on war)

BARBARA. I should have given you up and married the man who accepted it. After all, my dear old mother has more sense than any of you. I felt like her when I saw this place--felt that Imust have it--that never, never, never could I let it go; only she thought it was the houses and the kitchen ranges and the linen and china, when it was really all the human souls to be saved: not weak souls in starved bodies, crying with gratitude or a scrap of bread and treacle, but fullfed, quarrelsome, snobbish, uppish creatures, all standing on their little rights and dignities, and thinking that my father ought to be greatly obliged to them for making so much money for him--and so he ought. That is where salvation is really wanted. My father shall never throw it in my teeth again that my converts were bribed with bread. [She is transfigured]. I have got rid of the bribe of bread. I have got rid of the bribe of heaven. Let God's work be done for its own sake: the work he had to create us to do because it cannot he done by living men and women. When I die, let him be in my debt, not I in his; and let me forgive him as becomes a woman of my rank. 152

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Act 3 Significance: 152: barb drawn to methods (spiritual independence) not act of gratitude UNDERSHAFT:VIRTUE IS RESULT OF WEALTH RATHER THAN CAUSE OF IT

Even the handful of mentally competent critics got into difficulties over my demonstra- tion of the economic deadlock in which the Salvation Army finds itself. Some of them thought that the Army would not have taken money from a distiller and a cannon founder: others thought it should not have taken it: all assumed more or less definitely that it re- duced itself to absurdity or hypocrisy by tak- ing it. On the first point the reply of the Army itself was prompt and conclusive. As one of its officers said, they would take money from the devil himself and be only too glad to get it out of his hands and into God's. They grate- fully acknowledged that publicans not only give them money but allow them to collect it in the bar—sometimes even when there is a Salvation meeting outside preaching teetotal- ism. In fact, they questioned the verisimili- tude of the play, not because Mrs Baines took the money, but because Barbara refused it. 25/26

Title: Major Barbara Author: George Bernard Shaw Speaker: Location: Preface 25/26 based on false idea Barb makes her dimwitted false ideas about SA financial donations but everyone Else understands (kind of misinterprets) SA emotional bribery + rich off hook Capitalist based poor relief

The universal regard for money is the one hopeful fact in our civiliza- tion, the one sound spot in our social con- science. Money is the most important thing in the world. It represents health, strength, honor, generosity and beauty as conspicu- ously and undeniably as the want of it rep- resents illness, weakness, disgrace, meanness and ugliness. Not the least of its virtues is that it destroys base people as certainly as it fortifies and dignifies noble people. It is only when it is cheapened to worthlessness for some, and made impossibly dear to oth- ers, that it becomes a curse. In short, it is a curse only in such foolish social conditions that life itself is a curse. For the two things are inseparable: money is the counter that enables life to be distributed socially: it is life as truly as sovereigns and bank notes are money. 21/22

Title: Major Barbara Author: George Bernard Shaw Speaker: Shaw Location: Preface (beginning) Significance: undershaft utters views shaw wants us to adopt, wealth comes first, Wants to make us uncomfortable and reveals his position in preface (21) Proper ppl were freaked by values of shaw If you have wealth, good things follow it LESS SENTIMENTAL! - need $ to have good things Critique of SA relieving poor SA has emphasis on moral uplift _ saving souls 2nd act is a dramatic challenge - crippling effects Criticize capitalism and charities complicit with it Blurr spheres

THE GOSPEL OF ST. ANDREW UNDERSHAFT In the millionaire Un- dershaft I have represented a man who has become intellectually and spiritually as well as practically conscious of the irresistible nat- ural truth which we all abhor and repudi- ate: to wit, that the greatest of evils and the worst of crimes is poverty, and that our first duty—a duty to which every other consider- ation should be sacrificed—is not to be poor. "Poor but honest," "the respectable poor," and such phrases are as intolerable and as im- moral as "drunken but amiable," "fraudulent but a good after-dinner speaker," "splendidly criminal," or the like. Security, the chief pre- tence of civilization, cannot exist where the worst of dangers, the danger of poverty, hangs over everyone's head, 15

Title: Major Barbara Author: George Bernard Shaw Speaker: Shaw Location: Preface (beginning) Significance: PG 15: undershaft utters views shaw wants us to adopt, wealth comes first, Wants to make us uncomfortable and reveals his position in preface (21) Proper ppl were freaked by values of shaw If you have wealth, good things follow it LESS SENTIMENTAL! - need $ to have good things Critique of SA relieving poor SA has emphasis on moral uplift _ saving souls 2nd act is a dramatic challenge - crippling effects Criticize capitalism and charities complicit with it Blurr spheres

SIR JOHN. Eh! what, my dear boy? what? Ha! ha! all humbug, was it? all humbug, upon my soul! So, Mr. Sharp, isn't he ruined after all? not the least, wee, rascally, little bit in the world, ruined? SHARP.Sir, he has never even lived up to his income. SIR JOHN. Worthy man! I could jump up to the ceiling! I am the happiest father−in−law in the three kingdoms. And that's my sister's knock too. GRAVES.Georgina herself then there's no hope. SIR JOHN.What the deuce brings that fellow Blount here? Georgy, my dear Georgy, I want to EVELYN. Stand back, Sir John. SIR JOHN.But I must speak a word to her I want to EVELYN.Stand back, I say, not a whisper not a sign. If your daughter is to be my wife, to her heart only will I look for a Georgina, it is true, then, that you trust me with your confidence your fortune. Is it also true that, when you did so, you believed me ruined? O, pardon the doubt! Answer as if your father stood notthere answer me from that truth the world cannot yet have plucked from your soul answer as if the woe or weal of a life trembled in the balance answer as the woman's heart, yet virgin and unpolluted, should answer to one who has trusted to it his all! GEORGINA. What can he mean? SIR JOHN (making signs). She won't look this way, she won't! hang her! Hem! EVELYN.You falter. I implore I adjure you answer! LADY FRANKLIN (to Georgina). The truth! GEORGINA: Mr. Evelyn; your fortune might well dazzle me, as it dazzled others. Believe me, I sincerely pity your reverses. SIR JOHN.Good girl: you hear her, Evelyn? GEORGINA.What's money without happiness? SIR JOHN.Clever creature! noble sentiment! GEORGINA. And, so, as our engagement is now annulled, papa told me so this very morning, I have promised my hand where I have given my heart to Sir Frederick Blount. SIR JOHN.I told you, I? No such thing no such thing: you frighten her out of her wits she don't know what she's saying. EVELYN.Am I awake? But this letter this letter, received to−day LADY FRANKLIN (looking over the letter). "Ten thousand pounds just placed to your account from the same unknown friend to Alfred Evelyn." Oh, Clara, I know now why you went to Drummond's this morning! EVELYN. Clara! What! and the former one with the same signature on the faith of which I pledged my hand and sacrificed my heart LADY FRANKLIN.Was written under my eyes, and the secret kept that EVELYN. Look up, look up, Clara I am free! I am released! you forgive me? you love me? you are mine! We arerich rich! I can give you fortune, power, I can devote to you my whole life, thought, heart, soul I am all yours, Clara my own my wife! PAGES 276-277

