classics

the brothers karamazov - dostoevsky

Book One: A Nice Little Family The opening of the novel introduces the Karamazov family and relates the story of their distant and recent past. The details of Fyodor's two marriages as well as his indifference to the upbringing of his three children is chronicled. The narrator also establishes the widely varying personalities of the three brothers and the circumstances that have led to their return to Fyodor's town. The first book concludes by describing the mysterious religious order of Elders to which Alyosha has become devoted. Book Two: An Inappropriate Gathering Book Two begins as the Karamazov family arrives at the local monastery so that the Elder Zosima can act as a mediator between Dmitri and his father Fyodor in their dispute over Dmitri's inheritance. It was the father's idea, apparently as a joke, to have the meeting take place in such a holy place in the presence of the famous Elder. Dmitri arrives late and the gathering soon degenerates and only exacerbates the feud between Dmitri and Fyodor. This book also contains a scene in which the Elder Zosima consoles a woman mourning the death of her three-year-old son. The poor woman's grief parallels Dostoyevsky's own tragedy at the loss of his young son Alyosha. Book Three: Sensualists An original page of book 3, chapter 3 of The Brothers Karamazov The third book provides more details of the love triangle that has erupted between Fyodor, his son Dmitri, and Grushenka. Dmitri's personality is explored in the conversation between him and Alyosha as Dmitri hides near his father's home to see if Grushenka will arrive. Later that evening, Dmitri bursts into his father's house and assaults him while threatening to come back and kill him in the future. This book also introduces Smerdyakov and his origins, as well as the story of his mother, Reeking Lizaveta. At the conclusion of this book, Alyosha is witness to Grushenka's bitter humiliation of Dmitri's betrothed Katerina, resulting in terrible embarrassment and scandal for this proud woman. Book Four: Lacerations/Strains This section introduces a side story which resurfaces in more detail later in the novel. It begins with Alyosha observing a group of schoolboys throwing rocks at one of their sickly peers named Ilyusha. When Alyosha admonishes the boys and tries to help, Ilyusha bites Alyosha's finger. It is later learned that Ilyusha's father, a former staff-captain named Snegiryov, was assaulted by Dmitri, who dragged him by the beard out of a bar. Alyosha soon learns of the further hardships present in the Snegiryov household and offers the former staff captain money as an apology for his brother and to help Snegiryov's ailing wife and children. After initially accepting the money with joy, Snegiryov throws the money back at Alyosha out of pride and runs back into his home. Book Five: Pro and Contra Here, the rationalist and nihilistic ideology that permeated Russia at this time is defended and espoused passionately by Ivan Karamazov while meeting his brother Alyosha at a restaurant. In the chapter titled "Rebellion", Ivan proclaims that he rejects the world that God has created because it is built on a foundation of suffering. In perhaps the most famous chapter in the novel, "The Grand Inquisitor", Ivan narrates to Alyosha his imagined poem that describes a leader from the Spanish Inquisition and his encounter with Jesus, Who has made His return to earth. Here, Jesus is rejected by the Inquisitor who puts Him in jail and then says, Why hast Thou come now to hinder us? For Thou hast come to hinder us, and Thou knowest that... We are working not with Thee but with him [Satan]... We took from him what Thou didst reject with scorn, that last gift he offered Thee, showing Thee all the kingdoms of the earth. We took from him Rome and the sword of Caesar, and proclaimed ourselves sole rulers of the earth... We shall triumph and shall be Caesars, and then we shall plan the universal happiness of man. The Grand Inquisitor says that Jesus should not have given humans the "burden" of free will. At the end of all these arguments, Jesus silently steps forward and kisses the old man on his lips. The Grand Inquisitor, stunned and moved, tells Him he must never come there again, and lets Him out. Alyosha, after hearing this story, goes to Ivan and kisses him softly, with an unexplainable emotion, on the lips. Ivan shouts with delight, because Alyosha's gesture is taken directly from his poem. The brothers then part. Book Six: The Russian Monk The sixth book relates the life and history of the Elder Zosima as he lies near death in his cell. Zosima explains he found his faith in his rebellious youth, in the middle of a duel, consequently deciding to become a monk. Zosima preaches people must forgive others by acknowledging their own sins and guilt before others. He explains