Honors English 10 Semester 2 Final

What were the 5 omens?

1- A tempest dropping fire 2- man with hand on fire 3-lion gave birth in the street 4- men on fire 5- owl

Chauvelin's official title

Accredited agent

Who offered Caesar the crown and what happened?

Antony offered him the crown and Caesar denied it 3 times making the crowd angry also Caesar has epilepsy and has a seizure

Political Conflict

Caesar Guys vs. Pompey guys

Pro Caesar

Carpenter and Cobbler

Tale of Two Cities Characters

Charles Darnay - A French aristocrat by birth, Darnay chooses to live in England because he cannot bear to be associated with the cruel injustices of the French social system. Darnay displays great virtue in his rejection of the snobbish and cruel values of his uncle, the Marquis Evrémonde. He exhibits an admirable honesty in his decision to reveal to Doctor Manette his true identity as a member of the infamous Evrémonde family. So, too, does he prove his courage in his decision to return to Paris at great personal risk to save the imprisoned Gabelle. Sydney Carton - An insolent, indifferent, and alcoholic attorney who works with Stryver. Carton has no real prospects in life and doesn't seem to be in pursuit of any. He does, however, love Lucie, and his feelings for her eventually transform him into a man of profound merit. At first the polar opposite of Darnay, in the end Carton morally surpasses the man to whom he bears a striking physical resemblance. Doctor Manette - Lucie's father and a brilliant physician, Doctor Manette spent eighteen years as a prisoner in the Bastille. At the start of the novel, Manette does nothing but make shoes, a hobby that he adopted to distract himself from the tortures of prison. As he overcomes his past as a prisoner, however, he proves to be a kind, loving father who prizes his daughter's happiness above all things. Lucie Manette - A young French woman who grew up in England, Lucie was raised as a ward of Tellson's Bank because her parents were assumed dead. Dickens depicts Lucie as an archetype of compassion. Her love has the power to bind her family together—the text often refers to her as the "golden thread." Furthermore, her love has the power to transform those around her. It enables her father to be "recalled to life," and it sparks Sydney Carton's development from a "jackal" into a hero. Monsieur Defarge - A wine shop owner and revolutionary in the poor Saint Antoine section of Paris, Monsieur Defarge formerly worked as a servant for Doctor Manette. Defarge proves an intelligent and committed revolutionary, a natural leader. Although he remains dedicated to bringing about a better society at any cost, he does demonstrate a kindness toward Manette. His wife, Madame Defarge, views this consideration for Manette as a weakness. Madame Defarge - A cruel revolutionary whose hatred of the aristocracy fuels her tireless crusade, Madame Defarge spends a good deal of the novel knitting a register of everyone who must die for the revolutionary cause. Unlike her husband, she proves unrelentingly blood-thirsty, and her lust for vengeance knows no bounds. Jarvis Lorry - An elderly businessman who works for Tellson's Bank, Mr. Lorry is a very business-oriented bachelor with a strong moral sense and a good, honest heart. He proves trustworthy and loyal, and Doctor Manette and Lucie come to value him as a personal friend. Jerry Cruncher - An odd-job man for Tellson's Bank, Cruncher is gruff, short-tempered, superstitious, and uneducated. He supplements his income by working as a "Resurrection-Man," one who digs up dead bodies and sells them to scientists. Miss Pross - The servant who raised Lucie, Miss Pross is brusque, tough, and fiercely loyal to her mistress. Because she personifies order and loyalty, she provides the perfect foil to Madame Defarge, who epitomizes the violent chaos of the revolution. Marquis Evrémonde - Charles Darnay's uncle, the Marquis Evrémonde is a French aristocrat who embodies an inhumanly cruel caste system. He shows absolutely no regard for human life and wishes that the peasants of the world would be exterminated. Mr. Stryver - An ambitious lawyer, Stryver dreams of climbing the social ladder. Unlike his associate, Sydney Carton, Stryver is bombastic, proud, and foolish. John Barsad - Like Roger Cly, John Barsad is a British spy who swears that patriotism is his only motive. Barsad falsely claims to be a virtuous man of upstanding reputation. Roger Cly - Like John Barsad, Roger Cly is a British spy who swears that patriotism alone inspires all of his actions. Cly feigns honesty but in fact constantly participates in conniving schemes. Gabelle - The man charged with keeping up the Evrémonde estate after the Marquis' death, Gabelle is imprisoned by the revolutionaries. News of his internment prompts Darnay to travel to France to save him.

during the time of the Revolution, France was run by the ------ ---- ----. one of this group's most notable leaders was ---

Committee of Public Safety, Robespierre

The Fisherman's Rest was located in what city

Dover

people who left France during the revolution to pursue safety and a new life in other countries

Emigres

The name of the character that preceded over the Community of Public Safety

Foquier Tinville

The composer and name of the opera named in chapter 10

Glück's, Orpheus

This man suggested that the right to govern came from the people

Jean Jacques Rousseau

This character works in Fisherman's Rest but is not related to Jellyband

Jemima or Martha

The Secretary of State of foreign affairs for England

Lord Grenville

Brutus internal conflict

Love of friend vs. Love of country

She was know as a famous actress in France

Marguerite St. Just

Chapter 28- The Pere Blanchard's Hut

Marguerite finds new motivation in her need to apologize to Percy and tell him that she loves him.Chauvelin has all the men keeping watch and when he gives a sharp whistle they are to invade the hut. The Jewish man is gagged and sent with a soldier so he doesn't get scared or make a sound to warn the Pimpernel. Marguerite now has to decide whether or not to scream as a warning signal. but she realizes it may warn the wrong group. she ends up screaming anyway and then gets caught by Chauvelin.

Anti Caesar

Marullus and Favius

What was the distraction?

Metellus is asking Caesar to unbanish his brother (Publius Cimber)

the French Revolution ended on ---- -- ---- when --- ---- seized control of the government

November 9, 1799; Napoleon Bonaparte

This city, month, and year make up the title of the first chapter

Paris September 1792

List 3 ways the book describes Mr. Jellyband

Portly, jovial, bald

the bloodiest period of the revolution was called the --- -- --- During this time over ----- death sentences were handed down to French aristocrats. this ended when Robespierre was killed by his own followers

Reign of Terror, 18,000

Chapter 19- The Scarlet Pimpernel

Sir Percy is the Pimpernel. Marguerite tries to justify finding the ring and convincing herself that Percy is not the Pimpernel. Suzanne comes over. Marguerite realizes that her either or has turned into brother or husband. Suzanne says her dad should be in England within a few days making Marguerite realize that Percy went to France to save him and Armand. She sees that the mak was used to throw dust in everybody's eyes. She thinks about why he didn't tell her and that it was because she had the St. Cyr accident and he was trying to save people like them. She also thinks about the night in the supper room and how chauvelin said only Percy was in there and nobody showed up. she then got a letter in the mail that was Armand's which Chauvelin was using as blackmail meaning he had a lead on the pimpernel. she admits that her love for him was crushed by her own pride. she wants to find Sir Andrew, Percy's best friend and see if he will help her warn Percy.

"Now let it work; Mischief, thou art afoot, take thou what course thou wilt."

Speaker: Antony Translation: Let the war begin Context: Antony is releasing the people to go after the conspirators

"this was the most unkindest cut of all;"

Speaker: Antony Translation: This was where Brutus stabbed Caesar and that was the worst because of their friendship Context: During Caesar's eulogy

"Brutus had rather be a villager than to repute himself a son of Rome under these hard conditions as this time is like to lay upon us."

Speaker: Brutus Translation: Admitting that he doesn't believe in one man rule (being true to political beliefs) Context: Part of Brutus and Cassius' little gossip session

"And therefore think him as a serpent's egg which hatched, would as his kind grow mischievous, and kill him in the shell."

Speaker: Brutus Translation: Kill him before he "hatches" (he's harmless without power) Context: Brutus still talking to himself

"Caesar, I never stood on ceremonies, yet now they fright me."

Speaker: Calpurnia Translation: She has never been superstitious but now she is a little bit superstitious Context: She is trying to convince Caesar to stay home from work

"Casca, you are the first that rears your hand."

Speaker: Cinna Translation: Casca is going to be the first to stab Caesar Context: They are about to distract Caesar so he won't be expecting anything to go wrong

This family was denounced by Marguerite

St. Cyr

Why did they kill Caesar on the "ides of March"?

The conspirators think they are instruments for the "gods" and because of the warning of "the ides of March" they will do it on that day to fulfill the prophecy.

What was scene 3 about?

The plebeians meet a guy named Cinna and he is a poet but the People don't care they just wanted to hurt someone. This scene is comic relief and to show he anger of the people

Chapter 21- Suspense

There is a huge storm and they are not allowed to leave. They sty at the fisherman's rest and because of the late hour and Andrew's costume mr.jellyband thinks that they are having an affair. The good news is that Chauvelin was unable to leave as well. That is the suspense.

What is Decius' part of the conspiracy?

To convince Caesar to go to work he does this by making Calpurnia's dream sound good and beneficial for Caesar to go to work

He was a beardless boy of 19

Vicomte DeTournay

foil

a character who sets off another character by providing a strong contrast

Talisman

a good luck charm

monologue

a long speech by one character usually heard by the other characters

tragic hero

a person, usually of noble birth, who suffers a catastrophe.

blank verse

a poetic form characterized by unrhymed lines written in iambic pentameter

aside

a remark a character makes, usually to the audience, that is not heard by other characters on stage

Sanctum

a sacred place

Rivulet

a small stream

Santentious

abounding in excessive moralizing

emphatic form

adds force and emphasis to the verb. use do, does, or did with the base form of the verb. ex. i do try.

Indignation

anger aroused by something unjust

Compunction

anxiety arising from awareness of guilt

Capacious

capable of containing a great deal

text aids

cast of characters, background information, side notes

Peremptory

characterized by often imperious or arrogant self-assurance

make inferences

combining clues in the text with your knowledge to figure out what the text suggests but does not directly say

it introduced --- --- to France but did not make the nation a democracy

democratic ideals

Why did Antony read Caesar's will?

he knew it would make the people angry to know how much Caesar loved them. The will gives everyone 75 drachmas

Indignity

humiliating treatment

comic relief

humorous scenes that serve as a break from the intense emotions of the play

Where did Act II start?

in Brutus' orchard

Audacity

intrepid boldness

Treacherous

marked by hidden dangers, hazards, or perils

Paltry

meager, measly

paraphrasing

restating a lines meaning in your own words

Homage

reverential regard

present form

same as base form; add -s or -es to form third-person singular

future form

shall or will before the base form

Ingenuity

skill or cleverness in devising or combining

Palatial

suitable to a palace

hero

the person who is has the most integrity and morale

Eloquence

the quality of forceful or persuasive expressiveness

Chapter 27- On the Track

the reader is reminded of just how important it is to Chauvelin to be the one to capture the Scarlet Pimpernel. Chauvelin learns from 2 soldiers that they have located the Pere Blanchard's hut. it is a quarter of a league beyond Miquelon. you take the ST. MARTIN ROAD to get there. they know that Armand, the comte de Tournay, and the other fugitives are there however there has been no sign of "the tall stranger" yet. they are ordered to wait until Percy gets there before they do anything else.

crisis

the turning point that will determine how the play will end

iambic pentameter

the typical line has five iambs, or five stressed syllables each preceded by an unstressed syllable

what does "It was Greek to me" mean?

they couldn't understand it (get it because they were roman not greek haha)

Propitiate

to gain or regain the favor of

who and whom

who is a SUBJECT; whom is an OBJECT

Brutus character analysis

- Considers himself honorable -He is based on integrity

Chapter 9 is titled "The Outrage" because—

1. Sir Andrew and Lord Antony were kidnapped by Chauvelin and the stranger under the table. 2. Armand is found to be traitor.

the French Revolution lasted from ----to---

1789 to 1799

description of marguerite

25, beautiful, tall, curly auburn hair, nice features

A Scarlet Pimpernel is —

A tiny, red, star shaped flower that is native to and national flower of England, it was the symbol used on notes from the Scarlet Pimpernel

Chapter 30- The Schooner

After hearing Percy, Marguerite changes her mind, runs to the hut, and begins yelling and hitting the wall with her fists to warn everyone that they are in danger. Marguerite is gagged again. Chauvelin orders his men to storm the hut. The soldiers storm the hut, but nothing happens. when Chauvelin inquires, he is told that there is no one in the hut. the soldiers tell chauvelin that Armand and the fugitives had left the hut some time ago. they say they let them go because chauvelin ordered them to remain silent and not move until the tall Englishman arrived. they have followed his orders "implicitly". as the soldiers tell Chauvelin what happened, they can hear the sound of paddles rowing toward the DAYDREAM in the distance. Chauvelin starts to believe that the SP is supernatural and can't believe that he can' catch him. while in the hut, Chauvelin finds a note of directions from percy to armand and the fugitives. he says that they are to wait for 3 minutes and then sneak out of the hut and go to the Daydream. Once on board, they are to send the boat back to Calais to pick him up there. Chauvelin has hope that they can catch percy before he gets picked up in CALAIS. he offers 1000 francs to any soldier who can beat percy to the rendezvous point in CALAIS. Since chauvelin has been having a bad day, he feels the need to take out his frustration on someone. he then remembers the deal he made with the Jew. He reminds him of the deal, tells him that he did not live up to his part or it, and has him beaten by 2 of his soldiers with the buckle ends of their belts. Chauvelin hears the howls of the jew being beaten by his soldiers. he feels warm and fuzzy inside as he hears this and is glad someone else is having a bad day as well. Chauvelin decides to leave Marguerite and the Jew behind so he can go after Percy. He will send for them later.