Title: Money Author: Edward Bulwer Lytton Speaker: Location: act 5, after Clara explains herself (end) Significance: "to her heart only will I look for a reply to mine" - outside realm of trade in terms of affection "and the secret kept that" - unselfish generosity to Evelyn (2 ways Clara tested)

CLARA.Ah, Evelyn! Never never! EVELYN. Never! CLARA.Forget this folly; our union is impossible, and to talk of love were to deceive both! EVELYN (bitterly). Because I am poor! Clara. And I too! A marriage of privation of penury of days that dread the morrow! I have seen such a lot! Never return to this again. PAGE 231

Title: Money Author: Edward Bulwer Lytton Speaker: Clara Evelyn Location: act 1 scene 1; beginning; after Blount flirts with Clara and before the will is read Significance: thinks Clara wants to marry for $

They stop irresolute. EVELYN: That's right come along. But, I say, Blount Stout Glossmore Sir John one word first: will you lend me 10 l. for my old nurse? PAGE 268

Title: Money Author: Edward Bulwer Lytton Speaker: Evelyn Location: after Evelyn asks G for $ and before Sir John thinks that Evelyn is trying to get elected to escape destitution Act 4 Significance: 268: old nurse, charity is a trade (give $ to rich)

EVELYN (to Clara). Ah, Clara, you you have succeeded where wealth had failed! You have reconciled me to the world and to mankind. My friends we must confess it amidst the humours and the follies, the vanities, deceits, and vices that play their part in the Great Comedy of Life it is our own fault if we do not find such natures, though rare and few, as redeem the rest, brightening the shadows that are flung from the form and body of the TIME with glimpses of the everlasting holiness of truth and love. GRAVES.But for the truth and the love, when found, to make us tolerably happy, we should not be without LADY FRANKLIN. Good health; GRAVES. Good spirits; CLARA. A good heart; SMOOTH. An innocent rubber; BLOUNT.A pwoper degwee of pwudence; STOUT. Enlightened opinions; GLOSSMORE. Constitutional principles; SIR JOHN. Knowledge of the world; EVELYN. And plenty of Money! PAGE 278

Title: Money Author: Edward Bulwer Lytton Speaker: Evelyn Clara Location: act 5, END after Evelyn and Clara together from Georginas choice Significance: no longer bitter about money because it is helpful addendum to moral virtue

EVELYN.Miss Douglas, I may well want words to thank you; this goodness this sympathy CLARA (abandoning herself to her emotion).Evelyn! Evelyn! Do not talk thus! Goodness! sympathy! I have learned all all! It is for ME to speak of gratitude! What! even when I had so wounded you when you believed me mercenary and cold when you thought that I was blind and base enough not to know you for what you are; even at that time you thought but of my happiness my fortunes my fate! And to you you I owe all that has raised the poor orphan from servitude and dependence! While your words were so bitter, your deeds so gentle! Oh, noble Evelyn, this, then, was your revenge! EVELYN. You owe me no thanks; that revenge was sweet! Think you it was nothing to feel that my presence haunted you, though you knew it not? that in things, the pettiest as the greatest, which that gold could buy the very jewels you wore the very robe in which, to other eyes, you might seem more fair in all in which you took the woman's young and innocent delight I had a part a share? that even if separated for ever even if another's even in distant years perhaps in a happy home, listening to sweet voices, that might call you "mother!" even then should the uses of that dross bring to your lips one smile that smile was mine due to me due, as a sacred debt, to the hand that you rejected to the love that you despised! CLARA. Despised! See the proof that I despised you! see: in this hour, when they say you are again as poor as before, I forget the world my pride perhaps toomuch my sex: I remember but your sorrow I am here! EVELYN (aside).O, Heaven! give me strength to bear it! (Aloud.) And is this the same voice that, when I knelt at your feet when I asked but one day the hope to call you mine spoke only of poverty, and answered, "Never?" CLARA. Because I had been unworthy of your love if I had ensured your misery. Evelyn, hear me! My father, like you, was poor generous; gifted, like you, with genius ambition; sensitive, like you, to the least breath of insult. He married, as you would have done married one whose only dower was penury and care! Alfred, I saw that genius the curse to itself! I saw that ambition wither to despair! I saw the struggle the humiliation the proud man's agony the bitter life the early death! and heard over his breathless clay my mother's groan of self−reproach! Alfred Evelyn, now speak! Was the woman you loved so nobly to repay you with such a doom? EVELYN.Clara, we should have shared it! CLARA. Shared? Never let the woman who really loves comfort her selfishness with such delusion! In marriages like this the wife cannot share the burden; it is he the husband to provide, to scheme, to work, to endure to grind out his strong heart at the miserable wheel! The wife, alas, cannot share the struggle she can but witness the despair! And, therefore, Alfred, I rejected you. EVELYN.Yet you believe me as poor now as I was then. CLARA.But I am not poor; we are not so poor! Of this fortune, which is all your own if, as I hear, one−half would free you from your debts, why, we have the other half still left , Evelyn! It is humble but it is not penury. EVELYN. Cease, cease you know not how you torture me. Oh, that when hope was possible! oh, that you had bid me take it to my breast and wait for a brighter day! CLARA. And so have consumed your life of life upon a hope perhaps delayed till age shut you from a happier choice, from fairer fortunes shackled you with vows that, as my youth and its poor attributes decayed, would only have irritated and galled made your whole existence one long suspence! No, Alfred, even yet you do not know me! EVELYN. Know you! Fair angel, too excellent for man's harder nature to understand! at least it is permitted me to revere. Why were such blessed words not vouchsafedto me before? why, why come they now too late? Oh, Heaven too late! CLARA.Too late! What, then, have I said? EVELYN. Wealth! what is it without you? With you, I recognise its power; to forestall your every wish to smooth your every path to make all that life borrows from Grace and Beauty your ministrant and handmaid; and then, looking to those eyes, to read there the treasures of a heart that excelled all that kings could lavish; why that were to make gold indeed a god! But vain vain vain! Bound by every tie of faith, gratitude, loyalty, and honour, to another! CLARA. Another! Is she, then, true to your reverses? I did not know this indeed, I did not! And I have thus betrayed myself! O, shame! he must despise me now! SIr John: Evelyn, I was hasty yesterday. You must own it natural that I should be so. But Georgina has been so urgent in your defence, that (as Lady Franklin comes up to listen) Sister, just shut the door, will you? that I cannot resist her. What's money without happiness? So give me your security; for she insists on lending you the 10,000l. EVELYN.I know; and have already received it. Sharp: You are returned (groginhole) Evelyn: and it was to please Clara (elected) PAGES 273-275