that no sin is isolated, making everyone responsible for their neighbor's sins. Zosima represents a philosophy that responds to Ivan's, which had challenged God's creation in the previous book. Book Seven: Alyosha The book begins immediately following the death of Zosima. It is a commonly held perception in the town, and the monastery as well, that true holy men's bodies are incorrupt, i.e., they do not succumb to putrefaction. Thus, the expectation concerning the Elder Zosima is that his deceased body will not decompose. It comes as a great shock to the entire town that Zosima's body not only decays, but begins the process almost immediately following his death. Within the first day, the smell of Zosima's body is already unbearable. For many this calls into question their previous respect and admiration for Zosima. Alyosha is particularly devastated by the sullying of Zosima's name due to nothing more than the corruption of his dead body. One of Alyosha's companions in the monastery named Rakitin uses Alyosha's vulnerability to set up a meeting between him and Grushenka. However, instead of Alyosha becoming corrupted, he is able to earn fresh faith and hope from Grushenka, while Grushenka's troubled mind begins the path of spiritual redemption through his influence: they become close friends. The book ends with the spiritual regeneration of Alyosha as he embraces, kisses the earth outside the monastery (echoing, perhaps, Zosima's last earthly act before his death) and cries convulsively until finally going back out into the world, as Zosima instructed, renewed. Book Eight: Mitya This section deals primarily with Dmitri's wild and distraught pursuit of money so he can run away with Grushenka. Dmitri owes money to his fiancée Katerina and will believe himself to be a thief if he does not find the money to pay her back before embarking on his quest for Grushenka. This mad dash for money takes Dmitri from Grushenka's benefactor to a neighboring town on a fabricated promise of a business deal. All the while Dmitri is petrified that Grushenka may go to his father Fyodor and marry him because he already has the monetary means to satisfy her. When Dmitri returns from his failed dealing in the neighboring town, he escorts Grushenka to her benefactor's home, but quickly discovers she deceived him and left early. Furious, he runs to his father's home with a brass pestle in his hand, and spies on him from the window. He takes the pestle from his pocket. Then, there is a discontinuity in the action, and Dmitri is suddenly running away off his father's property, knocking the servant Gregory in the head with the pestle with seemingly fatal results. Dmitri is next seen in a daze on the street, covered in blood, with a pile of money in his hand. He soon learns that Grushenka's former betrothed has returned and taken her to a lodge near where Dmitri just was. Upon learning this, Dmitri loads a cart full of food and wine and pays for a huge orgy to finally confront Grushenka in the presence of her old flame, intending all the while to kill himself at dawn. The "first and rightful lover", however, is a boorish Pole who cheats the party at a game of cards. When his deception is revealed, he flees, and Grushenka soon reveals to Dmitri that she really is in love with him. The party rages on, and just as Dmitri and Grushenka are making plans to marry, the police enter the lodge and inform Dmitri that he is under arrest for the murder of his father. Book Nine: The Preliminary Investigation Book Nine introduces the details of Fyodor's murder and describes the interrogation of Dmitri as he is questioned for the crime he maintains he did not commit. The alleged motive for the crime is robbery. Dmitri was known to have been completely destitute earlier that evening, but is suddenly seen on the street with thousands of rubles shortly after his father's murder. Meanwhile, the three thousand rubles that Fyodor Karamazov had set aside for Grushenka has disappeared. Dmitri explains that the money he spent that evening came from three thousand rubles Katerina gave him to send to her sister. He spent half that at his first meeting with Grushenka—another drunken orgy—and sewed up the rest in a cloth, intending to give it back to Katerina in the name of honor, he says. The lawyers are not convinced by this. All of the evidence points against Dmitri; the only other person in the house at the time of the murder was Smerdyakov, who was incapacitated due to an epileptic seizure he apparently suffered the day before. As a result of the overwhelming evidence against him, Dmitri is formally charged with the patricide and taken away to prison to await trial. Book Ten: Boys Boys continues the story of the schoolboys and Ilyusha last referred to in Book Four. The book begins with the introduction of the young boy Kolya Krasotkin. Kolya is a brilliant