Chapter 25- The Eagle and the Fox

Analogy for Chauvelin trap and Percy walking right into it. Marguerite could run and warn Percy but that could set off the trap. Percy startles Chauvelin and makes a pathetic joke about soup. Then he calls out Chauvelin's disguise. Marguerite remembers Sir andrew's comforting words "there are 19 of us ready to lay down our lives for you husband." The soldiers are ready to storm the place on Chauvelins command but Percy plans a cunning escape by filling a snuff box with pepper and runs away while Chauvelin is in his sneezing fit.

What is Antony's reaction to the assassination?

Antony says that if they plan to kill him to do it now. He then shakes their hands in order to mark them; then he regrets it thinking about what Caesar would think if he knew he was shaking hands with his killers.

What is going on in scene 3?

Artemidorus is reading a warning letter to Caesar off to the side directly to the audience the letter explains how Caesar is going to be killed by his friends

Who wanted to include Cicero and who rejected the idea?

Cassius wanted him to join, Casca and Cinna and Metellus say no because he is old but they want to make him the scapegoat

Chapter 29- Trapped

Chauvelin gives Marguerite a new "either or". When he ungas her she can EITHER scream and try to warn Percy, which will result in Chauvelin bringing Armand to him and having him shoot Armand before Marguerite's eyes OR she can remain silent and save Armand's life. Marguerite decides, again, to try and save Armand's life and remains quite. As the chapter ends, Percy is heard singing "God Save the King" as he approaches the Pere Blanchard's Hut.

Chapter 23- Hope

Chauvelin is disguised as a French Cure (priest, holyman). the Pere Blanchard's hut(the rendezvous for the SP, Armand, the Comte deTournay, and other fugitives). Marguerite realizes that in her desire to rescue percy she has forgotten about the danger that Armand is in. And her "aha" moment for "the cleverest woman in Europe". Percy ill not abandon his mission even if Marguerite tells him about Chauvelin. Sir Andrew's reconnaissance mission (30 minutes). Marguerite hides in the attic and waits to see if Percy returns.

Chapter 26- The Jew

Chauvelin tries to get information about Percy by talking to a jewish man whose name is unknown. he key piece of information Chauvelin learns is that percy has rented a cart and horse from ANOTHER jewish man named Rueben Goldstein and has taken it to the Pere Blanchard's Hut. the man tells chauvelin that his horse and cart are in much better condition than Rueben's and would have gotten percy to his destination much faster. he then rents his horse and cart ot Chauvelin and offers to take him to the Hut. Chauvelin makes him an offer that if they find Percy either on the way, or at the Hut, he will give him 10 more pieces of gold. it they do not find him though, he will have his soldiers gim him such a beating, "that your breath will perhaps leave your body forever". The Jewish man accepts the Bargain. THe reader is given insight into the prejudice toward Jewish people that existed with many especially Chauvelin in France during this time.

What were Antony's reasons for the handshake?

Greeting and Thinking about his revenge

This instrument was used to execute aristocrats in France

Guillotine

What was Antony's speech like?

He used emotional appeal and uses Brutus' honorable man speech to make him seem like a joke to the crowd he also brings up Caesar's will; to end he points out where each conspirator stabbed Caesar and listed them by name

What is Brutus' speech about like?

He uses logical appeal and tells them to listen to what he is saying before they judge him. He also has rhetorical questions and ends by saying that i he ever becomes a tyrant like Caesar then he wants to take the same consequences

This was the official slogan of France during the Revolution

Liberty, Equality, Fraternity

Chapter 31- The Escape

Marguerite discovers that Benjamin Rosenbaum, the jew, is really Percy indisguise. Percy explains how the note that Chauvelin found in the hut was a decoy to send him in the wrong direction. he told Armand to leave the decoy note behind so chauvelin would find it. He says that one of the main reasons his plan worked was the prejudice that French people had toward Jewish people. they both apologize to each other for all of the misunderstandings during their marriage and share their true feelings with each other. Sir Andrew shows up after following the very circuitous route that he has been given by Sir Percy so that he will arrive just at the right time. Sir Andrew helps Marguerite and Percy return to the Daydream and then back to England and safety. Percy, being the ultimate gentleman, carries Marguerite to the Daydream. They all return to England and the story ends with the wedding of Sir Andrew Ffoulkes and Suzanne de Tournay. Chauvelin was not invited to the wedding, or to any other social functions in England After that. THE END!

Chapter 20- The friend

Marguerite goes to find Sir Andrew because she knows he will be willing to help her. He is willing to help and immediately comes up with a plan. Marguerite is motivated by love and by guilt and Andrew is motivated to save his friend and leader's life.

Chapter 24- The Death Trap

Marguerite hears footsteps approaching Le Chat Gris. The footsteps belong to Chauvelin (still disguised as a cure) and Desgas (Chauvelin secretary and confidential factotum). They discuss the plans to capture percy. CAPTAIN JUTLEY is mentioned. they know pere blanchard's hut is the rendezvous for the SP, Armand, the Comte deTournay, and other fugitives, but they do not know its location yet. the image of a net is established to represent the trap that Chauvelin has set for Percy. Percy approaches Le Chat Gris at the end of the chapter singing "God Save the King" (an ironic song choice don't you think?)

He was the landlord of the Fisherman's Rest

Mr. Jellyband

The French Revolution ended when this person took over the country

Napoleon Bonaparte

Either or proposed by Chauvelin

Save Pimpernel or save Armand(her brother)

This was the first name of Sir Percy's father

Sir Algernon

Chapter 17- Farewell

Sir Percy says he is going up north for business but he is actually going to France. he had to leave early so he left her a letter but she caught up to him and made him explain himself. He admitted that he was going to help armand. Marguerite now felt calm and knew Chauvelin had yet to figure out the Pimpernel's identity. Marguerite was planning on letting down her pride and telling him how much she loved him when he got back. SULTAN is Percy's favorite horse.

"Friends, Romans, countrymen, lend me your ears;"

Speaker: Antony Translation: look and listen to me I am your equal Context:Antony is giving Caesar's eulogy

"Let's kill him boldly, but not wrathfully; Let's carve him as a dish fit for the gods, not hew him as a carcass fit for the hounds."

Speaker: Brutus Translation: Kill him with glass; he wants them to be purgerers not murderers Context: Brutus is talking to the conspirators

"But' tis a common proof that lowliness is young ambition's ladder, where to the climber upward turns his face; But when he once attains the utmost round, he then unto the ladder turns his back, looks in the clouds, scorning the base degrees by which he did ascend. So Caesar may;"

Speaker: Brutus Translation: Once Caesar gets some power he won't care who he hurts as long as he gets to the top *Good ambition vs. Bad ambition* Context: Brutus is talking to himself in the orchard

"It is the bright day that brings forth the adder."

Speaker: Brutus Translation: Tomorrow morning is the day history will change, what we do today will affect tomorrow's government Context: Brutus is conversing with himself *Soliloquy*

"Censure me in your wisdom and awake your senses, that you may better judge."

Speaker: Brutus Translation: Use your mind when you hear me and listen to the logical reasons Context: Brutus is addressing the people with a speech

"Et tu, Brute? Then fall, Caesar?"

Speaker: Caesar Translation: And you Brutus- Then he dies Context: Brutus is about to stab Caesar after everyone else does

"Forget not in your speed, Antinius, to touch Calpurnia; for our elders say the barren, touched this holy chase, shake off their sterile curse."

Speaker: Caesar Translation: They pray to the gods so barren (can't have kids) women that they become able to be pregnant. If touched by a runner during this race, they would then be able to bear children. Context: Caesar and Calpurnia and others were getting ready to watch a foot race that was part of the Lupercal festivities.

"Cowards die many times before their deaths; The valiant never taste of death but once."

Speaker: Caesar Translation: YOLO; you die inside each time you don't take a risk Context: Caesar is trying to get his wife to let him go to work

"Let me have men about me that are fat, sleek-minded men, and such as sleep a-nights. Yond Cassius has a lean and hungry look; He thinks too much; such men are dangerous."

Speaker: Caesar Translation: Caesar doesn't like Cassius and he wants men that are happy and content around him Context: Caesar and the roman carpool have joined Brutus and Cassius after the games ended

"Speak hands for me"

Speaker: Casca Translation: My actions (stabbing) speak for me Context: Caesar says no to unbanning Cimber and Casca stabs him

"Brutus and Caesar: what should be in that "Caesar"? Why should that name be sounded more than yours? Write them together, yours is as fair a name...?

Speaker: Cassius Translation: Brutus is equal to Caesar Context: Part of Brutus and Cassius' little side conversation

"I know where I will wear this dagger then; Cassius from bondage will deliver Cassius"

Speaker: Cassius Translation: Cassius will free himself Context: part of the conspirators thunderstorm street conversation

"Why, man, he doth bestride the narrow world like a Colossus, and we petty men walk under his huge legs and peep about to find ourselves dishonorable graves."

Speaker: Cassius Translation: Reference to statue to make his statement true (comparing Caesar to a statue) Context: Cassius and Brutus are talking by themselves

"But, woe the while! Our fathers' minds are dead, And we are governed with our mother's spirits; our yoke and sufferance shows us womanish"

Speaker: Cassius Translation: We are wimps if we don't take care of this; our fathers would've Context: Cassius and some of the other dudes are standing at opposite sides of he street talking to each other in the middle of a thunderstorm

"There's a bargain made. Now you know Casca. I have moved already. Some of the noblest-minded Romans to undergo with me an enterprise of honorable dangerous consequences."

Speaker: Cassius Translation: they are conspiring to kill Caesar Context: more of the rainstorm convo

"Disrobe the images, If you do find them decked with ceremonies"

Speaker: Flavius Translation: Strip the statues covered with decorations Context: He is talking to Marullus and making sure Caesar is not praised

"You blocks, you stones, you worse than senseless things!"

Speaker: Marullus Translation: You idiots Context: Cobbler and Carpenter are headed to see Caesar

"Dwell I but in the suburbs of your good pleasure? If it be no more, Portia is Brutus' harlot, not his wife."

Speaker: Portia Translation: If you're not honest that means I'm just a side chick Context: Brutus and Portia are talking outside

"Beware the ides of March"

Speaker: Soothsayer Translation: Beware of March 15th Context: Spoken directly to Caesar at the race *DRAMATIC IRONY*

"Caesar, I will [aside] and so near will I be, that your best friends shall wish I had been further."

Speaker: Trebonius Translation: Tells audience about stabbing Caesar and that Caesar is going to wish that his close friends would stay farther away Context: Roman Carpool is walking to work

"There is no fear in him; let him not die, for he will live and laugh at this hereafter."

Speaker: Trebonius Translation: They will not kill Antony because they will look back and realize that all he cared about was the stuff and not the power. Context: Trebonius is addressing the conspiracy