Title: Money Author: Edward Bulwer Lytton Speaker: Evelyn Clara Location: act 5, after Evelyn thinks G sent him $ and before G tells Evelyn that she is now with Blount freeing Evelyn Significance: 274: clara explains herself (prudent and didn't want misery) (refusing pleasure To protect them) 275: sir john realizes not lost $$

EVELYN. It is in vain to deny that I still love Clara; our last conversation renewed feelings which would task all the energies of my soul to conquer. What then? I am not one of those, the Sybarites of sentiment, who deem it impossible for humanity to conquer love who call their own weakness the voice of a resistless destiny.Such is the poor excuse of every woman who yields her honour, of every adulterer who betrays his friend. No! the heart was given to the soul as its ally, not as its traitor. GRAVES. What do you tend to? EVELYN. This: If Georgina still adheres to my fortunes (and I will not put her to too harsh a trial), if she can face the prospect, not of ruin and poverty, for reports wrong me there, but of a moderate independence; if, in one word, she love me for myself, I will shut Clara for ever from my thought. I am pledged to Georgina, and I will carry to the altar a soul resolute to deserve her affection and fulfil its vows. Graves: and if she rejects you? EVELYN (joyfully). If she do I am free once more! And then then I will dare to ask, for I can ask without dishonour, if Clara can explain the past and bless the future! Enter Servant with a letter. EVELYN (after reading it). The die is cast the dream is over! Generous girl. Oh, Georgina! I will deserve you yet. GRAVES. Georgina, is it possible? EVELYN. And the delicacy, the womanhood, the exquisite grace of this! How we misjudge the depth of the human heart! How, seeing the straws on the surface, we forget that the pearls may lie hid below! [Note: "Errors, like straws," &c.] I imagined her incapable of this devotion. PAGE 273

Title: Money Author: Edward Bulwer Lytton Speaker: Evelyn Graves Location: act 5, after Sir John thinks Evelyn election escape and before Clara explains herself Significance: 270: clara learns evelyn left her $ and helps evelyn out of gratitude (breaks Out of female confines) 273: thinks G sent him $ but clara

EVELYN.My dear Georgina, whatever you may hear said of me, I flatter myself that you feel confidence in my honour. GEORGINA. Can you doubt it? EVELYN. I confess that I am embarrassed at this moment; I have been weak enough to lose money at play, and thereare other demands on me. I promise you never to gamble again as long as I live. My affairs can be retrieved, but for the first few years of our marriage it may be necessary to retrench. GEORGINA. Retrench! EVELYN. Altogether in the country! Georgina:Altogether in the country! EVELYN.To confine ourselves to a modest competence. GEORGINA.Modest competence! I knew something horrid was coming! EVELYN. And now, Georgina, you may have it in your power at this moment to save me from much anxiety and humiliation. My money is locked up my debts of honour must be settled you are of age your 10,000l. in your own hands SIR JOHN (Stout listening as well as Sir John). Im standing on hot iron! EVELYN: If you could lend it to me for a few weeks You hesitate! oh! believe the honour of the man youwill call your husband before all the calumnies of the fools whom we call the world! Can you give me this proof of your confidence? Remember, without confidence, what is wedlock? SIR JOHN (aside to her).No! (Aloud, pointing his glass at the Correggio) Yes, the picture may be fine. STOUT.But you don't like the subject? GEORGINA (aside). He may be only trying me! Best leave it to papa. EVELYN.: Well GEORGINA. You you shall hear from me to−morrow. (Aside.) Ah, there's that dear Sir Frederick! PAGE 264/265

Title: Money Author: Edward Bulwer Lytton Speaker: Georgiana Evelyn Sir John Location: act 3 after Evelyn pretends to lose all his money gambling and before Sir John thinks that Evelyn is trying to get elected to escape destitution Act 3 TESTS G TO GET OUT OF MARRIAGE (CHARITY TESTS VIRTUE) Significance: 264; make him seem like charitable object