boy who proclaims his atheism, socialism, and beliefs in the ideas of Europe. He seems destined to follow in the spiritual footsteps of Ivan Karamazov; Dostoyevsky uses Kolya's beliefs especially in a conversation with Alyosha to poke fun at his Westernizer critics by putting their beliefs in what appears to be a young boy who doesn't exactly know what he is talking about. Kolya is bored with life and constantly torments his mother by putting himself in danger. As part of a prank Kolya lies between railroad tracks as a train passes over and becomes something of a legend for the feat. All the other boys look up to Kolya, especially Ilyusha. Since the narrative left Ilyusha in Book Four, his illness has progressively worsened and the doctor states that he will not recover. Kolya and Ilyusha had a falling out over Ilyusha's maltreatment of a dog: Ilyusha had fed it bread in which there was a pin on Smerdyakov's suggestion. But thanks to Alyosha's intervention the other schoolboys have gradually reconciled with Ilyusha, and Kolya soon joins them at his bedside. It is here that Kolya first meets Alyosha and begins to reassess his nihilist beliefs. Book Eleven: Brother Ivan Fyodorovich Book Eleven chronicles Ivan Karamazov's destructive influence on those around him and his descent into madness. It is in this book that Ivan meets three times with Smerdyakov, the final meeting culminating in Smerdyakov's dramatic confession that he had faked the fit, murdered Fyodor Karamazov, and stolen the money, which he presents to Ivan. Smerdyakov expresses disbelief at Ivan's professed ignorance and surprise. Smerdyakov claims that Ivan was complicit in the murder by telling Smerdyakov when he would be leaving Fyodor's house, and more importantly by instilling in Smerdyakov the belief that in a world without God "everything is permitted." The book ends with Ivan having a hallucination in which he is visited by the devil, who torments Ivan by mocking his beliefs. Alyosha finds Ivan raving and informs him that Smerdyakov killed himself shortly after their final meeting. Book Twelve: A Judicial Error This book details the trial of Dmitri Karamazov for the murder of his father Fyodor. The courtroom drama is sharply satirized by Dostoyevsky. The men in the crowd are presented as resentful and spiteful, and the women are irrationally drawn to the romanticism of Dmitri's love triangle with Katerina and Grushenka. Ivan's madness takes its final hold over him and he is carried away from the courtroom after recounting his final meeting with Smerdyakov and the aforementioned confession. The turning point in the trial is Katerina's damning testimony against Dmitri. Impassioned by Ivan's illness which she believes is a result of her assumed love for Dmitri, she produces a letter drunkenly written by Dmitri saying that he would kill Fyodor. The section concludes with the impassioned closing remarks of the prosecutor and the defense, and the verdict that Dmitri is guilty. Epilogue The final section opens with discussion of a plan developed for Dmitri's escape from his sentence of twenty years of hard labor in Siberia. The plan is never fully described, but it seems to involve Ivan and Katerina bribing some guards. Alyosha approves, first, because Dmitri is not emotionally ready to submit to such a harsh sentence, secondly, because he is innocent, and, third, because no guards or officers would suffer for aiding the escape. Dmitri and Grushenka plan to escape to America and work the land there for several years, and then to return to Russia under assumed American names, because they both cannot imagine living without Russia. Dmitri begs for Katerina to visit him in the hospital, where he is recovering from an illness before he is due to be taken away. When she does, Dmitri apologizes for having hurt her; she in turn apologizes for bringing up the implicating letter during the trial. They agree to love each other for that one moment, and say they will love each other forever, even though both now love other people. The novel concludes at Ilyusha's funeral, where Ilyusha's schoolboy friends listen to Alyosha's "Speech by the Stone". Alyosha promises to remember Kolya, Ilyusha, and all the boys and keep them close in his heart, even though he will have to leave them and may not see them again until many years have passed. He implores them to love each other and to always remember Ilyusha, and to keep his memory alive in their hearts, and to remember this moment at the stone when they were all together and they all loved each other. Alyosha then recounts the Christian promise that they will all be united one day after the Resurrection. In tears, the twelve boys promise Alyosha that they will keep each other in their memories forever, join hands, and return to the Snegiryov household for the funeral dinner, chanting, "Hurrah for Karamazov!"