Tale of Two Cities Book 2: The Golden Thread

Summary: Chapter 1: Five Years Later It is now 1780. Tellson's Bank in London prides itself on being "very small, very dark, very ugly, very incommodious." Were it more welcoming, the bank's partners believe, it would lose its status as a respectable business. It is located by Temple Bar, the spot where, until recently, the government displayed the heads of executed criminals. The narrator explains that at this time, "death was a recipe much in vogue," used against all manner of criminals, from forgers to horse thieves to counterfeiters. Jerry Cruncher, employed by Tellson's as a runner and messenger, wakes up in his small apartment, located in an unsavory London neighborhood. He begins the day by yelling at his wife for "praying against" him; he throws his muddy boot at her. Around nine o'clock, Cruncher and his young son camp outside Tellson's Bank, where they await the bankers' instructions. When an indoor messenger calls for a porter, Cruncher takes off to do the job. As young Jerry sits alone, he wonders why his father's fingers always have rust on them. Summary: Chapter 2: A Sight The bank clerk instructs Cruncher to go to the Old Bailey Courthouse and await orders from Jarvis Lorry. Cruncher arrives at the court, where Charles Darnay, a handsome, well-bred young man, stands trial for treason. Cruncher understands little of the legal jargon, but he gleans that Darnay has been charged with divulging secret information to the king of France (Louis XVI): namely, that England plans to send armed forces to fight in the American colonies. As Darnay looks to a young lady and her distinguished father, a whisper rushes through the courtroom, speculating on the identity of the two. Eventually, Cruncher discovers that they will serve as witnesses against the prisoner. Summary: Chapter 3: A Disappointment The Attorney-General prosecutes the case, demanding that the jury find Darnay guilty of passing English secrets into French hands. The Solicitor-General examines John Barsad, whose testimony supports the Attorney-General's case. The cross-examination, however, tarnishes Barsad's pure and righteous character. It reveals that he has served time in debtor's prison and has been involved in brawls over gambling. The prosecution calls its next witness, Roger Cly, whom the defense attorney, Mr. Stryver, also exposes as a dubious, untrustworthy witness. Mr. Lorry then takes the stand, and the prosecution asks him if, five years ago, he shared a Dover mail coach with the accused. Lorry contends that his fellow passengers sat so bundled up that their identities remained hidden. The prosecutors then ask similar questions of Lucie, the young woman Darnay had noticed earlier. She admits to meeting the prisoner on the ship back to England. When she recounts how he helped her to care for her sick father, however, she seems to help his case—yet she then inadvertently turns the court against Darnay by reporting his statement that George Washington's fame might one day match that of George III. Doctor Manette is also called to the stand, but he claims that he remembers nothing of the trip due to his illness. Mr. Stryver is in the middle of cross-examining another witness "with no result" when his insolent young colleague, Sydney Carton, passes him a note. Stryver begins arguing the contents of the note, which draws the court's attention to Carton's own uncanny resemblance to the prisoner. The undeniable likeness foils the court's ability to identify Darnay as a spy beyond reasonable doubt. The jury retires to deliberate and eventually returns with an acquittal for Darnay. Summary: Chapter 4: Congratulatory Doctor Manette, Lucie, Mr. Lorry, Mr. Stryver, and Darnay exit the courtroom. The narrator relates that Manette has established himself as an upright and distinguished citizen, though the gloom of his terrible past descends on him from time to time. These clouds descend only rarely, however, and Lucie feels confident in her power as the "golden thread" that unites him to a past and present "beyond his misery." Darnay kisses Lucie's hand and then turns to Stryver to thank him for his work. Lucie, Manette, and Stryver depart, and a drunk Sydney Carton emerges from the shadows to join the men. Lorry chastises him for not being a serious man of business. Darnay and Carton make their way to a tavern, where Carton smugly asks, "Is it worth being tried for one's life, to be the object of [Lucie's] sympathy and compassion . . . ?" When Darnay comments that Carton has been drinking, Carton gives his reason for indulging himself so: "I am a disappointed drudge, sir. I care for no man on earth, and no man on earth cares for me." After Darnay leaves, Carton curses his own image in the mirror, as well as his look-alike, who reminds him of what he has "fallen away from." Analysis: Chapters 1-4 The courtroom scenes that open the second book of the novel allow Dickens to use a wonderful range of language. He employs a technique known as free indirect style, which fuses third-person narration with an interior point of view. He reveals the charges for which Darnay is being tried while rooting the reader in the uneducated mind (and ear) of the spectators: "Charles Darnay had yesterday pleaded Not Guilty to an indictment denouncing him (with infinite jingle and jangle) for that he was a false traitor to our serene, illustrious, excellent, and so forth, prince. . . ." The juxtaposition of formal ("our serene, illustrious, excellent") and informal ("and so forth") speech produces a comical effect by highlighting the unrefined crowd's zealous craving for the juicy details of the case, even as they recognize the decorum of their setting. Dickens also uses these scenes to implement another of his favorite literary devices, parody. The Attorney-General's long, self-important, and bombastic speech at the opening of Chapter 3 offers a highly comical imitation of legalese and serves indirectly to ridicule the Attorney-General, as well as the entire legal system. Thus the Attorney-General's informs the jury: [I]f statues were decreed in Britain, as in ancient Greece and Rome, to public benefactors, this shining citizen [his witness] would assuredly have one. That, as they were not so decreed, he probably would not have one. The Attorney-General melodramatically touts the virtues of his witness, John Barsad, and absurdly deifies him, as though Barsad were a great figure from antiquity. When he explains that Barsad would not in fact have such a statue erected in his honor, as no such practice exists in England, his words again produce a comical effect. They draw attention to the fact that the attorney's first sentence glorified Barsad to the point of irrelevant hypotheticals. Moreover, the redundant nature of the Attorney-General's statement highlights his obliviousness to the emptiness of his words. The passage makes clear how Dickens's comical characterizations have won him the admiration of generations of readers. A Tale of Two Cities, however, is far from a comic novel; and perhaps in withholding humor from the book, Dickens sacrificed some opportunity to put his greatest talents to work. Dickens's most "Dickensian" novels abound with hilariously grotesque characters, whose speech (usually vulgar) and appearance (usually freakish) are rendered with extreme exaggeration. With his impeded speech, violent temper, mysteriously rusty fingers, and muddy boots, Jerry Cruncher comes as close as any other character to this sort of caricature. But with A Tale of Two Cities, Dickens was making a conscious decision to steer away from his trademark characters, in order to write a novel in shorter and more frequent installments than usual. He determined to strip the story of dialogue, upon which he often relied to flesh out his characters and further his narration, in favor of describing the story's action. By shifting his attention from character to plot, Dickens crafted A Tale of Two Cities into a rather un-Dickensian novel. His biographer, John Forster, doubted the benefits of such a move: To rely less upon character than upon incident, and to resolve that his actors should be expressed by the story more than they should express themselves by dialogue, was for him a hazardous, and can hardly be called an entirely successful, experiment. As Charles Darnay and Sydney Carton take the stage in this section, Forster's comment becomes particularly pertinent. Darnay makes as uninteresting a hero as Lucie does a heroine. Both characters prove rather one-dimensional in their goodness and virtue. Only the supposedly loveless Carton promises more depth. He descends into the darkness of alcoholism while others bask in the glow of Darnay's acquittal. Reading of this, one cannot help but suspect that elaborate secrets dim his past. Summary: Chapter 5: The Jackal Sydney Carton, the "idlest and most unpromising of men," makes his way from the tavern to Mr. Stryver's apartment. The men drink together and discuss the day's court proceedings. Stryver, nicknamed "the lion," compliments his friend, "the jackal," for the "rare point" that he made regarding Darnay's identification. However, he laments Carton's moodiness. Ever since their days in school together, Stryver observes, Carton has fluctuated between highs and lows, "now in spirits and now in despondency!" Carton shrugs off Stryver's accusation that his life lacks a unified direction. Unable to match Stryver's vaulting ambition, Carton claims that he has no other choice but to live his life "in rust and repose." Attempting to change the subject, Stryver turns the conversation to Lucie, praising her beauty. Carton dismisses her as a "golden-haired doll," but Stryver wonders about Carton's true feelings for her. Summary: Chapter 6: Hundreds of People Four months later, Mr. Lorry, now a trusted friend of the Manette family, arrives at Doctor Manette's home. Finding Manette and his daughter not at home, he converses with Miss Pross. They discuss why the doctor continues to keep his shoemaker's bench. Their conversation also touches on the number of suitors who come to call on Lucie. Miss Pross complains that they come by the dozen, by the hundred—all "people who are not at all worthy of Ladybird." In Miss Pross's opinion, the only man worthy of Lucie is her own brother, Solomon Pross, who, she laments, disqualified himself by making a certain mistake. Lorry knows, however, that Solomon is a scoundrel who robbed Miss Pross of her possessions and left her in poverty. He goes on to ask if Manette ever returns to his shoemaking, and Pross assures him that the doctor no longer thinks about his dreadful imprisonment. Lucie and Manette return, and soon Darnay joins them. Darnay relates that a workman, making alterations to a cell in the Tower of London, came upon a carving in the wall: "D I G." At first, the man mistook these for some prisoner's initials, but he soon enough realized that they spelled the word dig. Upon digging, the man discovered the ashes of a scrap of paper on which the prisoner must have written a message. The story startles Manette, but he soon recovers. Carton arrives and sits with the others near a window in the drawing room. The footsteps on the street below make a terrific echo. Lucie imagines that the footsteps belong to people that will eventually enter into their lives. Carton comments that if Lucie's speculation is true, then a great crowd must be on its way. Analysis: Chapters 5-6 Dickens devotes Chapter 5 to the character of Sydney Carton, whom he nicknames "the jackal." Given the secondary meaning of the term—an accomplice in the commission of menial or disreputable acts—the name seems fitting. Alongside his colleague Stryver, Carton seems little more than an assistant. He lacks ambition; in the courtroom he spends his time staring at the ceiling; outside of it, he spends his time getting drunk. Carton accepts his pathetic state—he says to Stryver matter-of-factly, "you have fallen into your rank, and I have fallen into mine." Yet, for all of his supposed indifference, he betrays his desire for a better, more exalted life. Carton alludes several times to the respectable life that he might have lived. At the end of Chapter 4, he admits to hating Darnay because the man reminds him of what he could have been. He echoes this sentiment in Chapter 5, telling Stryver, "I thought I should have been much the same sort of fellow [as Darnay], if I had had any luck." These feelings evidence his resentful awareness of Darnay as his double—a successful and happy double, and thus a mocking one. Carton views Darnay as a concrete manifestation of a life he might have led, a life preferable to his own. The closing of the chapter alludes to the secret longings of a man who will not admit to having any: In the fair city of this vision, there were airy galleries from which the loves and graces looked upon him, gardens in which the fruits of life hung ripening, waters of Hope that sparkled in his sight. A moment, and it was gone. Climbing to a high chamber in a well of houses, he threw himself down in his clothes on a neglected bed, and its pillow was wet with wasted tears. A great gulf exists between the life that Carton leads and the life that he imagines for himself, between the type of man that he is and the type of man that he dreams of being. Carton's complex and conflicted inner life paves the way for his dramatic development, which eventually elevates him out of his jackal status. Dickens employs masterful foreshadowing in Chapter 6, as he uses these scenes both to hint at Carton's eventual ascendance into glory and to anticipate two vital plot turns. The discovery of the mysterious letter in the Tower of London, and Manette's distress upon hearing of it, foreshadows the moment when, during a later trial, the prosecution will confront the doctor with a letter he wrote while imprisoned in the Bastille. As the second trial forms the dramatic core of the latter half of the novel, the discovery of this second letter forms a crucial part of the plot and dictates the course of the characters' lives. By introducing the story of a first and parallel letter, Dickens prepares the reader for the discovery of the second. As soon as the second letter surfaces, the reader will instantly recognize it as important. The second event that Dickens foreshadows is the French Revolution itself. The "hundreds of people" to which the title of Chapter 6 owes its name refers not to Lucie's suitors (whose numbers Miss Pross clearly exaggerates) but to the multitude of angry, mutinous revolutionaries who, as Lucie and Carton foretell, will soon march into the characters' lives. ummary: Chapter 7: Monseigneur in Town Monseigneur, a great lord in the royal court, holds a reception in Paris. He surrounds himself with the greatest pomp and luxury. For example, he has four serving men help him drink his chocolate. The narrator tells us that Monseigneur's money corrupts everyone who touches it. Monseigneur parades around his guests briefly and then returns to his sanctuary. Miffed at Monseigneur's haughtiness, one guest, the Marquis Evrémonde, condemns Monseigneur as he leaves. The Marquis orders his carriage to be raced through the city streets, delighting to see the commoners nearly run down by his horses. Suddenly the carriage jolts to a stop. A child lies dead under its wheels. The Marquis tosses a few coins to the boy's father, a man named Gaspard, and to the wine shop owner Defarge, who tries to comfort Gaspard. As the Marquis drives away, a coin comes flying back into the carriage, thrown in bitterness. He curses the commoners, saying that he would willingly ride over any of them. Madame Defarge watches the scene, knitting the entire time. Chapter 8: Monseigneur in the Country The Marquis arrives in the small village to which he serves as lord. There, too, the people live wretched lives, exploited, poor, and starving. As he looks over the submissive faces of the peasants, he singles out a road-mender whom he passed on his journey, a man whose fixed stare bothered him. He demands to know what the road-mender was staring at, and the man responds that someone was holding onto the bottom of the carriage. The Marquis continues on his way and soon comes upon a peasant woman, mourning at a rustic graveside. The woman stops him and begs that he provide her husband's grave with some stone or marker, lest he be forgotten, but the Marquis drives away, unmoved. He arrives at his chateau and, upon entering, asks if Monsieur Charles has arrived from England. Chapter 9: The Gorgon's Head Later that night, at the Marquis' chateau, Charles Darnay, the nephew of the Marquis, arrives by carriage. Darnay tells his uncle that he wants to renounce the title and property that he stands to inherit when the Marquis dies. The family's name, Darnay contends, is associated with "fear and slavery." He insists that the family has