The interior of 's Club; night; lights, &c. Small sofa−tables, with books, papers, tea, coffee, &c. Several members grouped by the fireplace; one member with his legs over the back of his chair; another with his legs over his table; a third with his legs on the chimney−piece. To the left, and in front of the Stage, an old member reading the newspaper, seated by a small round table; to the right a card−table, before which Captain Dudley Smooth is seated, and sipping lemonade; at the bottom of the Stage another card−table. Glossmore, Stout. GLOSSMORE.You don't come often to the club, Stout? STOUT.No; time is money. An hour spent at a club is unproductive capital. OLD MEMBER: WAITER THE SNUFF BOX GLOSSMORE. So, Evelyn has taken to play? I see Deadly Smooth, "hushed in grim repose, awaits his evening prey."Deep work to−night, I suspect, for Smooth is drinking lemonade keeps his head clear monstrous clever dog! Enter Evelyn; salutes and shakes hands with different members in passing up the Stage. [Members touch each other significantly; Stout walks away with the snuff−box; Old Member looks at him savagely.) SMOOTH.My dear Alfred, anything to oblige. OLD MEMBER. Waiter! the snuff−box. [Waiter takes it from Stout, and brings it back to Old Member.) Enter Blount. BLOUNT.So, so! Evelyn at it again, eh, Glossmore? GLOSSMORE.Yes, Smooth sticks to him like a leech. Clever fellow, that Smooth! BLOUNT.Will you make up a wubber? [Blount takes up the snuff−box, and walks off with it; Old Member looks at him savagely. SMOOTH.A thousand pardons, my dear Alfred, ninety repique ten cards! game! EVELYN (passing a note to him). Game! Before we go on, one question. This is Thursday how much do you calculate to win of me before Tuesday next? SMOOTH.Ce cher Alfred! He is so droll! EVELYN (writing in his pocket−book). Forty games a−night four nights, minus Sunday our usual stakes that would be right, I think! SMOOTH (glancing over the account). Quite if I win all which is next to impossible. EVELYN.It shall be possible to win twice as much, on one condition. Can you keep a secret? SMOOTH. My dear Alfred, I have kept myself! I never inherited a farthing I never spent less than 4000l. a−year and I never told a soul how I managed it. EVELYN.Hark ye, then a word with you (they whisper). OLD MEMBER. Waiter! the snuff−box. [Waiter takes it from Blount) EVELYN. You understand? SMOOTH. Perfectly; anything to oblige. Evelyn: It is for you to deal. [They go on playing. SIR JOHN (groaning).There's my precious son−in−law, that is to be, spending my consequence, and making a fool of himself. (Takes up the snuff−box; Old Member looks at him savagely. BLOUNT. I'm out. Flat, a poney on the odd twick. That's wight. (Coming up, counting his money.) Well, Sir John, you don't play? SIR JOHN.Play? no! Confound him lost again! EVELYN.Hang the cards! double the stakes! SMOOTH. Just as you please done! SIR JOHN. Done, indeed! OLD MEMBER. Waiter! the snuff−box. (Waiter takes it from Sir John. BLOUNT.I've won eight points and the bets I never lose I never play in the Deadly Smooth set! [Takes up the snuff−box; Old Member as before. SIR JOHN (looking over Smooth's hand, and fidgeting backwards and forwards). Lord have mercy on us! Smooth has seven for his point! What's the stakes? EVELYN. Don't disturb us I only throw out four. Stakes, Sir John? immense! Was ever such luck? not a card for my point. Do stand back, Sir John I'm getting irritable! OLD MEMBER. Waiter! the snuff−box. [Waiter brings it back. BLOUNT.One hundred pounds on the next game, Evelyn? SIR JOHN. Nonsense nonsense don't disturb him! All the fishes come to the bait! Sharks and minnows all nibbling away at my son−in−law! EVELYN. One hundred pounds, Blount? Ah! the finest gentleman is never too fine a gentleman to pick up a guinea. Done! Treble the stakes, Smooth! SIR JOHN.I'm on the rack! (seizing the snuff−box.) Be cool, Evelyn! take care, my dear boy! now don't ye now don't! EVELYN.What what? You have four queens! five to the king. Confound the cards! a fresh pack. (Throws the cards behind him over Sir John.) OLD MEMBER. Waiter! the snuff−box. [Different members gather round. FIRST MEMBER.I never before saw Evelyn out of temper. He must be losing immensely! SECOND MEMBER. Yes, this is interesting! SIR JOHN. Interesting! there's a wretch! FIRST MEMBER.Poor fellow! he'll be ruined in a month! SIR JOHN. I'm in a cold sweat. SECOND MEMBER. Smooth is the very devil. SIR JOHN. The devil's a joke to him! GLOSSMORE (slapping Sir John on the back).A clever fellow, that Smooth, Sir John, eh? (Takes up the snuff−box; Old Member as before). 100l. on this game, Evelyn? EVELYN (half turning round). You! well done, the Constitution! yes, 100l.! OLD MEMBER. Waiter! the snuff−box. STOUT.I think I'll venture 200 on this game, Evelyn? EVELYN (quite turning round). Ha! ha! ha! Enlightenment and the Constitution on the same side of the question at last! O, Stout, Stout! great happiness of the greatest number greatest number, number one! Done, Stout!¢00 l.! ha! ha! ha! I deal, Stout. Well done, Political Economy Ha! ha! ha! SIR JOHN. Quite hysterical drivelling! Arn't you ashamed of yourselves? His own cousins! all in a conspiracy a perfect gang of them. Stout: Hush! he's to marry Sir John's daughter. FIRST MEMBER. What, Stingy Jack's? oh! CHORUS OF MEMBERS. Oh! oh! OLD MEMBER. Waiter! the snuff−box. EVELYN (rising in great agitation). No more, no more I've done! quite enough. Glossmore, Stout, Blount, I'll pay you to−morrow. I I . Death! this is ruinous! [Seizes the snuff−box; Old Member as before. SIR JOHN.Ruinous? I dare say it is! What has he lost? what has he lost, Smooth? Not much? eh? eh? SMOOTH.Oh, a trifle, dear John! excuse me! We never tell our winnings. (To Blount) How d'ye do, Fred? (To Glossmore) By the by, Charles, don't you want to sell your house in Grosvenor−square?¡2,000l., eh? GLOSSMORE.Yes, and the furniture at a valuation. About 3000l. more. SMOOTH (looking over his pocketbook). Um! Well, we'll talk of it. SIR JOHN.12 and 3¡5,000l. What a cold−blooded rascal it is!¡5,000l., Smooth? SMOOTH. Oh, the house itself is a trifle, but the establishment I'm considering whether I have enough to keep it up, my dear John. OLD MEMBER.Waiter, the snuff−box! (Scraping it round, and with a wry face) And it's all gone! (Gives it to the Waiter to fill.) SIR JOHN (turning round). And it's all gone! PAGES 255-258

Title: Money Author: Edward Bulwer Lytton Speaker: Glossmore Stout Old Member Smooth Blount Evleyn Sir John Location: act 3 after Clara tells Evelyn she is leaving and before Evelyn asks G for her $ Act 3 TESTS G TO GET OUT OF MARRIAGE (CHARITY TESTS VIRTUE) Significance: 255-256: snuff box (mechanical behavior like reading of a will) Evelyn makes a set up where smooth pretends to win all his $$ 257: sir john frantic/worried daughter marry pauper bc evelyn keeps losing $ 258: old members treats snuff box like his, parallels to sir john treating evelyns $ like it is his (satirizes both of them) Humor in scenes BC audience notices and understands exaggeration Female greed is a threat to social order

Glossmore: From Groginhole an express! What's this? I'm amazed!!! (Reading.) "They've actually at the eleventh hour started Mr. Evelyn; and nobody knows what his politics are! We shall be beat! the constitution isgone! Cipher!" Oh! this is infamous in Evelyn! Gets into parliament just to keep himself out of the Bench. SMOOTH. He's capable of it! GLOSSMORE.Not a doubt of it, Sir! not a doubt of it! PAGE 269

Title: Money Author: Edward Bulwer Lytton Speaker: Glossmore and Smooth Location: after Evelyn asks G for $ and before Sir John thinks that Evelyn is trying to get elected to escape destitution Act 5 Significance: 269: evelyn elected to parliament so not arrested for destitution (to adhere to Claras wishes) - misconstrued to be escape from destitution