dante's inferno

Cantos I-II Gustave Doré's engravings illustrated the Divine Comedy (1861-1868). Here, Dante is lost in Canto I of the Inferno Canto I The poem begins on the night of Maundy Thursday on March 24 (or April 7), A.D. 1300, shortly before dawn of Good Friday.[3][4] The narrator, Dante himself, is thirty-five years old, and thus "midway in the journey of our life" (Nel mezzo del cammin di nostra vita[5]) - half of the Biblical lifespan of seventy (Psalm 89:10, Vulgate; Psalm 90:10, KJV). The poet finds himself lost in a dark wood (selva oscura[6]), astray from the "straight way" (diritta via,[7] also translatable as "right way") of salvation. He sets out to climb directly up a small mountain, but his way is blocked by three beasts he cannot evade: a lonza[8] (usually rendered as "leopard" or "leopon"),[9] a leone[10] (lion), and a lupa[11] (she-wolf). The three beasts, taken from the Jeremiah 5:6, are thought to symbolize the three kinds of sin that bring the unrepentant soul into one of the three major divisions of Hell. According to John Ciardi, these are incontinence (the she-wolf); violence and bestiality (the lion); and fraud and malice (the leopard);[12] Dorothy L. Sayers assigns the leopard to incontinence and the she-wolf to fraud/malice.[13] It is now dawn of Good Friday, April 8, with the sun rising in Aries. The beasts drive him back despairing into the darkness of error, a "lower place" (basso loco[14]) where the sun is silent (l sol tace[15]). However, Dante is rescued by a figure who announces that he was born sub Iulio[16] (i.e. in the time of Julius Caesar) and lived under Augustus: it is the shade of the Roman poet Virgil, author of the Aeneid, a Latin epic. Canto II On the evening of Good Friday, Dante is following Virgil but hesitates; Virgil explains how he has been sent by Beatrice, the symbol of Divine Love. Beatrice has been sent with prayers from the Virgin Mary (symbolic of compassion) and of Saint Lucia (symbolic of illuminating Grace). Rachel, symbolic of the contemplative life, also appears in the heavenly scene recounted by Virgil. The two of them then begin their journey to the underworld. Vestibule of Hell Canto III Dante passes through the gate of Hell, which bears an inscription ending with the famous phrase "Lasciate ogne speranza, voi ch'intrate",[17] most frequently translated as "Abandon all hope, ye who enter here."[nb 1] Dante and his guide hear the anguished screams of the Uncommitted. These are the souls of people who in life took no sides; the opportunists who were for neither good nor evil, but instead were merely concerned with themselves. Among these Dante recognizes a figure implied to be Pope Celestine V, whose "cowardice (in selfish terror for his own welfare) served as the door through which so much evil entered the Church".[18] Mixed with them are outcasts who took no side in the Rebellion of Angels. These souls are forever unclassified; they are neither in Hell nor out of it, but reside on the shores of the Acheron. Naked and futile, they race around through the mist in eternal pursuit of an elusive, wavering banner (symbolic of their pursuit of ever-shifting self-interest) while relentlessly chased by swarms of wasps and hornets, who continually sting them.[19] Loathsome maggots and worms at the sinners' feet drink the putrid mixture of blood, pus, and tears that flows down their bodies. This symbolizes the sting of their guilty conscience and the repugnance of sin.[citation needed] This may also be seen as a reflection of the spiritual stagnation in which they lived. Gustave Doré's illustration of Canto III: Arrival of Charon. After passing through the vestibule, Dante and Virgil reach the ferry that will take them across the river Acheron and to Hell proper. The ferry is piloted by Charon, who does not want to let Dante enter, for he is a living being. Virgil forces Charon to take him by declaring, Vuolsi così colà dove si puote / ciò che si vuole ("It is so willed there where is power to do / That which is willed"),[20] referring to the fact that Dante is on his journey on divine grounds. The wailing and blasphemy of the damned souls entering Charon's boat contrast with