consistently acted shamefully, "injuring every human creature who came between us and our pleasure." The Marquis dismisses these protests, urging his nephew to accept his "natural destiny." The next morning, the Marquis is found dead with a knife through his heart. Attached to the knife is a note that reads: "Drive him fast to his tomb. This, from Jacques." Analysis: Chapters 7-9 In Chapter 5 of Book the First, we read a description of the French public squabbling over the spilled contents of a broken wine cask; this passage, in its indictment of the greed and viciousness of the mob, forms the backbone of Dickens's criticism against the impending revolution. In this section, in contrast, Dickens expresses an equal disapproval for the aristocracy whose vile mistreatment of the peasantry contributes to the revolution. Again, Dickens uses sarcasm to great effect as he describes the Monseigneur's ridiculous dependence on his serving men: It was impossible for Monseigneur to dispense with one of these attendants on the chocolate and hold his high place under the admiring Heavens. Deep would have been the blot upon his escutcheon if his chocolate had been ignobly waited on by only three men; he must have died of two. Dickens's choice of the word escutcheon, referring to a family coat-of-arms, is key to our understanding of Monseigneur. For this emblem represents what the he sees as a power inherent to his family's bloodline, an innate nobility that he thinks justifies his absurd lavishness. Dickens undercuts Monseigneur's reverence for this symbol of his own power by commenting on his ridiculous fear that he might damage his reputation should he prove insufficiently ostentatious in the frivolous act of drinking chocolate. Moreover, in noting Monseigneur's deep interest in the ritual of imbibing his little treat, Dickens contrasts him with the more loftily motivated characters in the novel. While the novel's worthy characters act according to selfless and righteous goals, the Monseigneur conducts himself according to base and earthly instincts. Dickens uses the Marquis Evrémonde to give a similar portrait of the aristocracy as elitist. The Marquis displays no sympathy for Gaspard, the father of the boy whom his carriage crushes. Rather, he believes that his noble blood justifies his malicious treatment of his plebeian subjects. In tossing the coins to Gaspard, he aims to buy his way out of the predicament and rid his own conscience of the nuisance of Gaspard's grief. He believes that it is the commoner's lot in life to struggle and suffer. Likewise, he has no doubt that his nephew's rightful station is to dominate commoners, referring to his nephew's noble blood as his "natural destiny." Dickens sets up the Marquis as a representative of the French aristocracy and, as such, a direct cause of the imminent revolution. Using a device called personification, he creates human manifestations of such abstract concepts as greed, oppression, and hatred. The Marquis, so exaggeratedly cruel and flamboyant, hardly seems an actual human being—hardly a realistic character. Instead, the Marquis stands as a symbol or personification of the "inhuman abandonment of consideration" endemic to the French aristocracy during the eighteenth century. Dickens advances this impression of the Marquis' character in the opening passage of Chapter 9, when he describes the nobleman's chateau: It was a heavy mass of building, that chateau of Monsieur the Marquis, with a large stone court-yard before it, and two stone sweeps of staircase meeting in a stone terrace before the principal door. A stony business altogether with heavy stone balustrades . . . and stone faces of men, and stone heads of lions, in all directions. As if the Gorgon's head had surveyed it, when it was finished, two centuries ago. The repetition of the word stone solidifies, as it were, our impression of the man who lives in the chateau. His heart, Dickens suggests, possesses the same severity as the castle's walls. The mention of the Gorgon—one of three Greek mythological sisters who had snakes for hair and turned anyone who looked at them to stone—foreshadows the death of the Marquis. For by the end of the chapter, the chateau has one more stone face added to its collection—the dead Marquis' face, which the narrator describes as "like a stone mask, suddenly startled, made angry, and petrified." Lying dead on his pillow, the Marquis serves as a warning of the violence and bloodshed to come, initiated by the masses who can no longer abide the aristocracy's heartless oppression of them. Summary: Chapter 10: Two Promises A year later, Darnay makes a moderate living as a French teacher in London. He visits Doctor Manette and admits his love for Lucie. He honors Manette's special relationship with his daughter, assuring him that his own love for Lucie will in no way disturb that bond. Manette applauds Darnay for speaking so "feelingly and so manfully" and asks if he seeks a promise from him. Darnay asks Manette to promise to vouch for what he has said, for the true nature of his love, should Lucie ever ask. Manette promises as much. Wanting to be worthy of his confidence, Darnay attempts to tell Manette his real name, confessing that it is not Darnay. Manette stops him short, making him promise to reveal his name only if he proves successful in his courtship. He will hear Darnay's secret on his wedding day. Hours later, after Darnay has left, Lucie hears her father cobbling away at his shoemaker's bench. Frightened by his relapse, she watches him as he sleeps that night. Summary: Chapter 11: A Companion Picture Late that same night, Carton and Stryver work in Stryver's chambers. In his puffed-up and arrogant manner, Stryver announces that he intends to marry Lucie. Carton drinks heavily at the news, assuring Stryver that his words have not upset him. Stryver suggests that Carton himself find "some respectable woman with a little property," and marry her, lest he end up ill and penniless. Summary: Chapter 12: The Fellow of Delicacy The next day, Stryver plans to take Lucie to the Vauxhall Gardens to make his marriage proposal. On his way, he drops in at Tellson's Bank, where he informs Mr. Lorry of his intentions. Lorry persuades Stryver to postpone his proposal until he knows for certain that Lucie will accept. This admonition upsets Stryver. He almost insults Lucie as a "mincing Fool," but Lorry warns him against doing so. Lorry asks that Stryver hold off his proposal for a few hours to give him time to consult the family and see exactly where Stryver stands. Later that night, Lorry visits Stryver and reports that his fears have been confirmed. If Stryver were to propose, the Manettes would reject his offer. Stryver dismisses the entire affair as one of the "vanities" of "empty-headed girls" and begs Lorry to forget it. Summary: Chapter 13: The Fellow of No Delicacy Carton, who frequently wanders near the Manettes' house late at night, enters the house one August day and speaks to Lucie alone. She observes a change in his face. He laments his wasted life, despairing that he shall never live a better life than the one he now lives. Lucie assures him that he might become much worthier of himself. She believes that her tenderness can save him. Carton insists that he has declined beyond salvation but admits that he has always viewed Lucie as "the last dream of [his] soul." She has made him consider beginning his life again, though he no longer believes in the possibility of doing so. He feels happy to have admitted this much to Lucie and to know that something remains in him that still deserves pity. Carton ends his confession with a pledge that he would do anything for Lucie, including give his life. Analysis: Chapters 10-13 In this section, Dickens develops the love triangle among Lucie, Carton, and Darnay. Rather than simply writing an encyclopedic account of the French Revolution, Dickens balances history with the more private struggles of his principal characters. He links the two sides of his novel thematically, as each raises questions about the possibilities of revolution and resurrection—Carton, for example, like France itself, strikes out for a new life. It is in Chapter 13 that Dickens lays the foundation for Carton's eventual turnaround. Upon seeing Carton, Lucie observes a change in his demeanor. Much of this change owes to Carton's feelings for her. Just as Carton shares Darnay's physical countenance, he also shares Darnay's devotion to Lucie. Yet Carton's confession strikes the reader as more touching and profound than that of his counterpart. The reader certainly believes Darnay as he informs Manette, "Dear Doctor Manette, I love your daughter fondly, dearly, disinterestedly, devotedly. If ever there were love in the world, I love her," but this declaration, while direct, seems rather vapid and unimaginative. The alliteration of "dearly, disinterestedly, devotedly" highlights the flat—almost bored—tone of the declaration as it slogs through its sequence of adverbs. The closing sentence seems almost a parody of Romantic love poetry. Darnay touts his love as a great force of the universe but does so with the most mundane possible phrasing, and the repetition of the word love is dogged and uninspired. Carton's words, on the other hand, betray a deep psychological and emotional struggle, suggesting the existence of feelings more complex, perhaps even more worthy of reciprocation, than Darnay's: In my degradation I have not been so degraded but that the sight of you with your father, and of this home made such a home by you, has stirred old shadows that I thought had died out of me. . . . I have had unformed ideas of striving afresh, beginning anew, shaking off sloth and sensuality, and fighting out the abandoned fight. In his depiction of his love, Carton opens himself to the reader's sympathy in a way that Darnay does not. Whereas Darnay makes an objective, almost factual statement of his love for Lucie, Carton describes his emotions, tinged as they are by realistic insecurity ("my degradation") and uncertainty ("unformed ideas"). He also speaks poetically of "old shadows" and "the abandoned fight"; his use of metaphor seems to reflect his inability to grasp fully his profound feelings. Darnay, in contrast, categorizes his experience simply as "love," not pausing to ponder the emotions behind the word. Lucie's conjecture on whether she can "recall [Carton] . . . to a better course" echoes the beginning of the novel, when Lorry recalls Doctor Manette to life. Manette had to suffer a death of sorts—wasting nearly twenty years in prison—before being reborn into the life of love and devotion with Lucie. Now, Carton, too, shall have to undergo a sort of death or sacrifice in order to win the fight for love and meaning that he claims to have abandoned. Dickens's characteristic humor, largely absent from A Tale of Two Cities, shines through in his depiction of Stryver in Chapter 12. Dickens uses Stryver's name to suggest the essential nature of his character. Coldly ambitious, the man ruthlessly strives to distinguish himself as a great businessman and here, in Chapter 12, endeavors to win the hand of Lucie Manette. Dickens ironically entitles the chapter "The Fellow of Delicacy," bringing Stryver's coarseness into greater relief. In Stryver's surly refusal to heed Lorry's gentle advice and postpone his courtship of Lucie, we see clearly one of Dickens's greatest talents—the ability to capture a character through dialogue. "Were you going [to Lucie's] now?" asked Mr. Lorry. "Straight!" said Stryver, with a plump of his fist on the desk. "Then I think I wouldn't, if I was you." "Why?" said Stryver. "Now, I'll put you in a corner," forensically shaking a forefinger at him. "You are a man of business and bound to have a reason. State your reason. Why wouldn't you go?" The directness of Stryver's response to Lorry ("Straight!") and the emphatic nature of his accompanying thump on the table demonstrate his blind and unshakeable ambition. His finger-wagging and blustery imperative demanding to hear Lorry's "reason" reveal his aggressive nature and refusal to be hindered in his pursuits. In his interrogating and intimidating mannerisms, Stryver acts as if he were arguing a legal point or cross-examining a witness. It is clear to the reader that he approaches the courtship as he would a case in court—as a way to gain money and stature—and not out of fondness for Lucie. Summary: Chapter 14: The Honest Tradesman One morning outside Tellson's Bank, Jerry Cruncher sees a funeral pass by. Jerry asks a few questions and learns that the crowd is preparing to bury Roger Cly, a convicted spy and one of the men who testified against Darnay in his court case. Cruncher joins the motley procession, which includes a chimney-sweep, a bear-leader and his mangy bear, and a pieman. After much drinking and carousing, the mob buries Cly and, for sport, decides to accuse passers-by of espionage in order to wreak "vengeance on them." At home that night, Cruncher once again harangues his wife for her prayers. He then announces that he is going "fishing." In reality, he goes to dig up Cly's body in order to sell it to scientists. Unbeknownst to Cruncher, his son follows him to the cemetery, but runs away terrified, believing that the coffin is chasing him. The next day, he asks his father the definition of a "Resurrection-Man"—the term describes men like Cruncher, who dig up bodies to sell to science. He announces his intentions to have this job as an adult. Summary: Chapter 15: Knitting In Paris, Defarge enters his wine shop with a mender of roads whom he calls "Jacques." Three men file out of the shop individually. Eventually, Defarge and the mender of roads climb up to the garret where Doctor Manette had been hidden. There they join the three men who recently exited the shop, and whom Defarge also calls "Jacques." The mender of roads reports that, a year ago, he saw a man hanging by a chain underneath the Marquis' carriage. Several months later, he says, he saw the man again, being marched along the road by soldiers. The soldiers led the man to prison, where he remained "in his iron cage" for several days. Accused of killing the Marquis, he stood to be executed as a parricide (one who murders a close relative). According to rumor, petitions soon arrived in Paris begging that the prisoner's life be spared. However, workmen built a gallows in the middle of town, and soon the man was hanged. When the mender of roads finishes his recollection, Defarge asks him to wait outside a moment. The other Jacques call for the extermination of the entire aristocracy. One points to the knitting work of Madame Defarge, which, in its stitching, contains an elaborate registry of the names of those whom the revolutionaries aim to kill. He asks if the woman will always be able to decipher the names that appear there. Later that week, Defarge and his wife take the mender of roads to Versailles to see King Louis XVI and Queen Marie Antoinette. When the royal couple appears, the mender of roads cries "Long live the King!" and becomes so excited that Defarge must "restrain him from flying at the objects of his brief devotion and tearing them to pieces." This performance pleases the Defarges, who see that their efforts will prove easier if the aristocrats continue to believe in the peasantry's allegiance. Summary: Chapter 16: Still Knitting The Defarges return to Saint Antoine later that evening. A policeman friend warns Defarge that a spy by the name of John Barsad has been sent to their neighborhood. Madame Defarge resolves to knit his name into the register. That night, Defarge admits his fear that the revolution will not come in his lifetime. Madame Defarge dismisses his impatience and compares the revolution to lightning and an earthquake: it strikes quickly and with great force, but no one knows how long it will take to form. The next day, Barsad visits the wine shop. He masquerades as a sympathizer with the revolutionaries and comments on the horrible treatment of the peasants. Knowing that Defarge once worked as Doctor Manette's servant, he reports that Lucie Manette plans to marry, and that her husband is to be the Marquis' nephew, Darnay. After Barsad leaves, Madame Defarge adds Darnay's name to her registry, unsettling Defarge, the once loyal servant of Manette. Summary: Chapter 17: One Night It is the eve of Lucie's marriage to Darnay. Lucie and her father have enjoyed long days of happiness together. Doctor Manette finally has begun to put his imprisonment behind him. For the first time since his release, Manette speaks of his days in the Bastille. In prison, he passed much time imagining what sort of person Lucie would grow up to be. He is very happy now, thanks to Lucie, who has brought him "consolation and restoration." Later that night, Lucie sneaks down to her father's room and finds him sleeping soundly. Analysis: Chapters 14-17 Of the many shadows throughout the novel, that of death looms most largely. Given the novel's concern with resurrection, death acquires an inevitable presence. Although young Jerry Cruncher's aborted trip to the cemetery at the heels of his grave-robbing father serves little dramatic purpose, it functions as an important tableau. As the boy runs home with visions in his head of Roger Cly's coffin chasing behind him, Dickens creates a suggestive symbol of the death that overshadows and pursues everyone. As critic G. Robert Stange has noted, "the tableau technique" plays an important role in the novel. "Dickens tends throughout to make important episodes into set-pieces that are more visual than strictly dramatic." Chapter 14 opens with such a tableau—that of Cly's funeral scene. In the scene's emphasis on bizarre and freakish imagery, we see a clear example of Dickens's characteristic sense of the grotesque. The scene's importance also lies in its depiction of the throng attending Cly's funeral. Here, Dickens continues his criticism of mob mentality. Although Dickens intends the scene as largely comic, he also prepares the reader for his later, darker scenes of mindless frenzy and group violence in Paris. For example, as Cruncher participates in the burial of a man he does not know, his spirited condemnation of the deceased testifies to the contagious nature of the crowd's anger and excitement. Indeed, once the body is interred, the mob's energy remains unexhausted. Thus the group sets off to harass casual passers-by. Dickens later taps into the same frightening group psychology in the tableau that portray the French revolutionaries as they gather around the grindstone (in Book the Third, Chapter 2) and dance the Carmagnole (in Book the Third, Chapter 5). The comedic atmosphere effected by Cruncher quickly lapses into a tone of ominous danger as the story comes to focus on Madame Defarge. For this woman possesses a vengeance and hatred that exceed all bounds. Indeed, the preceding scene presages her vindictive nature: the funeral-goers' boisterous accusations of espionage against innocent passers-by, which they voice for the sake of "vengeance," foreshadow the sweeping tide of hatred that consumes the revolutionaries, and Madame Defarge in particular. Two of the chapters in this section center around her knitting, her symbolic hatred of the aristocracy. When one of the Jacques inquires as to whether Madame Defarge will always be able to decipher this register, his query presages a time in which the woman will seek death even for those objectively innocent of any oppressive behaviors, a time in which her monomaniacal bloodlust will drive her to murder without heed of her scrupulous register. Dickens derived his knitting motif from historical record: many scholars have recorded that women of the period would often knit as they stood and watched the daily executions. In the hands of Madame Defarge, however, the pastime takes on symbolic significance. In Greek mythology, the Fates were three sisters who controlled human life: one sister spun the web of life, one measured it, and the last cut it. Dickens employs a similar metaphor. As Madame Defarge weaves the names of the condemned into shrouds, her knitting becomes a symbol of her victims' fate, their death at the hands of a vengeful peasantry. Summary: Chapter 18: Nine Days Darnay and Doctor Manette converse before going to church for Darnay's wedding to Lucie. Manette emerges "deadly pale" from this meeting. Darnay and Lucie are married and depart for their honeymoon. Almost immediately, a change comes over Manette; he now looks scared and lost. Later that day, Miss Pross and Mr. Lorry discover Manette at his shoemaker's bench, lapsed into an incoherent state. They fear that he will not recover in time to join the newlyweds, as planned, on the honeymoon, and for nine days they keep careful watch over him. Summary: Chapter 19: An Opinion On the tenth morning, Lorry wakes to find the shoemaker's bench put away and the Doctor reading a book. Lorry cautiously asks Manette what might have caused the now-ended relapse, relating Manette's strange case as though it had happened to someone else. Manette suggests that he himself anticipated the reversion. He goes on to say that some stimulus must have triggered a memory strong enough to cause it. Manette reassures Miss Pross and Lorry that such a relapse is not likely to recur because the circumstances that caused it are unlikely to surface again. Still speaking as though the afflicted party were someone other than Manette, Lorry creates a scenario about a blacksmith. He asks whether, if the smith's forge were associated with a trauma, the smith's tools should be taken from him in order to spare him painful memories. Manette answers that the man used those tools to comfort his tortured mind and should be allowed to keep them. Eventually, however, Manette agrees, for Lucie's sake, to let Lorry dispose of his tools while he is away. A few days later, Manette leaves to join Lucie and Darnay. In his absence, Lorry and Miss Pross hack the shoemaker's bench to pieces, burn it, and bury the tools. Summary: Chapter 20: A Plea When Lucie and Darnay return home from their honeymoon, Sydney Carton is their first visitor. He apologizes for his drunkenness on the night of the trial and delivers a self-effacing speech in which he asks for Darnay's friendship: "If you could endure to have such a worthless fellow . . . coming and going at odd times, I should ask that I might be permitted to come and go as a privileged person [in the household]. . . ." Carton leaves. Afterward, Darnay comments that Carton tends to be careless and reckless. Lucie deems this judgment too harsh and insists that Carton possesses a good, though wounded, heart. Lucie's compassion touches Darnay, and he promises to regard Carton's faults with sympathy. Summary: Chapter 21: Echoing Footsteps Years go by, and Lucie and her family enjoy a tranquil life. She gives birth to a daughter, little Lucie, and a son, who dies young. Lucie still maintains her habit of sitting in a corner of the parlor, listening to the echoing footsteps on the street below. By 1789, the echoes reverberate "from a distance" and make a sound "as of a great storm in France with a dreadful sea rising." One day in July, Lorry visits the Darnays and reports that an alarming number of French citizens are sending their money and property to England. The scene then shifts to the storming of the Bastille in Paris. Defarge and Madame Defarge serve as leaders among the mob. Once inside the Bastille, Defarge grabs a guard and demands to be taken to 105 North Tower. Defarge searches the cell. When he is finished, he rejoins the mob as it murders and mutilates the governor who had defended the fortress. Madame Defarge cuts off the man's head. Analysis: Chapters 18-21 Nearly every character in the novel battles against some form of imprisonment. In the case of Doctor Manette and Charles Darnay, this imprisonment is quite literal. But subtler, psychological confines torture other characters as much as any stone cell. Sydney Carton, for instance, cannot seem to escape his listlessness. Darnay struggles to free himself from the legacy of his family history. Lorry tries to unshackle his heart from its enslavement to Tellson's Bank. Finally, although Manette long ago escaped the Bastille, in this section he battles the tormenting memories of his years there. Prompted by the discovery of Darnay's true identity, Manette reverts to pounding out shoes in order to calm his troubled mind. This episode brings the notion of the fight for freedom from the level of political revolution to the level of personal struggles, suggesting that men and women toil to free themselves from the forces that oppress them as surely as nations do. Dickens further elaborates the parallel between personal and public struggles in Chapter 21, which begins with Lucie in her parlor listening to the echo of footsteps on the street, and then shifts to the storming of the Bastille in Paris. The footsteps sweep the reader along, from the intimate struggles of private life to a revolution that will shape the future of an entire country and continent. Dickens's description of the battle contains exceptional power. Consider the following passage from Chapter 21: Flashing weapons, blazing torches, smoking waggon-loads of wet straw, hard work at neighbouring barricades in all directions, shrieks, volleys, execrations, bravery without stint, boom, smash and rattle, and the furious sounding of the living sea; but, still the deep ditch, and the single drawbridge, and the massive stone walls, and the eight great towers, and still Defarge of the wine shop at his gun, grown doubly hot by the service of Four fierce hours. Here Dickens captures the frantic and dangerous energy of the conflict. This passage's effect owes much to Dickens's language, which employs both alliteration and onomatopoeia to evoke the mood of battle. Alliteration, or the repetition of consonants, fills the passage with harsh sounds. The effect, in the last line for instance, mimics the regular bursts of gunfire: "at his gun, grown doubly hot by the service of Four fierce hours" (emphasis added). The passage's onomatopoeia, or use of words that imitate the sound to which they refer—such as boom, smash, and rattle—contributes to the overall impression of chaos as the sounds of the battle take over. Both methods cause an abstract description to give way to an eruption of noise, as the harsh and relentless pounding and battering of the siege becomes a palpable presence in the text. As the battle rages on, Dickens introduces a symbol that plays a major role in the novel's theme of resurrection: blood, which begins to flow in the streets of Saint Antoine. Dickens links the image of blood to that of wine: after a day of butchery, the revolutionaries' clothes and hands bear stains of red, recalling the day on which the wine-cask breaks in front of Defarge's shop (Book the First, Chapter 5). With these allegorical images of blood and wine, the theme of resurrection takes on a decidedly Christian undertone. In the Catholic ritual of communion, the priest consecrates a cup of wine and it becomes the blood of Christ, whose entombment and miraculous ascent to heaven on Easter Day have rendered him a symbol of resurrection in Christian tradition. In later chapters, Dickens will continue to draw upon this Christian association of blood, wine, and resurrection. Just as Christ shed his wine red blood upon the cross prior to being entombed and resurrected, so must the blood of the aristocracy flow before the commoners can take up their new lives. Summary: Chapter 22: The Sea Still Rises One week later in Saint Antoine, Defarge arrives bearing news of the capture of Foulon, a wealthy man who once declared that if people were starving they should eat grass. Foulon had faked his own death to avoid the peasants' fury but was later discovered hiding in the country. The revolutionaries set out to meet Foulon, led by Madame Defarge and a woman known only as The Vengeance. The mob strings Foulon up, but the rope breaks and he does not die until his third hanging. The peasants put his head on a pike and fill his mouth with grass. When they have finished, the peasants eat their "scanty and insufficient suppers," parents play with their children, and lovers love. Summary: Chapter 23: Fire Rises The French countryside lies ruined and desolate. An unidentified man, weary from travel, meets the mender of roads. They address each other as "Jacques" to indicate their status as revolutionaries. The mender of roads directs the man to the chateau of the murdered Marquis. Later that night, the man sets the castle on fire. A rider from the chateau urges the village soldiers to help put out the fire and salvage the valuables there, but they refuse, and the villagers go inside their homes and put "candles in every dull little pane of glass." The peasants nearly kill Gabelle, the local tax collector, but he escapes to the roof of his house, where he watches the chateau burn. The narrator reports that scenes such as this are occurring all over France. Chapter 24: Drawn to the Loadstone Rock Three years pass. Political turmoil continues in France, causing England to become a refuge for persecuted aristocrats. Tellson's Bank in London becomes a "great gathering-place of Monseigneur." Tellson's has decided to dispatch Mr. Lorry to its Paris branch, in hopes that he can protect their valuable ledgers, papers, and records from destruction. Darnay arrives to persuade Lorry not to go, but Lorry insists, saying that he will bring Jerry Cruncher as his bodyguard. Lorry receives an urgent letter, addressed to the Marquis St. Evrémonde, along with instructions for its delivery. Lorry laments the extreme difficulty of locating the Marquis, who has abandoned the estate willed to him by his murdered uncle. Darnay, careful to let no one suspect that he is in fact the missing Marquis, says that the Marquis is an acquaintance of his. He takes the letter, assuring Lorry that he will see it safely delivered. Darnay reads the letter, which contains a plea from Gabelle, whom the revolutionaries have imprisoned for his upkeep of the Marquis' property. Gabelle begs the new Marquis to return to France and save him. Darnay resolves to go to Paris, with a "glorious vision of doing good." After writing a farewell letter to Lucie and Doctor Manette, he departs. Analysis: Before writing A Tale of Two Cities, Dickens had made one other attempt at historical fiction, entitled Barnaby Rudge (1841). Dissatisfied with the outcome of that venture, Dickens set out to craft a novel that combined the panorama of history with his typical cast of exaggerated characters. Critical opinion differs on whether he achieved a successful balance. Most critics agree that A Tale of Two Cities somewhat sacrifices its characters to its historical scope. They claim that the story lacks the memorable types of characters that vitalize Dickens's most popular novels, such as The Old Curiosity Shop and David Copperfield. However, debate continues as to whether Dickens's use of history ultimately warranted this sacrifice. Some consider the author's treatment of the revolution to be a triumphant success, while others believe that Dickens's indomitably fantastical imagination only waters down his history. Without doubt, Dickens relied heavily upon Thomas Carlyle's history of the French Revolution, a work that impressed Dickens greatly. Many of his details come directly from Carlyle's work, such as the description of the death of Foulon, which A Tale of Two Cities portrays as follows: Once, he went aloft, and the rope broke, and they caught him shrieking . . . then, the rope was merciful, and held him, and his head was soon upon a pike, with grass enough in the mouth for all Saint Antoine to dance at the sight of. The similarity to Carlyle's portrayal of the same incident in The French Revolution is obvious: Only with the third rope (for two ropes broke, and the quavering voice still pleaded) can he be so much as got hanged! His Body is dragged through the streets; his Head goes aloft on a pike, the mouth filled with grass: amid sounds as of Tophet, from a grass-eating people. Dickens acknowledges his debt to Carlyle in A Tale of Two Cities' preface, in which he states that he "hopes to add something to the popular and picturesque means of understanding [the French Revolution], though no one can hope to add anything to the philosophy of Mr Carlyle's wonderful book." Dickens's debt to Carlyle, however, runs deeper than the level of historical detail, extending to the book's philosophical outlook as well. Dickens believed, as Carlyle did, that history is an evolutionary phenomenon. In other words, one era must be destroyed before a new one can develop and thrive, or, as Carlyle noted, "each new age [is] born like the phoenix out of the ashes of the past." Yet although Dickens promotes this view of history in which the destruction of the old makes way for the new, he remains ambivalent about the violence accompanying the cycles of eradication. While he acknowledges the evils and oppression that motivated the peasant uprising—he does this most notably in the chapters chronicling the events that lead up to the death of the Marquis—he never goes so far as to romanticize the revolutionaries' struggles or idealize their cause. Indeed, it is with great horror that he recounts the fall of the Bastille and the ensuing chaos in the streets. The violence may serve to cleanse society of the injustices of the French aristocracy, but it nevertheless creates its own sort of pollution. In describing the peasants' carefree return to eating, playing, and loving after their bloodthirsty execution of Foulon in Chapter 22, Dickens points toward a fundamentally corrupt side of the human soul.