SIR JOHN.Silence! Hush! Whugh! ugh! Attention. (lawer opens will) Sharp: The will is very short being all personal property. He was a man that always came to the point. SIR JOHN.I wish there were more like him! (Groans and shakes his head.) SHARP (reading). "I, Frederick James Mordaunt, of Calcutta, being, at the present date, of sound mind, though infirm body, do hereby give, will, and bequeath imprimis, to my second cousin, Benjamin Stout, Esq., of Pall−Mall, London... [Chorus exhibit lively emotion.) Sharp: Being the value of the Parliamentary Debates, with which he has been pleased to trouble me for some time past deducting the carriage thereof, which he always forgot to pay the sum of 14l. 2s. 4d. [Chorus breathe more freely) STOUT: Eh, what? Oh, hang the old miser! SIR JOHN. Decency decency! Proceed, Sir. SHARP: "Item. To Sir Frederick Blount, Baronet, my nearest male relative, Being, as I am informed, the best−dressed young gentleman in London, and in testimony to the only merit I ever heard he possessed, the sum of 500l. to buy a dressing−case. BLOUNT (laughing confusedly). Ha! Ha! Ha! Vewy poor wit low! vewy vewy low! SIR JOHN. Silence, now, will you? SHARP. "Item. To Charles Lord Glossmore who asserts that he is my relation my collection of dried butterflies, and the pedigree of the Mordaunts from the reign of King John. [Chorus as before.) SHARP: "Who married my sister, and who sends me every year the Cheltenham waters, which nearly gave me my death I bequeath the empty bottles. SIR JOHN: Why, the ungrateful, rascally, old CHORUS. Decency, Sir John decency! SHARP."Item. To Henry Graves, Esq., of the Albany [Chorus as before. GRAVES.Pooh, gentlemen my usual luck not even a ring, I dare swear! SHARP."The sum of 5000l. in the Three per Cents. LADY FRANKLIN. I wish you joy! GRAVES.Joy pooh! Three per Cents! Funds sure to go! Had it been land , now though only an acre! just like my luck. SHARP."Item. To my niece Georgina Vesey "The sum of 10,000l. India stock, being, with her father's reputed savings, as much as a single woman ought to possess. SIR JOHN.And what the devil, then, does the old fool do with all his money? CHORUS.Really, Sir John, this is too revolting. Decency! Hush! SHARP. "And, with the aforesaid legacies and exceptions, I do will and bequeath the whole of my fortune, in India stock, Bonds, Exchequer bills, Three per Cents, Consols, and in the Bank of Calcutta (constituting him hereby sole residuary legatee and joint executor with the aforesaid Henry Graves, Esq.), to Alfred Evelyn, now or formerly of Trinity College, Cambridge [Universal excitement. SHARP. "Being, I am told, an oddity, like myself the only one of my relations who never fawned on me, and who, having known privation, may the better employ wealth." And now, Sir, I have only to wish you joy, and give you this letter from the deceased I believe it is important. Evelyn: Ah, Clara, if you had but loved me! CLARA (turning away): And his wealth, even more than poverty, separates us for ever! [Omnes crowd round to congratulate Evelyn. SIR JOHN (to Georgina). Go, child put a good face on it he's an immense match! My dear fellow, I wish you joy: you are a great man now a very great man! Evelyn: And her voice alone is silent! Sir John: Mr. Evelyn is at home here. Always looked on him as a son. Nothing in the world we would not do for him. Nothing! Evelyn: Lend me 10 pounds for my nurse! (chorus puts hands into their pockets) END OF ACT 1 PAGE 234/235

Title: Money Author: Edward Bulwer Lytton Speaker: Sir JOhn Sharp Stour Blount Graves Evelyn Location: act 1 scene 1; beginning; after Evelyn proposes to Clara and before act 2 where Evelyn sees the attitudes of a painter change towards him Significance: peoples appetites are them behave in a mean and greedy way, reveals masks (will reveals) sets up pattern/joke line between farce/comedy Scene 1: Satire on Greed Hypocrisy and greed outed by the will

SIR JOHN (reading a letter edged with black). Yes, he says at two precisely. "Dear Sir John, as since the death of my sainted Maria," Hum that's his wife; she made him a martyr, and now he makes her a saint! GEORGINA. Well, as since her death? SIR JOHN (reading). "I have been living in chambers, where I cannot so well invite ladies, you will allow me to bring Mr. Sharp, the lawyer, to read the will of the late Mr.Mordaunt (to which I am appointed executor) at your house your daughter being the nearest relation. I shall be with you at two precisely. Henry Graves." GEORGINA.And you really feel sure that poor Mr. Mordaunt has made me his heiress? SIR JOHN. Ay, the richest heiress in England. Can you doubt it? Are you not his nearest relation? Niece by your poor mother, his own sister. All the time he was making this enormous fortune in India did we ever miss sending him little reminiscences of our disinterested affection? When he was last in England, and you only so high, was not my house his home? Didn't I get a surfeit out of complaisance to his execrable curries and pillaws? Didn't he smoke his hookah nasty old that is, poor dear man in my best drawing−room? And did you ever speak without calling him your "handsome uncle?" for the excellent creature was as vain as a peacock, GEORGINA. And so ugly, SIR JOHN. The dear deceased! Alas, he was, indeed, like a kangaroo in a jaundice! And if, after all these marks of attachment, you are not his heiress, why then the finest feelings of our nature the ties of blood the principles of justice are implanted in us in vain. GEORGINA. Beautiful, sir. Was not that in your last speech at the Freemasons' Tavern upon the great Chimney−sweep Question? SIR JOHN. Clever girl! what a memory she has! Sit down, Georgy. Upon this most happy I mean melancholy occasion, I feel that I may trust you with a secret. You see this fine house our fine servants our fine plate our fine dinners: every one thinks Sir John Vesey a rich man. GEORGINA. And are you not, papa? SIR JOHN. Not a bit of it all humbug, child, all humbug, upon my soul! As you hazard a minnow to hook in a trout, so one guinea thrown out with address is often the best bait for a hundred. There are two rules in life First, Men are valued not for what they are, but what they seem to be. Secondly, If you have no merit or money of your own, you must trade on the merits and money of other people. My father got the title by services in the army, and died penniless. On the strength of his services I got a pension of 400l. a−year on the strength of 400l. a−year I took credit for 800 l.: on the strength of 800l. a−year I married your mother with 10,000l.: on the strength of 10,000l. I took credit for 40,000l., and paid Dicky Gossip three guineas a−week to go about everywhere calling me "Stingy Jack." PAGE 226

Title: Money Author: Edward Bulwer Lytton Speaker: Sir John Georgina Location: act 1 scene 1; beginning; Georgina and Sir John discussing will left by mr mordaunt, BEFORE he orders around his dependent Evelyn Significance: sir john and G's personalities revealed Edged in black - deep mourning "Ay the richest heiress" : sir john has spent life kissing up to mordaunt but says with pious tone (hypocritical) and very performative (what he says contradicts serious tone) "Not a bit "- appearances mean everything (i got rich by making everyone think I'm rich), very greedy

Sir John. Where the deuce is Evelyn this morning? GEORGINA.I've not seen him, papa. What a strange character he is so sarcastic; and yet he can be agreeable. SIR JOHN. A humorist a cynic! one never knows how to take him. My private secretary, a poor cousin, has not got a shilling, and yet, hang me if he does not keep us all at a sort of a distance. GEORGINA.But why do you take him to live with us, papa, since there's no good to be got by it? SIR JOHN. There you are wrong; he has a great deal of talent: prepares my speeches, writes my pamphlets, looks up my calculations. My report on the last Commission has got me a great deal of fame, and has put me at the head of the new one. Besides, he is our cousin he has no salary: kindness to a poor relation always tells well in the world; and benevolence is an useful virtue, particularly when you can have it for nothing. With ourother cousin, Clara, it was different: her father thought fit to leave me her guardian, though she had not a penny a mere useless incumbrance; so, you see, I got my half−sister, Lady Franklin, to take her off my my hands. PG 227

Title: Money Author: Edward Bulwer Lytton Speaker: Sir John Georgina Location: act 1 scene 1; beginning; after Sir John and them ordered Evelyn around and before Blount flirts with Clara Significance: Alfred dependent on sir john (sarcastic and agreeable) "There you wrong" attitude towards charity- benevolence (TRADE) getting the benefit !