the joyful singing of the blessed souls arriving by ferry in the Purgatorio. The passage across the Acheron, however, is undescribed, since Dante faints and does not awaken until he is on the other side. Nine circles of Hell Overview Canto IV Virgil proceeds to guide Dante through the nine circles of Hell. The circles are concentric, representing a gradual increase in wickedness, and culminating at the centre of the earth, where Satan is held in bondage. The sinners of each circle are punished for eternity in a fashion fitting their crimes: each punishment is a contrapasso, a symbolic instance of poetic justice. For example, later in the poem, Dante and Virgil encounter fortune-tellers who must walk forward with their heads on backward, unable to see what is ahead, because they tried to see the future through forbidden means. Such a contrapasso "functions not merely as a form of divine revenge, but rather as the fulfilment of a destiny freely chosen by each soul during his or her life".[21] People who sinned, but prayed for forgiveness before their deaths are found not in Hell but in Purgatory, where they labour to become free of their sins. Those in Hell are people who tried to justify their sins and are unrepentant. Dante's Hell is structurally based on the ideas of Aristotle, but with "certain Christian symbolisms, exceptions, and misconstructions of Aristotle's text".[22] Dante's three major categories of sin, as symbolized by the three beasts that Dante encounters in Canto I, are Incontinence, Violence and Bestiality, and Fraud and Malice.[22][23] Sinners punished for incontinence (also known as wantonness) — the lustful, the gluttonous, the hoarders and wasters, and the wrathful and sullen — all demonstrated weakness in controlling their appetites, desires, and natural urges; according to Aristotle's Ethics, incontinence is less condemnable than malice or bestiality, and therefore these sinners are located in four circles of Upper Hell (Circles 2-5). These sinners endure lesser torments than do those consigned to Lower Hell, located within the walls of the City of Dis, for committing acts of violence and fraud — the latter of which involves, as Dorothy L. Sayers writes, "abuse of the specifically human faculty of reason".[23] The deeper levels are organized into one circle for violence (Circle 7) and two circles for fraud (Circles 8 and 9). As a Christian, Dante adds Circle 1 (Limbo) to Upper Hell and Circle 6 (Heresy) to Lower Hell, making 9 Circles in total; incorporating the Vestibule of the Futile, this leads to Hell containing 10 main divisions.[23] This "9+1=10" structure is also found within the Purgatorio and Paradiso. Lower Hell is further subdivided: Circle 7 (Violence) is divided into three rings, Circle 8 (Simple Fraud) is divided into ten bolge, and Circle 9 (Complex Fraud) is divided into four regions. Thus, Hell contains, in total, 24 divisions. First Circle (Limbo) The Harrowing of Hell, in a 14th-century illuminated manuscript, the Petites Heures de Jean de Berry Dante wakes up to find that he has crossed the Acheron, and Virgil leads him to the first circle of the abyss, Limbo, where Virgil himself resides. The first circle contains the unbaptized and the virtuous pagans, who, although not sinful, did not accept Christ. Dorothy L. Sayers writes, "After those who refused choice come those without opportunity of choice. They could not, that is, choose Christ; they could, and did, choose human virtue, and for that they have their reward."[24] Limbo shares many characteristics with the Asphodel Meadows; thus, the guiltless damned are punished by living in a deficient form of Heaven. Without baptism ("the portal of the faith that you embrace"[25]) they lacked the hope for something greater than rational minds can conceive. When Dante asked if anyone has ever left Limbo, Virgil states that he saw Jesus ("a Mighty One") descend into Limbo and take Noah, Moses, Abraham, David, and Rachel (see Limbo of the Patriarchs) into his all-forgiving arms and transport them to Heaven as the first human souls to be saved. The event, known as the Harrowing of Hell, would have occurred in A.D. 33 or 34. Dante encounters the poets Homer, Horace, Ovid, and Lucan, who include him in their number and make him "sixth in that high company".