Tale of Two Cities Book 3: The Track of a Storm

Summary: Chapter 1: In Secret Travel through France proves difficult for Darnay. Hostile revolutionaries frequently stop him and question him. Upon his arrival in Paris, the revolutionaries confine him to a prison called La Force. Darnay protests and reminds his jailers of his rights. However, the guard responds that, as an emigrant, Darnay—whom he refers to as Evrémonde—has no rights. The guard hands Darnay over to Defarge with the instructions, "In secret." As he is being led away, Darnay converses with the wine merchant. Defarge wonders aloud why Darnay would choose to return to France in the age of "that sharp female newly-born . . . called La Guillotine." Darnay asks Defarge for help, but Defarge refuses. At La Force, Darnay feels he has entered the world of the dead. A fellow prisoner welcomes him to the prison and says that he hopes that Darnay will not be kept "in secret"—the Anglicized form of en secret, meaning solitary confinement. But Darnay has indeed been sentenced to total isolation, and he soon finds himself in a cell measuring "five paces by four and a half." Summary: Chapter 2: The Grindstone Lucie and Doctor Manette storm into the Paris branch of Tellson's Bank to find Mr. Lorry. They inform him that Darnay sits imprisoned in La Force. Manette remains confident that he can use his standing as a one-time prisoner of the Bastille to help rescue his son-in-law. Lorry sends Lucie into the back room of the bank so that he can speak to Manette in private. He and Manette look out into the courtyard, where throngs of people sharpen their weapons on a grindstone. Lorry explains that the mob is preparing to kill the prisoners. Manette rushes into the crowd, and soon a cry arises: "Help for the Bastille prisoner's kindred in La Force!" Summary: Chapter 3: The Shadow Fearing that Lucie and Manette's presence might compromise the bank's business, Lorry ushers Lucie, her daughter, and Miss Pross to a nearby lodging. He leaves Jerry Cruncher to guard them. Back at Tellson's, Defarge approaches Lorry with a message from Manette. Following Manette's instructions, Lorry leads Defarge to Lucie. Defarge claims that Madame Defarge must accompany them, as she will familiarize herself with the faces of Lucie, her daughter, and Miss Pross, in order to better protect them in the future. The woman known as The Vengeance also comes. Upon arriving at the lodging, Defarge gives Lucie a note from the imprisoned Darnay. It urges her to take courage. Turning to Madame Defarge, Lucie begs her to show Darnay some mercy, but Madame Defarge coldly responds that the revolution will not stop for the sake of Lucie or her family. Summary: Chapter 4: Calm in Storm Four days later, Manette returns from La Force. Lorry notes a change in the once-fragile Manette, who now seems full of strength and power. Manette tells him that he has persuaded the Tribunal, a self-appointed body that tries and sentences the revolution's prisoners, to keep Darnay alive. Moreover, he has secured a job as the inspecting physician of three prisons, one of which is La Force. These duties will enable him to ensure Darnay's safety. Time passes, and France rages as though in a fever. The revolutionaries behead the king and queen, and the guillotine becomes a fixture in the Paris streets. Darnay remains in prison for a year and three months. Summary; Chapter 5: The Wood-sawyer While the family waits for Darnay's trial, Manette tells Lucie of a window in the prison from which Darnay might see her in the street. For two hours every day, Lucie stands in the area visible from this window. A wood-sawyer who works nearby talks with Lucie while she waits, pretending that his saw is a guillotine (it bears the inscription "Little Sainte Guillotine") and that each piece of wood that he cuts is the head of a prisoner. One day, a throng of people comes down the street, dancing a horrible and violent dance known as the Carmagnole. The dancers depart, and the distressed Lucie now sees her father standing before her. As he comforts Lucie, Madame Defarge happens by. She and Manette exchange salutes. Manette then tells Lucie that Darnay will stand trial on the following day and assures her that her husband will fare well in it. Analysis: Chapters 1-5 The scene at the grindstone powerfully evokes the frantic and mindlessly violent mob of the revolution. A master of imagery, Dickens often connects one scene to another in such a manner that the images flow throughout the entire novel rather than stand in isolation. The reader feels this continuity as the crowd gathers around the grindstone to sharpen their weapons. The description of the people in blood-stained rags, "[not one] creature in the group free from the smear of blood," immediately recalls the breaking of the wine-cask outside Defarge's shop in Chapter 5; there, too, the people's rags are stained and "those who had been greedy with the staves of the cask, had acquired a tigerish smear about the mouth." These parallel scenes do more than testify to Dickens's artistry. They serve to place disparate motifs into symbolic relation. In repeating the motif of the red-stained peasants' rags, Dickens links wine with blood, invoking the Christian association between communion wine and the blood of Christ. However, Dickens complicates the symbol in his text. While the blood of Christ traditionally signifies salvation—Christians believe that Christ sacrificed his life for human deliverance from sin—Dickens's grisly depictions of the vicious, vengeful, and often sadistic revolutionaries express a deep skepticism in the redemptive power of political bloodshed. Shadows constitute another symbol that permeates the entire novel, here providing the subheading for Chapter 3. Dickens uses light and dark much as a painter might, infusing his composition with a wide range of tone and depth. The reader can observe Dickens's use of light and shadow at various instances in the novel. Notably, the chilling opening of the novel, in which the mail coach weaves its way through the darkness and fog, sets a tone of ominous mystery for the story; conversely, the sweet sunrise that opens Book the Second, Chapter 18, lends Lucie's wedding day an air of promise and happiness. In the current section, Madame Defarge casts a menacing shadow: The shadow attendant on Madame Defarge and her party seemed to fall so threatening and dark on the child, that her mother instinctively kneeled on the ground beside her, and held her to her breast. The shadow attendant on Madame Defarge and her party seemed then to fall, threatening and dark, on both the mother and the child. The narrator's focus on the looming presence of Madame Defarge and on Lucie's inability to escape this woman's shadow establishes a tension between the gentle and nurturing Lucie—the "golden-haired doll"—and the dark and cold Madame Defarge, an unrelenting instrument of the revolution. Indeed, the narrator implicitly likens Madame Defarge's shadow, which "fall[s] . . . threatening and dark," to the guillotine blade that she is so eager to see making its fatal descent. In Chapter 5, Dickens furthers this tension between Lucie's sweet goodness and the perverse malevolence of the revolution. The wood-sawyer who talks with Lucie in Chapter 5 possesses a grotesque zeal for decapitation, as evidenced by the religious nature of the moniker that he gives to his saw. He labels his imagined guillotine "Sainte"—that is, holy—illustrating his belief that the guillotine, in lopping off the heads of the aristocracy, is carrying out divine will. Similarly devoted but of opposite sympathy, Lucie waits steadfastly outside of her husband's prison, merely on the off-chance that Darnay might catch a glimpse of her. Whereas the violent and rambunctious Carmagnole dance, in which the wood-sawyer participates, symbolizes the ruthlessness of the revolution, the white snow that falls "quietly and . . . soft" in the very same chapter symbolizes Lucie's gentle soul and pure love for Darnay. When Madame Defarge passes by "like a shadow over the white road," the reader again senses the threat she poses to Lucie's happiness. Summary: Chapter 6: Triumph A motley and bloodthirsty crowd assembles at the trial of Charles Darnay. When Doctor Manette is announced as Darnay's father-in-law, a happy cry goes up among the audience. The court hears testimony from Darnay, Manette, and Gabelle, establishing that Darnay long ago had renounced his title out of disapproval of the aristocracy's treatment of peasants. These factors, in addition to Darnay's status as the son-in-law of the much-loved martyr Manette, persuade the jury to acquit him. The crowd carries Darnay home in a chair on their shoulders. Summary: Chapter 7: A Knock at the Door The next day, although Manette rejoices in having saved Darnay's life, Lucie remains terrified for her husband. Later that afternoon, she reports hearing footsteps on the stairs, and soon a knock comes at the door. Four soldiers enter and re-arrest Darnay. Manette protests, but one of the soldiers reminds him that if the Republic demands a sacrifice from him, he must make that sacrifice. Manette asks one of the soldiers to give the name of Darnay's accuser. Though it is against the law to divulge such information, the soldier replies that he is carrying out the arrest according to statements made by Defarge, Madame Defarge, and one other individual. When Manette asks for the identity of this third person, the soldier replies that Manette will receive his answer the next day. Summary: Chapter 8: A Hand at Cards Meanwhile, Jerry Cruncher and Miss Pross discover Miss Pross's long-lost brother, Solomon, in a wine shop. Solomon scolds his sister for making a scene over their reunion. He cannot afford to be identified because he is working as a spy for the Republic. Meanwhile, Cruncher recognizes Solomon as the witness who accused Darnay of treason during his trial in England thirteen years earlier. He struggles to remember the man's name until Sydney Carton, who suddenly appears behind them, provides it: Barsad. Carton states that he has been in Paris for a day and has been lying low until he could be useful. He threatens to reveal Barsad's true identity to the revolutionaries unless the spy accompanies him to Tellson's. Upon arriving at Tellson's, Carton informs Mr. Lorry and Jerry Cruncher that Darnay has been arrested again; he overheard Barsad discussing the news in a bar. Carton has a plan to help Darnay, should he be convicted, and he threatens to expose Barsad as an English spy should Barsad fail to cooperate. Carton reveals that he has seen Barsad conversing with Roger Cly, a known English spy. When Barsad counters that Cly is dead and presents the certificate of burial, Cruncher disproves the story by asserting that Cly's coffin contained only stones and dirt. Though Cruncher is unwilling to explain how he knows these details, Carton takes him at his word and again threatens to expose Barsad as an enemy of the Republic. Barsad finally gives in and agrees to help Carton with his secret plan. Summary: Chapter 9: The Game Made Lorry scolds Cruncher for leading a secret life (grave-robbing) outside his job at Tellson's. Cruncher hints that there may be many doctors involved in grave-robbing who bank at Tellson's. Cruncher then makes amends, saying that if Lorry will let young Jerry Cruncher inherit his own duties at the bank, he himself will become a gravedigger to make up for all the graves that he has "un-dug." After Barsad leaves, Carton tells Lorry and Cruncher that he has arranged a time to visit Darnay before his imminent execution. Carton reflects that a human being who has not secured the love of another has wasted his life, and Lorry agrees. That night, as he wanders the streets of Paris, Carton thinks of Lucie. He enters a chemist's shop and buys a mysterious substance. The words spoken by the priest at his father's funeral echo through his mind: "I am the resurrection and the life, saith the Lord: he that believeth in me, though he were dead, yet shall he live: and whosoever liveth and believeth in me, shall never die." Carton helps a small girl across the muddy street, and she gives him a kiss. The priest's words echo again in his mind. He wanders until sunrise, then makes his way to the courthouse for Darnay's trial. The judge names Darnay's accusers: the Defarges and Doctor Manette. Manette reacts with shock and denies having ever denounced Darnay. Defarge then takes the stand and speaks of a letter that he found, hidden in 105 North Tower of the Bastille. Summary: Chapter 10: The Substance of the Shadow Defarge claims that Manette wrote the letter while imprisoned in the Bastille, and he reads it aloud. It tells the story of Manette's imprisonment. In 1757, a pair of brothers, one the Marquis Evrémonde (Darnay's father) and the other the next in line to be Marquis (Darnay's uncle, the man who ran over the child with his carriage in Book the Second, Chapter 7), ordered Doctor Manette to care for a young peasant woman, who was dying of a fever, and her brother, who was dying of a stab wound. The Marquis' brother had raped the young woman, killed her husband, and stabbed her brother, who died quickly. Although the woman was still alive, Manette failed to save her life. The next day a kind woman—the Marquis' wife and Darnay's mother—came to Manette's door. Having heard about the horrible things done to the peasant girl and her family, she offers to help the girl's sister, who was hidden away so the Marquis could not find her. Unfortunately, Manette does not know the sister's whereabouts. The next day, Manette was taken away and imprisoned in the Bastille on the orders of the Marquis Evrémonde. After hearing this story, the jury sentences Darnay to death, to pay for the sins of his father and uncle. Analysis: Chapters 6-10 The echoing footsteps that Lucie hears in Chapter 21 of Book the Second now manifest themselves again, but this time they signify the immediate presence of pressing danger. No longer distant, dim, or scarcely