LADY FRANKLIN. Sir Fwedewick Blount, who objects to the letter R as being too wough, and therefore dwops its acquaintance: one of the new class of prudent young gentlemen, who, not having spirits and constitution for the hearty excesses of their predecessors, entrench themselves in the dignity of a lady−like languor. A man of fashion in the last century was riotous and thoughtless in this he is tranquil and egotistical. He never does anything that is silly, or says anything that is wise. I beg your pardon, my dear; I believe Sir Frederick is an admirer of yours, provided, on reflection, he does not see "what harm it could do him" to fall in love with your beauty and expectations. Then, too, our poor cousin the scholar, Oh, Mr. Evelyn, there you are! SIR JOHN. Evelyn the very person I wanted: where have you been all day? Have you seen to those papers? have you written my epitaph on poor Mordaunt? Latin you know! have you reported my speech at Exeter Hall? have you looked out the debates on the Customs? and, oh, have you mended up all the old pens in the study? GEORGINA. And have you brought me the black floss silk? have you been to Storr's for my ring? and, as we cannot go out on this melancholy occasion, did you call at Hookham's for the last H. B. and the Comic Annual? LADY FRANKLIN. And did you see what was really the matter with my bay horse? did you get me the Opera−box? did you buy my little Charley his peg−top? EVELYN (always reading). Certainly, Paley is right upon that point; for, put the syllogism thus (looking up) Ma'am Sir Miss Vesey you want something of me? Paley observes, that to assist even the undeserving tends to the better regulation of our charitable feelings no apologies I am quite at your service. EVELYN.I could not do your commissions to−day I have been to visit a poor woman, who was my nurse and my mother's last friend. She is very poor, very sick dying and she owes six months' rent! SIR JOHN. You know I should be most happy to do anything for yourself. But the nurse (aside) (some people's nurses are always ill!) there are so many impostors about! We'll talk of it to−morrow. This most mournful occasion takes up all my attention. (Looking at his watch) Bless me! so late! I've letters to write, and none of the pens are mended? [Exit. GEORGINA (taking out her purse). I think I will give it to him And yet, if I don't get the fortune after all! Papa allows me so little! then I must have those earrings (puts up the purse). Mr. Evelyn, what is the address of your nurse? EVELYN (writes and gives it). She has a good heart with all her foibles! Ah! Miss Vesey, if that poor woman had not closed the eyes of my lost mother, Alfred Evelyn would not have been this beggar to your father. PAGES 228/229

Title: Money Author: Edward Bulwer Lytton Speaker: Sir John Georgina Lady Franklin Evelyn Location: act 1 scene 1 after Sir John and his daughter are talking about Evelyn and the will and before Blount flirts with clara Significance: Evelyn is basically an errand boy He shows his independence even though financially dependent, he is very bitter from no money Love of money can turn you in fraud but key to personal independence Charity shows he is a good person! (his charitable cause) Lack of wealth has made him bitter but still has a good soul Sir john self interest Clara's poor is not as affect on her personality because was always going to be dependent She is not a good marriage prospect so must adhere rigidly to victorian ideals

sTOUT.Good morning, Glossmore. GLOSSMORE. Glossmore! the Parvenu! Stout. Afraid I might be late Been detained at the Vestry Astonishing how ignorant the English poor are! Took me an hour and a half to beat it into the head of a stupid old widow, with nine children, that to allow her three shillings a−week was against all the rules of public morality! EVELYN.Excellent! admirable! your hand, Sir! Evelyn. What, then, will you give her? GLOSSMORE. Ehem! Sir the parish ought to give. GLOSSMORE.What! you approve such doctrines, Mr. Evelyn? Are old Women women only fit to be starved! EVELYN. Starved! popular delusion! Observe, my Lord to squander money upon those who starve is only to afford encouragement to starvation! STOUT.A very superior person that! GLOSSMORE.Atrocious principles! Give me the good old times when it was the duty of the rich to succour the distressed. EVELYN. On second thoughts, you are right, my Lord. I, too, know a poor woman ill dying in want. Shall she, too, perish? GLOSSMORE.Perish! horrible! in a Christian country. Perish! Heaven forbid! STOUT.No! No No. Certainly not! (with great vehemence.) PAGE 232

Title: Money Author: Edward Bulwer Lytton Speaker: Stout Glossmore Evelyn Location: act 1 scene 1; beginning, after Evelyn proposes to Clara and before the will is read Significance: defending old poor law intro to politicians Reading of will scene unmasks ppls hypocrisies

STOUT.Sir John, we've been played upon! My secretary is brother to Flash's head clerk; Evelyn had not 300l. in the bank! SIR JOHN. Bless us and save us! you take away my breath! But then Deadly Smooth the arrest the oh, he must be done up! STOUT. As to Smooh, he'd "do anything to oblige." All a trick, depend on it! Smooth has already deceived me, for before the day's over Evelyn will be member for Groginhole. I've had an express from Popkins; he's in despair! not for himself but for the country, Sir John what's to become of the country? SIR JOHN.But what could be Evelyn's object? STOUT. Object? Do you look for an object in a whimsical creature like that? A man who has not even any political opinions! Object! Perhaps to break off his match with your daughter! Take care, Sir John, or the borough will be lost to your family! SIR JOHN.Aha! I begin to smell a rat! But it's not too late yet. STOUT.My interest in Popkins made me run to Lord Spendquick, the late proprietor of Groginhole. I told him that Evelyn could not pay the rest of the money; and he told me that PAGE 269

Title: Money Author: Edward Bulwer Lytton Speaker: Stout Sir John Location: after Evelyn asks G for $ and before Evelyn thinks that G has sent him the $ Act 5 Significance: 269: evelyn elected to parliament so not arrested for destitution (to adhere to Claras wishes) - misconstrued to be escape from destitution