[26] They reach the base of a great Castle - the dwelling place of the wisest men of antiquity - surrounded by seven gates, and a flowing brook. After passing through the seven gates, the group comes to an exquisite green meadow and Dante encounters the inhabitants of the Citadel. These include figures associated with the Trojans and their descendants (the Romans): Electra (mother of Troy's founder Dardanus), Hector, Aeneas, Julius Caesar in his role as Roman general ("in his armor, falcon-eyed"),[27] Camilla, Penthesilea (Queen of the Amazons), King Latinus and his daughter, Lavinia, Lucius Junius Brutus (who overthrew Tarquin to found the Roman Republic), Lucretia, Julia, Marcia, and Cornelia Africana. Dante also views Saladin, a Muslim military leader known for his struggle against the Crusaders as well as his generous, chivalrous, and merciful conduct. Dante next encounters a group of philosophers, including Aristotle with Socrates and Plato at his side, as well as Democritus, "Diogenes" (either Diogenes the Cynic or Diogenes of Apollonia), Anaxagoras, Thales, Empedocles, Heraclitus, and "Zeno" (either Zeno of Elea or Zeno of Citium). He sees the scientist Dioscorides; the mythical Greek poets Orpheus and Linus; and Roman statesmen Marcus Tullius Cicero and Seneca. Dante sees the Alexandrian geometer Euclid and Ptolemy, the Alexandrian astronomer and geographer, as well as the physicians Hippocrates and Galen. He also encounters Avicenna, a Persian polymath, and Averroes, a medieval Andalusian polymath known for his commentaries on Aristotle's works. Dante and Virgil depart from the four other poets and continue their journey. Although Dante implies that all virtuous non-Christians find themselves here, he later encounters two (Cato of Utica and Statius) in Purgatory and two (Trajan and Ripheus) in Heaven. In Purg. XXII, Virgil names several additional inhabitants of Limbo who were not mentioned in the Inferno.[28] Second Circle (Lust) Gustave Doré's depiction of Minos judging sinners at the start of Canto V Canto V Dante and Virgil leave Limbo and enter the Second Circle - the first of the circles of Incontinence - where the punishments of Hell proper begin. It is described as "a part where no thing gleams".[29] They find their way hindered by the serpentine Minos, who judges all of those condemned for active, deliberately willed sin to one of the lower circles. Minos sentences each soul to its torment by wrapping his tail around himself a corresponding number of times. Virgil rebukes Minos, and he and Dante continue on. In the second circle of Hell are those overcome by lust. These "carnal malefactors"[30] are condemned for allowing their appetites to sway their reason. These souls are buffeted back and forth by the terrible winds of a violent storm, without rest. This symbolizes the power of lust to blow needlessly and aimlessly: "as the lovers drifted into self-indulgence and were carried sway by their passions, so now they drift for ever. The bright, voluptuous sin is now seen as it is - a howling darkness of helpless discomfort."[31] Since lust involves mutual indulgence and is not, therefore, completely self-centered, Dante deems it the least heinous of the sins and its punishment is the most benign within Hell proper.[31][32] The "ruined slope"[33] in this circle is thought to be a reference to the earthquake that occurred after the death of Christ. Gianciotto Discovers Paolo and Francesca by Jean Auguste Dominique Ingres In this circle, Dante sees Semiramis, Dido, Cleopatra, Helen of Troy, Paris, Achilles, Tristan, and many others who were overcome by sexual love during their life. Dante comes across Francesca da Rimini, who married the deformed Giovanni Malatesta (also known as "Gianciotto") for political purposes but fell in love with his younger brother Paolo Malatesta; the two began to carry on an adulterous affair. Sometime between 1283 and 1286, Giovanni surprised them together in Francesca's bedroom and violently stabbed them both to death. Francesca explains: Love, which in gentlest hearts will soonest bloom seized my lover with passion for that sweet body from which I was torn unshriven to my doom. Love, which permits no loved one not to love, took me so strongly with delight in him that we are one in Hell, as we were above. Love led us to one death. In the depths of Hell Caïna waits for him who took our lives." This was the piteous tale they stopped to tell.