audible, the footfalls in Chapter 7 announce the four soldiers come to take Darnay back to prison. Whereas the revolution only vaguely stirs Lucie when she sits in her comfortable parlor in England, it encroaches, physically and emotionally, upon her most intimate relationships now that she has come to Paris. This transformation of the revolution from an abstract notion into a direct presence in the lives of Lucie and Manette finds a parallel in the soldiers' words to them. In answering Manette's question as to the identity of Darnay's accusers, the soldiers first tell him that they are acting on the orders of Saint Antoine, the personified suburb of Paris at the heart of the revolution. However, Manette soon learns that Defarge and his wife have in fact occasioned the arrest. With the news of this betrayal by his former allies, the revolution reaches new heights of personal significance for Manette. As the novel approaches its close, the reader encounters an ever-increasing number of coincidences, such as Miss Pross's discovery of her long-lost brother; Carton's timely arrival in the wine shop to identify Barsad; and Defarge's discovery of Manette's letter denouncing the Evrémonde family. Moments such as these, endemic to Victorian fiction, constitute a device called deus ex machina (literally: "god out of the machine"), a term that refers to improbable contrivances used by the author to resolve the plot. Modern readers, more accustomed to realistic narratives, usually consider such unlikely developments to reflect a weakness in the plot's conception. Even in Dickens's time, certain readers objected to the contrived feeling created by these coincidences. Wilkie Collins, for instance—the author of The Frozen Deep, the play that inspired A Tale of Two Cities—found the discovery of Manette's letter in Dickens's work highly unlikely. But defenders of this style of writing believe that Dickens conceived a world in which everything is so interconnected to everything else that coincidence—no matter how unlikely—is inevitable. Dickens's biographer, John Forster, defended the author thus: On the coincidences, resemblances, and surprises of life, Dickens liked especially to dwell, and few things moved his fancy so pleasantly. The world, he would say, was so much smaller than we thought it; we were all so connected by fate without knowing it; people supposed to be far apart were so constantly elbowing each other; and to-morrow bore so close a resemblance to nothing half so much as to yesterday. The coincidences Dickens presents may seem excessive in number, but many critics have come to see these plot devices as yet another example of Dickens's talent for exaggeration. Just as his many caricatured figures serve to emphasize and comment on real human foibles, his coincidences and sudden surprising connections serve merely to exaggerate the frequency of what Dickens believed to be very real phenomena in our own world. Regardless of how one feels about Carton's sudden appearance, one must acknowledge the transformation of his character as one of the novel's foremost achievements. Indeed, Carton proves the most psychologically complex and emotionally rich character that A Tale of Two Cities has to offer. By the time of his appearance in Paris, he has shed the skin of "the jackal." No longer insolent, lazy, and directionless, he emerges determined to save Darnay's life for the sake of the woman that he himself loves. He now has a purpose, and a purpose that he cherishes. In Chapter 9, the reader witnesses him preparing to make the ultimate sacrifice as he recites a passage from the Book of John (11.25-26). In the Christian tradition, worshippers speak these lines at the opening of the Burial Service in the Book of Common Prayer. Carton's utterance of these words has a dual significance. First, his words confirm that he has made a conscious decision to give of himself for Lucie's sake. (The reader might argue that Carton already has sacrificed himself to Lucie's benefit. However, although Carton has saved Darnay once before, in Book the Second, Chapter 3, this first occasion—his observation of the physical likeness that he and Darnay share—seemed more serendipitous than an act of valor performed deliberately to help Lucie.) Second, Carton's recitation of the biblical passage speaks beyond his personal psychology to the fates of the other characters in the novel, promising a final and satisfying resurrection. Summary: Chapter 11: Dusk The courtroom crowd pours into the streets to celebrate Darnay's condemnation. John Barsad, charged with ushering Darnay back to his cell, lets Lucie embrace her husband one last time. Darnay insists that Doctor Manette not blame himself for the trial's outcome. Darnay is escorted back to his cell to await his execution the following morning, and Carton escorts the grieving Lucie to her apartment. Carton tells Manette to try his influence one last time with the prosecutors and then meet him at Tellson's, though Lorry feels certain that there is no hope for Darnay, and Carton echoes the sentiment. Summary: Chapter 12: Darkness Carton goes to Defarge's wine shop. The Defarges marvel at how much he physically resembles the condemned Darnay. Carton overhears Madame Defarge's plan to accuse Lucie and Manette of spying, and to accuse Lucie's daughter as well. Defarge himself finds this course unnecessary, but his wife reminds him of her grievance against the family Evrémonde: she is the surviving sister of the woman and man killed by the Marquis and his brother. She demands the extermination of their heirs. Carton pays for his wine and returns to Tellson's. At midnight, Manette arrives home completely out of his mind. He looks about madly for his shoemaking bench. After calming Manette, Carton takes from the doctor's coat the papers that will allow Lucie, the doctor, and the child to leave the city. He gives the documents to Lorry. Then, Carton gives Lorry his own papers, refusing to explain why. Afraid that the papers may soon be recalled because Madame Defarge intends to denounce the entire family, Carton insists to Lorry that time is of the essence: the family must leave tomorrow. Alone in the street that night, Carton utters a final good-bye and blessing to Lucie. Summary: Chapter 13: Fifty-two Fifty-two people have been condemned to die the next day. Darnay resolves to meet his death bravely. Carton appears at the door to Darnay's cell, and Darnay observes something new and bright in Carton's face. Carton tricks Darnay into switching clothes with him, dictates a letter of explanation, and then drugs him with the substance that he had purchased at the chemist's shop. He orders Barsad to carry the unconscious Darnay to the carriage waiting outside Tellson's. At two o'clock, guards take Carton from Darnay's cell, believing him to be Darnay. He stands in the long line of the condemned. A poor seamstress, also falsely sentenced to death, realizes that Carton is not Darnay and asks, "Are you dying for him?" He replies, "And his wife and child." Meanwhile, Barsad delivers the real Darnay to Manette, Lorry, and Lucie, and sends the carriage on its way. Lorry presents the family's papers at the city gates as they leave. They flee through the countryside, fearing pursuit. Summary: Chapter 14: The Knitting Done Meanwhile, Madame Defarge heads toward Lucie's apartment to try to catch Lucie in the illegal act of mourning a prisoner. Evidence of such a crime, she believes, will strengthen her case against the family. At the apartment, Miss Pross and Jerry Cruncher are in the middle of making final arrangements to depart Paris. To avoid drawing the suspicion that leaving together might engender, Miss Pross tells Cruncher to wait for her with the carriage at the cathedral. When Cruncher leaves, Madame Defarge barges in and demands to know Lucie's whereabouts. The women fight, and Madame Defarge draws a gun. In the struggle, however, Miss Pross shoots her. She meets Cruncher as planned and reports that she has gone deaf from the gunshot. Summary: Chapter 15: The Footsteps Die Out Forever- Crush humanity out of shape once more . . . and it will twist itself into the same tortured forms. Sow the same seed of . . . oppression over again, and it will surely yield the same fruit according to its kind. Carton and the young seamstress reach the guillotine. The Vengeance and the other revolutionary women worry that Madame Defarge will miss the beheading of Charles Darnay. The seamstress reflects that the new Republic may make life easier for poor people like herself and her surviving cousin. She kisses Carton and goes calmly to her death. Carton then goes to his. The narrator recounts that those who saw Carton die witnessed a peaceful and even prophetic look on his face, and speculates confidently about Carton's final thoughts: Carton notes the fact that the oppressors in the crowd "have risen on the destruction of the old," but also realizes that, someday, Paris will recover from these horrors and become beautiful. Also in these imagined last moments, Carton sees Lucie and Darnay with a child named after himself. He sees Manette happy and healthy and sees Lorry living a long and peaceful life. He sees a future in which he holds a special place in their hearts and in the hearts of generations hence. He sees his own name "made illustrious," and the blots that he threw upon his life fade away. According to the narrator, Carton dies in the knowledge that "It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known." I see a beautiful city and a brilliant people rising from this abyss, and, in their struggles to be truly free, . . . I see the evil of this time . . . gradually making expiation for itself and wearing out. Analysis: Chapters 11-15 Dickens uses the figure of Miss Pross to emphasize the power of love. As the devoted servant battles with Madame Defarge, he notes that "the vigorous tenacity of love [is] always so much stronger than hate." The showdown between the two women serves also as a commentary on social order and revolution. Revolution, as embodied by Madame Defarge, may prove fiercer and wilder, but the social order that Miss Pross represents emerges as stronger and steadier. Although Dickens denounces the cruelty and vengefulness of Madame Defarge, he acknowledges the unavoidable fact of such people's existence in the world: And yet there is not in France, with its rich variety of soil and climate, a blade, a leaf, a root, a sprig, a peppercorn, which will grow to maturity under conditions more certain than those that have produced this horror. Crush humanity out of shape once more, under similar hammers, and it will twist itself into the same tortured forms. Sow the same seed of rapacious license and oppression over again, and it will surely yield the same fruit according to its kind. Yet in noting the prevalence of evil, Dickens also shows an understanding of the processes by which evil arises. Madame Defarge certainly possesses a criminal bloodlust, but Dickens suggests her own tragic past and suffering, rather than any innate ill-will toward humanity, have transformed her into the despicable creature that she has become. As such, Dickens is not so interested in criticizing Madame Defarge specifically as he is in using her as an example of the vices that society perpetrates. Although, at the end of the novel, the narrator, using Carton's voice, prophesies a restored and replenished France—true to Carlyle's theory of history in which one era emerges "like a phoenix" out of the ashes of another—A Tale of Two Cities ultimately extends a cautionary word toward its readers. In certain sublime instances—such as Carton's self-sacrifice—death may beget life, but oppression can beget nothing other than itself. The novel ends with something of a Christian paradox: life is achieved through death. Carton's sacrifice of his life enables him to live in a way that he otherwise could not, for this sacrifice—the only means by which Darnay can be saved—assures Carton a place in the hearts of others and allows him to have undertaken one truly meaningful and valuable act before dying. The final passage, in which the narrator imagines and records Carton's last thoughts, extends Carton's life beyond the moment of his death. He will live on in Lucie and Darnay, who will feel as deeply connected to him as they do to each other. He will live on in their child, who will bear his name and ambitiously follow a path that might have been Carton's own. Generations to come will honor his memory, endowing him with a glory that he could never have enjoyed had he continued living as Stryver's disaffected and drunken assistant. Carton's death emphasizes one of the novel's simpler philosophies—that love conquers all. Carton's love for Lucie allows him to overcome not only the purposelessness of his life but also his own death. Moreover, the event constitutes a Victorian ending, in that it provides the perfect resolution to various characters' problems. It ensures the continued happiness of Darnay and Lucie and it represents the redemption of the once spiritually aimless Carton. The closing shift from third-person narration to the first-person supposed thoughts of Sydney Carton creates a powerful effect—it is as if Carton's beautiful act transcends even the narrator's control over the story. Indeed, the stunningly philosophical words that the narrator ascribes to Carton mirror Carton's quasi-religious ascension into the realm of the sublime. In his repetition of the phrase "I see" over the second to last four paragraphs, Dickens uses anaphora, a rhetorical device in which a phrase recurs at the beginning of successive clauses. These paragraphs then culminate in the spiritually edifying and uplifting anaphora of "It is a far, far better thing" and "It is a far, far better rest." This device lends the closing passages a soothing, peaceful tone, and, in its repetition, evokes the language of prayer and reverence. The harmony between the style and content of these final paragraphs leaves the reader with a feeling of complete resolution.