CLARA (aside). The last time! and we shall then meet no more! And to part thus for ever in scorn in anger I cannot bear it! (Approaching him.) Alfred, my cousin, it is true this may be the last time we shall meet I have made my arrangements to quit England. EVELYN. To quit England? CLARA.But, before I go, let me thank you for many a past kindness, which it is not for an orphan easily to forget. I have long wished it: but enough of me. Evelyn, now that you are betrothed to another now, without recurring to the past now, without the fear of mutual error and mistake something of our old friendship may at least return to us. And if, too, I dared, I have that on my mind which only a friend a sister might presume to say to you. EVELYN (moved). Miss Douglas Clara if there is aught that I could do if, while hundreds strangers beggars tell me that I havethe power, by opening or shutting this worthless hand, to bid sorrow rejoice or poverty despair if if my life my heart's blood could render to you one such service as my gold can give to others why, speak! and the past you allude to, yes, even that bitter past, I will cancel and forget! CLARA (holding out her hand). We are friends, then! you are again my cousin! my brother! Brother! Ah! say on! EVELYN (dropping her hand). CLARA. I speak, then, as a sister herself weak, inexperienced, ignorant, nothing might speak to a brother, in whose career she felt the ambition of a man. Oh, Evelyn! when you inherited this vast wealth I pleased myself with imagining how you would wield the power delegated to your hands. I knew your benevolence your intellect yourgenius! the ardent mind couched beneath the cold sarcasm of a long−baffled spirit! I saw before me the noble and bright career open to you at last and I often thought that, in after years, when far away as I soon shall be I should hear your name identified, not with what fortune can give the base, but with deeds and ends to which, for the great, fortune is but the instrument; I often thought that I should say to my own heart weeping proud and delicious tears "And once this man loved me!" Evelyn: Let us part friends!" Go, Clara, go, and be happy if you can! CLARA (weeping). Cruel cruel to the last! Heaven forgive you, Alfred! term-16 Evelyn: Soft! let me recall her words, her tones, her looks. Does she love me? She defends her rival she did not deny it when I charged her with attachment to another: and yet and yet there is a voice at my heart which tells me I have been the rash slave of a jealous anger. But I have made my choice I must abide the issue! PAGES 250/251

Title: Money Author: Edward Bulwer Lytton Speaker: Clara and Evelyn Location: act 3 after Sir John manipulates Evelyn and before Evelyn pretends to lose all his money gambling Act 3 TESTS G TO GET OUT OF MARRIAGE (CHARITY TESTS VIRTUE) Significance: 250: clara do something good, you have heart (does service of wife) (makes Appeal on behalf of private sphere)

EVELYN. After hints, cautions, and admonitions half in irony, half in earnest (Ah, poor Mordaunt had known the world!), it proceeded but I'll read it to you: "Having selected you as my heir, because I think money a trust to be placed where it seems likely to be best employed, I now not impose a condition, but ask a favour. If you have formed no other and insuparable attachment, I could wish to suggest your choice: my two nearest female relations are my niece Georgina, and my third cousin, Clara Douglas, the daughter of a once dear friend. If you could see in either of these one whom you could make your wife, such would be a marriage that, if I live long enough to return to England, I would seek to bring about before I die." My friend, this is not a legal condition the fortune does not rest on it; yet, need I say that my gratitude considers it a moral obligation? Several months have elapsed since thus called upon I ought now to decide: you hear the names Clara Douglas is the woman who rejected me! PAGE 239

Title: Money Author: Edward Bulwer Lytton Speaker: EVELYN Location: act 2 after he is talked to about an election in groginhole and before he tells graves the "revenge" he took upon Clara Significance: Evelyn needs to find a sense of purpose + learn to respect wealth His charitable impulses need to break free of his bitterness (unselfish interest And affection) Evelyn's charitable impulses will be enacted through marriage to a good woman According to the victorian era He can't propose to clara again because he doesn't want marriage subjected To a mere trade Capacity of a woman to be truly charitable is a test to see how truly affectionate In marriage He wants a woman to fill the role of private sphere based on character Clara can't tell evelyn she gave money to nurse because it would look self Interested and as if affections subject to trade

EVELYN. Stout, you look heated! STOUT.I hear you have just bought the great Groginhole property. EVELYN.It is true. Sharp says it's a bargain. STOUT. Well, my dear friend Hopkins, member for Groginhole, can't live another month but the interests of mankind forbid regret for individuals! The patriot Popkins intends to start for the boro' the instant Hopkins is dead! your interest will secure his election! now is your time! put yourself forward in the march of enlightenment! By all that is bigoted here comes Glossmore! Glossmore: So lucky to find you at home! Hopkins, of Groginhole, is not long for this world. Popkins, the brewer, is already canvassing underhand (so very ungentleman−like!).Keep your interest for young Lord Cipher a most valuable candidate. This is an awful moment the CONSTITUTION depends on his return! Vote for Cipher! STOUT. Popkins is your man! EVELYN (musingly). Cipher and Popkins Popkins and Cipher! Enlightenment and Popkins Cipher and the Constitution! I am puzzled! Stout, I am not known at Groginhole. STOUT.Your property's known there! PAGE 237

Title: Money Author: Edward Bulwer Lytton Speaker: EVELYN AND STOUT Location: act 2 after painter and before he reads letter from will (G and C) Significance: 237: Stout and Glossmore talks up candidate Evelyn realizes what $ can buy him but still bitter and has views that $ corrupts

EVELYN. Of the two, then, I would rather marry where I should exact the least. A marriage, to which each can bring sober esteem and calm regard, may not be happiness, but it may be content. But to marry one whom you could adore, and whose heart is closed to you to yearn for the treasure, and only to claim the casket to worship the statue that you never may warm to life Oh! such a marriage would be a hell the more terrible because Paradise was in sight. GRAVES. Georgina is pretty, but vain and frivolous. (Aside) But he has no right to be fastidious he has never known Maria! (Aloud.) Yes, my dear friend, now I think on it, you will be as wretched as myself! When you are married we will mingle our groans together! EVELYN. You may misjudge Georgina; she may have a nobler nature than appears on the surface. On the day, but before the hour, in which the will was read, a letter, in a strange or disguised hand, signed " From an unknown friend to Alfred Evelyn," and enclosing what to a girl would have been a considerable sum, was sent to a poor woman for whom I had implored charity, and whose address I had given only to Georgina. GRAVES. Why not assure yourself? EVELYN.Because I have not dared. For sometimes, against my reason, I have hoped that it might be Clara! (taking a letter from his bosom and looking at it). No, I can't recognise the hand. Graves, I detest that girl! GRAVES. Who? Georgina? EVELYN.No; Clara! But I've already, thank Heaven! taken some revenge upon her. Come nearer. (Whispers) I've bribed Sharp to say that Mordaunt's letter to me contained a codicil leaving Clara Douglas 20,000l. GRAVES.And didn't it? How odd, then, not to have mentioned her in his will. EVELYN. One of his caprices: besides, Sir John wrote him word that Lady Franklin had adopted her. But I'm glad of it I've paid the money she's no more a dependant. No one can insult her now she owes it all to me, and does not guess it, man does not guess it! owes it to me, me whom she rejected; me, the poor scholar! Ha! ha! there's somespite in that, Eh? PAGE 240