[34] Francesca further reports that she and Paolo yielded to their love when reading the story of the adultery between Lancelot and Guinevere in the Old French romance Lancelot du Lac. Francesca says, "Galeotto fu 'l libro e chi lo scrisse."[35] The word "Galeotto" means "pander" but is also the Italian term for Gallehaut, who acted as an intermediary between Lancelot and Guinevere, encouraging them on to love. John Ciardi renders line 137 as "That book, and he who wrote it, was a pander."[36] Inspired by Dante, author Giovanni Boccaccio invoked the name Prencipe Galeotto in the alternative title to The Decameron, a 14th-century collection of novellas. The English poet John Keats, in his sonnet "On a Dream," imagines what Dante does not give us, the point of view of Paolo: ... But to that second circle of sad hell, Where 'mid the gust, the whirlwind, and the flaw Of rain and hail-stones, lovers need not tell Their sorrows. Pale were the sweet lips I saw, Pale were the lips I kiss'd, and fair the form I floated with, about that melancholy storm.[37] As he did at the end of Canto III, Dante - overcome by pity and anguish - describes his swoon: "I fainted, as if I had met my death. / And then I fell as a dead body falls"[38] Third Circle (Gluttony) The third circle, illustrated by Stradanus Cerberus as illustrated by Gustave Doré Canto VI In the third circle, the gluttonous wallow in a vile, putrid slush produced by a ceaseless, foul, icy rain - "a great storm of putrefaction"[39] - as punishment for subjecting their reason to a voracious appetite. Cerberus (described as "il gran vermo", literally "the great worm", line 22), the monstrous three-headed beast of Hell, ravenously guards the gluttons lying in the freezing mire, mauling and flaying them with his claws as they howl like dogs. Virgil obtains safe passage past the monster by filling its three mouths with mud. Dorothy L. Sayers writes that "the surrender to sin which began with mutual indulgence leads by an imperceptible degradation to solitary self-indulgence".[40] The gluttons grovel in the mud by themselves, sightless and heedless of their neighbors, symbolizing the cold, selfish, and empty sensuality of their lives.[40] Just as lust has revealed its true nature in the winds of the previous circle, here the slush reveals the true nature of sensuality - which includes not only overindulgence in food and drink, but also other kinds of addiction.[41] In this circle, Dante converses with a Florentine contemporary identified as Ciacco, which means "hog".[42] A character with the same nickname later appears in The Decameron of Giovanni Boccaccio.[43] Ciacco speaks to Dante regarding strife in Florence between the "White" and "Black" Guelphs, which developed after the Guelph/Ghibelline strife ended with the complete defeat of the Ghibellines. In the first of several political prophecies in the Inferno, Ciacco "predicts" the expulsion of the White Guelphs (Dante's party) from Florence by the Black Guelphs, aided by Pope Boniface VIII, which marked the start of Dante's long exile from the city. These events occurred in 1302, prior to when the poem was written but in the future at Easter time of 1300, the time in which the poem is set.[42] Fourth Circle (Greed) In Gustave Doré's illustrations for the fourth circle, the weights are huge money bags Canto VII The Fourth Circle is guarded by a figure Dante names as Pluto: this is Plutus, the deity of wealth in classical mythology. Although the two are often conflated, he is a distinct figure from Pluto (Dis), the classical ruler of the underworld.