Tale of Two Cities Book 1: Recalled to Life

Summary: Chapter 1: The Period It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness. . As its title promises, this brief chapter establishes the era in which the novel takes place: England and France in 1775. The age is marked by competing and contradictory attitudes—"It was the best of times, it was the worst of times"—but resembles the "present period" in which Dickens writes. In England, the public worries over religious prophecies, popular paranormal phenomena in the form of "the Cock-lane ghost," and the messages that a colony of British subjects in America has sent to King George III. France, on the other hand, witnesses excessive spending and extreme violence, a trend that anticipates the erection of the guillotine. Yet in terms of peace and order, English society cannot "justify much national boasting" either—crime and capital punishment abound. Summary: Chapter 2: The Mail On a Friday night in late November of 1775, a mail coach wends its way from London to Dover. The journey proves so treacherous that the three passengers must dismount from the carriage and hike alongside it as it climbs a steep hill. From out of the great mists, a messenger on horseback appears and asks to speak to Jarvis Lorry of Tellson's Bank. The travelers react warily, fearing that they have come upon a highwayman or robber. Mr. Lorry, however, recognizes the messenger's voice as that of Jerry Cruncher, the odd-job man at Tellson's, and accepts his message. The note that Jerry passes him reads: "Wait at Dover for Mam'selle." Lorry instructs Jerry to return to Tellson's with this reply: "Recalled to Life." Confused and troubled by the "blazing strange message," Jerry rides on to deliver it. Summary: Chapter 3: The Night Shadows A wonderful fact to reflect upon, that every human creature is constituted to be that profound secret and mystery to every other. . . . The narrator ponders the secrets and mysteries that each human being poses to every other: Lorry, as he rides on in the mail coach with two strangers, constitutes a case in point. Dozing, he drifts in and out of dreams, most of which revolve around the workings of Tellson's bank. Still, there exists "another current of impression that never cease[s] to run" through Lorry's mind—the notion that he makes his way to dig someone out of a grave. He imagines repetitive conversations with a specter, who tells Lorry that his body has lain buried nearly eighteen years. Lorry informs his imaginary companion that he now has been "recalled to life" and asks him if he cares to live. He also asks, cryptically, "Shall I show her to you? Will you come and see her?" The ghost's reaction to this question varies, as he sometimes claims that he would die were he to see this woman too soon; at other times, he weeps and pleads to see her immediately Summary: Chapter 4: The Preparation The next morning, Lorry descends from the coach at the Royal George Hotel in Dover. After shedding his travel clothes, he emerges as a well-dressed businessman of sixty. That afternoon, a waiter announces that Lucie Manette has arrived from London. Lorry meets the "short, slight, pretty figure" who has received word from the bank that "some intelligence—or discovery" has been made "respecting the small property of my poor father . . . so long dead." After reiterating his duties as a businessman, Lorry relates the real reason that Tellson's has summoned Lucie to Paris. Her father, once a reputed doctor, has been found alive. "Your father," Lorry reports to her, "has been taken to the house of an old servant in Paris, and we are going there: I, to identify him if I can: you, to restore him to life, love, duty, rest, comfort." Lucie goes into shock, and her lively and protective servant, Miss Pross, rushes in to attend to her. The opening sentence of the novel makes clear, as the title itself does, the importance of doubles in the text: It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair. . . . Doubles prove essential to the novel's structure, plot, and dominant themes. The idea of resurrection, a theme that emerges in these early pages, would not be possible without some form of its opposite—death. In order to pave the way for the first such resurrection—the recalling to life of the long-imprisoned Doctor Manette—Dickens does much to establish a dark, ominous tone suggestive of death. From the mist-obscured route of the Dover mail coach to the darkly paneled room in which Lorry meets Lucie Manette, the opening chapters brim with gloomy corners and suggestive shadows. Summary: Chapter 5: The Wine-shop The wine was red wine, and had stained the ground of the narrow street. . . . The setting shifts from Dover, England to Saint Antoine, a poor suburb of Paris. A wine cask falls to the pavement in the street and everyone rushes to it. Men kneel and scoop up the wine that has pooled in the paving stones, while women sop up the liquid with handkerchiefs and wring them into the mouths of their babies. One man dips his finger into the "muddy wine-lees" and scrawls the word blood on a wall. The wine shop is owned by Monsieur Defarge, a "bull-necked, martial-looking man of thirty." His wife, Madame Defarge, sits solemnly behind the counter, watchful of everything that goes on around her. She signals to her husband as he enters the wine shop, alerting him to the presence of an elderly gentleman and a young lady. Defarge eyes the strangers (they are Lorry and Lucie) but pretends not to notice them, speaking instead with three familiar customers, each of whom refers to the other two as "Jacques" (a code name that identifies themselves to one another as revolutionaries). After Defarge directs the men to a chamber on the fifth floor and sends them out, Mr. Lorry approaches from the corner and begs a word with Defarge. The men have a brief conversation, and soon Defarge leads Lorry and Lucie up a steep, dangerous rise of stairs. They come to a filthy landing, where the three men from the wine shop stand staring through chinks in the wall. Stating that he makes a show of Doctor Manette to a chosen few "to whom the sight is likely to do good," Defarge opens the door to reveal a white-haired man busily making shoes. Chapter 6: The Shoemaker Manette reports, in a voice gone faint with "solitude and disuse," that he is making a lady's shoe in the "present mode," or fashion, even though he has never seen the present fashion. When asked his name, he responds, "One Hundred and Five, North Tower." Lucie approaches. Noticing her radiant golden hair, Manette opens a knot of rag that he wears around his neck, in which he keeps a strand of similarly golden curls. At first, Manette mistakes Lucie for his wife and recalls that, on the first day of his imprisonment, he begged to be allowed to keep these few stray hairs of his wife's as a means of escaping his circumstances "in the spirit." Lucie delivers an impassioned speech, imploring her father to weep if her voice or her hair recalls a loved one whom he once knew. She hints to him of the home that awaits him and assures him that his "agony is over." Manette collapses under a storm of emotion; Lucie urges that arrangements be made for his immediate departure for England. Fearing for Manette's health, Lorry protests, but Lucie insists that travel guarantees more safety than a continued stay in Paris. Defarge agrees and ushers the group into a coach. In Chapters 5 and 6, Dickens introduces the reader to the first of the novel's two principal cities: Paris. The scramble for the leaking wine that opens "The Wine-shop" remains one of the most remembered (and frequently referenced) passages in the novel. In it, Dickens prepares the sweeping historical backdrop against which the tale of Lucie and Doctor Manette plays out. Although the French Revolution will not erupt for another fourteen years, the broken wine cask conveys the suffering and rage that will lead the French peasantry to revolt. The scene surrounding the wine cask contains a nightmarish quality. In clambering to feed on the dregs, the members of the mob stain themselves with wine. The liquid smears the peasants' hands, feet, and faces, foreshadowing the approaching chaos during which the blood of aristocrats and political dissidents will run as freely. The ominous scrawling of the word blood on the wall similarly prefigures the violence. Dickens here betrays his conflicted ideas regarding the revolution. While he acknowledges, throughout the novel, the horrible conditions that led the peasantry to violence, he never condones the peasants' actions. In his text the mob remains a frightening beast, manifesting a threat of danger rather than the promise of freedom: "Those who had been greedy with the staves of the cask, had acquired a tigerish smear about the mouth." Dickens uses several techniques to criticize the corrupt circumstances of the peasants' oppression. He proves a master of irony and sarcasm, as becomes clear in his many biting commentaries; thus we read, "[France] entertained herself . . . with such humane achievements as sentencing a youth to have . . . his body burned alive"(Book the First, Chapter 1). Dickens also makes great use of anaphora, a rhetorical device wherein a word or phrase appears repeated in successive clauses or sentences. His meditation on hunger, which he cites as a defining impetus behind the peasants' imminent uprising, serves as a perfect example of how the author uses repetition to emphasize his point

Sir Andrew Ffoulkes loves this person

Suzanne DeTournay

Chapter 16- Richmond

The richmond is The Blakeney house. They each have a separate set of rooms instead of sharing one room. they have a conversation where Marguerite asks if love can die, Perdy says he is actually offended by her snarky comments. she says she married him for looks and money hoping she could eventually love him. they talk about the St.Cyrs for the first time.Percy lets her explain and then sees and understands the situation and can tell she is remorseful. Marguerite then tells him about the danger Armand is in, Percy initially responds like ha that's karma but then volunteers to help her. He wants to hug and comfort her but his PRIDE got in the way. Both people let their PRIDE get in the way from apologizing and showing love toward each other. At the End Percy kisses every stair Margurite's foot touched. this shows that he eventually let his PRIDE die. If you still haven't caught on PRIDE is what the chapter should be called

What did the conspiracy do after they stabbed Caesar?

They put Caesar's blood on his hands and on their weapons. They do this so they are literally caught red handed. They want people to know that they did it.

Chapter 22- Calais

They were both anxious to reach Sir Percy. They get aboard the FOAM CREST and travel to France. The French hate the English but love the money the English pay. The Pimpernel French meeting place is CHAT GRIS. This place is a hole in the wall , trashy and worn down. The landlord BROGARD matches the atmosphere and he is the opposite of Mr. Jellyband. he spits at Sir Andrew out of disgust and defiance. Marguerite starts to question Brogard because she wants answers but Andrew would rather be rude and make fun og brogard. Brogard said that Percy had ordered dinner so he would be back later. Chat Gris is in Calais.

external conflict

a character struggles with an outside force, such as another character, or a force such as the weather

tragic flaw

a characteristic that brings about a hero's downfall, a personal shortcoming, such as pride

plot diagram

a chart that separates the major events in the play by act

catastrophe

a disaster

iamb

a foot (unit of rhyme) in which an unstressed syllable is followed by a stressed syllable: da-DUH

soliloquey

a long speech in which a character, usually alone on stage, speaks to himself or herself, unheard by any other character

Commencement

a time of beginning

Julius Caesar Act IV

antony, octavius, and lepidus form a new triumvirate. Brutus accuses Cassius of hoarding money and taking bribes, cassius is hurt by these accusations. Portia killed herself by holding hot coals in her mouth to swell her tongue and suffocate. Brutus and Cassius fight about when to leave for Philippi. Brutus sees Caesar's ghost who tells him that they will meet again at philippi. Brutus then wakes everyone up to leave for Philippi immediately.

collective noun

considered singular when it refers to a group as a whole. plural when it refers to each member individually.

Perpetual

continuing forever

Incessant

continuing without interruption

Eccentricity

deviation from an established pattern or norm

objective case

direct object, indirect object, or object of preposition

Equanimity

evenness of mind especially under stress

Ostentation

excessive display

present tense verb

expresses a constant, repeated, habitual, or customary action or condition. it can also express a general truth or an action or condition that is happening right now.

present perfect tense verb

expresses an action or condition that occurred at some indefinite time in the past. this tense also shows an action or condition that began in the past and continues into the present. use has or have with the past participle of a verb

past tense verb

expresses an action or condition that was started and completed in the past. uses -ed

future tense verb

expresses an action or condition that will occur in the future. uses will or shall

future perfect tense verb

expresses one future action that will begin and end before another future event begins. use will have or shall have with the past participle of a verb

Carnage

great and bloody slaughter

Ardous

hard to accomplish or achieve

Impudence

having cocky boldness

Habitual

having the nature of a habit

Shakespearean tragic heroes

he adds complexity to his heroes, who may have opposing desires and who may suffer hesitation and doubt before acting; he presents a character's inner turmoil directly, through devices like the soliloquy, a speech in which a character thinks aloud; he focuses on the choices characters make rather than fate; his characters' problems often concern the difference between the reasons for an action and its outcome

What is Trebonius' job?

his job was to get Antony away from Caesar so it will be easier to get close to Caesar

possessive pronouns

indicates ownership and used before gerunds (-ing forms used as nouns)

past perfect tense verb

indicates that one past action or condition began and ended before another past action started. use had with the past participle of the verb

What day is it in Act I Scene 3?

it is March 14th (the day before the ides of march)

on--- -- ---, a large group of Parisians stormed the ----. making it a symbol of hatred and oppression

july 14, 1789; Bastille

in --- of --- members of the 3rd estate declared themselves the --- --- -- --- (what was this meeting called)

june 1889, National Assembly of France, the oath of the tennis court

Imprudent

lacking discretion or disregard of others

Inane

lacking significance, meaning, or point

imagery

language that appeals to the senses to make abstract ideas vivid and concrete

description of sir percy

late 20s, tall, broad shouldered, unusually good looking, lazy expression in his blue eyes, dumber than a box of rocks

Sublime

lofty, grand, or exalted in thought, expression, or manner

comparing and contrasting characters

looking for similarities and differences in the characters' personalities, situations, behaviors, and attitudes

Dexterous

mentally adroit and skillful

Enigmatic

mysterious

Inimatable

not capable of being imatated

supporting roles

not the main character but still an important part of the story

glosses

notes beside the text that define words and explain references

past form

one past-tense form, such as won or lived

past perfect form

past participle form with auxiliary verb had

future perfect form

past participle form with auxiliary verbs will have or shall have

present perfect form

past participle form with present-tense auxiliary verb has or have

Shakespeare's tragedies

plays that tell of a reversal of fortune, from good to bad, experienced by a man or woman, usually of noble birth

Effusive

pouring freely

Omen

prophecy/ sign of something to come. can be good /bad based on your opinion

Retribution

recompense or reward

personal pronouns

refer to a person or thing

pentameter

refers to rhythmic pattern in which each line has five feet

Delusion

something that is falsely believed

nominative case

subject or predicate nominative

Monotony

tedious sameness

internal conflict

the character struggles with his or her own opposing beliefs, desires, or values

what were the 3 estates

the clergy, the nobility, the peasants

dialogue

the conversation between characters

Chapter 18- The Mysterious Device

the device is a stamping ring with a scarlet pimpernel flower on it. Marguerite starts to see that Percy is not an idiot and that his stupidity is just a mask. She snuck into Percy's office and saw a portrait of his mom who had died when he was young. she starts to question how such a stupid man could manage the large sum of money left to him from his father. this makes her see that it is a mask. She finally puts this together when she finds the ring that she saw on the note at the opera and the note at Grenville's ball. She is still not completely convinced.

historical characters

the main type of character used in a Shakespeare tragedy

climax

the point of the greatest emotional intensity

Julius Caesar Act V

they are at philippi. Octavius mentions that Caesar had three and thirty wounds. what happened to killing him with glass? it is Cassius's birthday and he sees a good omen of 2 mighty eagles gorging and feeding from his soldiers hands; and a bad omen being that they left and in their place are ravens, crows and kites which are scavenger birds known to gather before a battle. brutus decides he would rather die than go back to Rome as a P.O.W.Cassius and Brutus say their goodbyes and titinius was captured. Cassius is irrational and has his servant Pindarus kill him. revenging Caesar and leaving Pindarus a free man now. Titinius then stabs himself with the sword that killed cassius that killed Caesar. Brutus blames Caesar for the suicides. Portia's brother Cato dies in battle and lucilius poses as brutus to buy him time to make a plan. Antony knows it is not brutus but applauds the mans effort. Brutus has Strato hold a sword and look away as brutus runs through it. Caesar, Cassius, Titinius, and Brutus all die by the same sword. Cassius had someone kill him while brutus initiated the death. Antony had used "honorable man" against brutus earlier but was now admitting that he was truly honorable.

How does the conspiracy try to get Brutus to join them?

they sent him many letters and placed them throughout his house

What ended up happening to Flavius and Marullus?

they were "put to silence" for dressing up a pompey statue (most likely killed)

Exonerate

to clear from accusation or blame

Interpose

to put (oneself) between

Pinion

to restrain by binding the arms

progressive form

use the appropriate tense of the verb be with the present participle of the main verb. ex. they are trying.

passive voice

when the action is performed on the subject. ex. the cat was chased by the dog.

subject-verb agreement

when the subject is third-person singular, an -s or -es is added to the base verb.

active voice

when the subject of the sentence preforms the action. ex. the dog chased the cat.