Title: Money Author: Edward Bulwer Lytton Speaker: Evelyn and Graves Location: act 2 after Evelyn reads letter (G or C) and before Sir John manipulates Evelyn into thinking G sent money to the old nurse Significance: 240: Evelyn nice to Clara ($ for independence) But Evelyn thinks it will make her Feel bad (his revenge is still good natured)

GRAVES. What then? Man is born to be deceived. You look nervous your hand trembles; that comes of gaming. They say at the clubs that you play deeply. EVELYN. Ha! ha! Do they say that? a few hundreds lost or won a cheap opiate anything that can lay the memory to sleep. The poor man drinks and the rich man gambles the same motive to both! But you are right it is a baseresource I will play no more. GRAVES. I am delighted to hear it, for your friend Captain Smooth has ruined half the young heirs in London. To play with him is to advertise yourself a bankrupt. Even Sir John is alarmed. EVELYN. So, Sir John is alarmed? (Aside.) Gulled by this cogging charlatan? Aha! I may beat him yet at his own weapons! Humph! Bank with Flash! Why do you ask me? PAGE 253

Title: Money Author: Edward Bulwer Lytton Speaker: Evelyn and Graves Location: act 3 after Clara tells Evelyn she is leaving and before Evelyn tricks Sir John Act 3 TESTS G TO GET OUT OF MARRIAGE (CHARITY TESTS VIRTUE) Significance: 253: tricks Sir John Makes himself lose money to need charity and test G's commitment (charity tests True feelings) Satire on green (public sphere) with old member

EVELYN. But where is the new guitar you meant to buy, Miss Vesey the one inlaid with tortoiseshell? It is near a year since you set your heart on it, and I don't see it yet! SIR JOHN (taking him aside confidentially). The guitar oh, to tell you a secret she applied the money I gave her for it to a case of charity several months ago the very day the will was read. I saw the letter lying on the table, with the money in it. Mind, not a word to her she'd never forgive me! Evelyn: Letter! money! What was the name of the person she relieved? not Stanton? SIR JOHN. I don't remember indeed. Evelyn: This is not her hand! SIR JOHN. No! I observed at the time it was not her hand, but I got out from her that she did not wish the thing to be known, and had employed some one else to copy it. May I see the letter? Yes, I think this is the wording. But I did not mean to tell you what case of charity it was. I promised Georgy I would not. Still,how did she know Mrs. Stanton's address? you never gave it to me! EVELYN.I gave it to her, Sir John. EVELYN. Sir John, to a man like me, this simple act of unostentatious generosity is worth all the accomplishments in the world. A good heart a tender disposition a charity that shuns the day a modesty that blushes at its own excellence an impulse towards something more divine than Mammon; such are the true accomplishments which preserve beauty for ever young. Such I have sought in the partner I would take for life; such I have found alas! not where I had dreamed! Miss Vesey, I will be honest I say, then, frankly (as Clara approaches, raising his voice and looking fixedly at her) I have loved another deeply truly bitterly vainly!I cannot offer to you, as I did to her, the fair first love of the human heart rich with all its blossoms and its verdure. But if esteem if gratitude if an earnest resolve to conquer every recollection that would wander from your image; if these can tempt you to accept my hand andfortune, my life shall be a study to deserve your confidence. PAGE 246/247

Title: Money Author: Edward Bulwer Lytton Speaker: Evelyn and Sir John Location: act 2 after Evelyn "revenges" Clara and before ACT 3 Clara tells Evelyn she is leaving England Significance: 246: sir john tries to convince evelyn Charity supposed to be quiet/private Both too proud to mix $ with feeling (characters) Charity tests female virtue Evelyn wants to fulfill female sphere equating good things to a good wife the duties of a woman in the domestic sphere versus a man in the public sphere

EVELYN. A levee, as usual. Good day. Ah, Tabouret, your designs for the draperies; very well. And what do you want, Mr. Crimson? CRIMSON. Sir, if you'd let me take your portrait, it would make my fortune. Every one says you're the finest judge of paintings. EVELYN.Of paintings! paintings! Are you sure I'm a judge of paintings? CRIMSON. Oh, sir, did'nt you buy the great Correggio for 4000l.? EVELYN.True I see. So 4000l. makes me an excellent judge of paintings. I'll call on you, Mr. Crimson. good day. Mr. Grab oh, you're the publisher who once refused me 5l. for my poem? you are right, it was sad doggrel. GRAB.Doggrel! Mr. Evelyn, it was sublime! But times were bad then. EVELYN. Very bad times with me. GRAB.But, now, Sir, if you give me the preference, I'll push it, Sir, I'll push it! I only publish for poets in high life, Sir; and a gentleman of your station ought to be pushed!¥00l. for the poem, Sir! EVELYN.500l. when I don't want it, where 5l. once would have seemed a fortune. "Now I am rich, what value in the lines!How the wit brightens, how the sense refines!" PAGE 236

Title: Money Author: Edward Bulwer Lytton Speaker: Evelyn, Crimson, Grab Location: act 2 scene 1 after the will was read and before Evelyn reads the letter from the will that asks him to either marry G or C Significance: Went from being dependent on Sir John to rich and buying lots of stuff 236: Sarcastic sense of humor when tradesmen try and sell him stuff because They think he has taste in art but really just $$ and Grab never accepted poem When Evelyn was poor Mr. Grab wants to be associated with Evelyn bc $ makes him an endorsement Easier to get $ (500 pounds) when have $ Influence in trade and politics

EVELYN.Sharp, come here let me look at you! You are my agent, my lawyer, my man of business. I believe you honest; but what is honesty? where does it exist? in what part of us? SHARP.In the heart, I suppose, sir. EVELYN. Mr. Sharp, it exists in the breeches' pocket! Observe, I lay this piece of yellow earth on the table I contemplate you both; the man there the gold here! Now, there is many a man in those streets honest as you are, who moves, thinks, feels, and reasons as well as we do; excellent in form imperishable in soul;who, if his pockets were three days empty, would sell thought, reason, body, and soul too, for that little coin! Is that the fault of the man? no! it is the fault of mankind! God made man; behold what mankind have made a god! When I was poor I hated the world; now I am rich I despise it! Fools knaves hypocrites! By the by, Sharp, send 100l. to the poor bricklayer whose house was burnt down yesterday. PAGE 238

Title: Money Author: Edward Bulwer Lytton Speaker: sharp and Evelyn Location: act 2 after he is talked to about an election in groginhole and before he reads letter (G OR C) Significance: 238: Bitter views remain, feels obligated to spend $, feels contempt Evelyn is jaded but has warped sense of humor + good heart