[nb 2] At the start of Canto VII, he menaces Virgil and Dante with the cryptic phrase Papé Satàn, papé Satàn aleppe, but Virgil protects Dante from him. Those whose attitude toward material goods deviated from the appropriate mean are punished in the fourth circle. They include the avaricious or miserly (including many "clergymen, and popes and cardinals"),[44] who hoarded possessions, and the prodigal, who squandered them. The hoarders and spendthrifts joust, using as weapons great weights that they push with their chests: Here, too, I saw a nation of lost souls, far more than were above: they strained their chests against enormous weights, and with mad howls rolled them at one another. Then in haste they rolled them back, one party shouting out: "Why do you hoard?" and the other: "Why do you waste?"[45] Relating this sin of incontinence to the two that preceded it (lust and gluttony), Dorothy L. Sayers writes, "Mutual indulgence has already declined into selfish appetite; now, that appetite becomes aware of the incompatible and equally selfish appetites of other people. Indifference becomes mutual antagonism, imaged here by the antagonism between hoarding and squandering."[46] The contrast between these two groups leads Virgil to discourse on the nature of Fortune, who raises nations to greatness and later plunges them into poverty, as she shifts, "those empty goods from nation unto nation, clan to clan".[47] This speech fills what would otherwise be a gap in the poem, since both groups are so absorbed in their activity that Virgil tells Dante that it would be pointless to try to speak to them - indeed, they have lost their individuality and been rendered "unrecognizable"[48] Fifth Circle (Wrath) The fifth circle, illustrated by Stradanus The Barque of Dante by Eugène Delacroix In the swampy, stinking waters of the river Styx - the Fifth Circle - the actively wrathful fight each other viciously on the surface of the slime, while the sullen (the passively wrathful) lie beneath the water, withdrawn, "into a black sulkiness which can find no joy in God or man or the universe".[46] At the surface of the foul Stygian marsh, Dorothy L. Sayers writes, "the active hatreds rend and snarl at one another; at the bottom, the sullen hatreds lie gurgling, unable even to express themselves for the rage that chokes them".[46] As the last circle of Incontinence, the "savage self-frustration" of the Fifth Circle marks the end of "that which had its tender and romantic beginnings in the dalliance of indulged passion".[46] Canto VIII Phlegyas reluctantly transports Dante and Virgil across the Styx in his skiff. On the way they are accosted by Filippo Argenti, a Black Guelph from the prominent Adimari family. Little is known about Argenti, although Giovanni Boccaccio describes an incident in which he lost his temper; early commentators state that Argenti's brother seized some of Dante's property after his exile from Florence.[49] Just as Argenti enabled the seizing of Dante's property, he himself is "seized" by all the other wrathful souls. When Dante responds "In weeping and in grieving, accursed spirit, may you long remain,"[50] Virgil blesses him with words used to describe Christ himself (Luke 11:27). Literally, this reflects the fact that souls in Hell are eternally fixed in the state they have chosen, but allegorically, it reflects Dante's beginning awareness of his own sin.[51] Entrance to Dis In the distance, Dante perceives high towers that resemble fiery red mosques. Virgil informs him that they are approaching the City of Dis. Dis, itself surrounded by the Stygian marsh, contains Lower Hell within its walls.[52] Dis is one of the names of Pluto, the classical king of the underworld, in addition to being the name of the realm. The walls of Dis are guarded by fallen angels. Virgil is unable to convince them to let Dante and him enter, and Dante is threatened by the Furies (consisting of Alecto, Megaera, and Tisiphone) and Medusa. Canto IX An angel sent from Heaven secures entry for the poets, opening the gate by touching it with a wand, and rebukes those who opposed Dante. Allegorically, this reveals the fact that the poem is beginning to deal with sins that philosophy and humanism cannot fully understand. Virgil also mentions to Dante how Erichtho sent him down to the lowest circle of Hell to bring back a spirit from there.[51] Lower Hell, inside the walls of Dis, in an illustration by Stradanus. There is a drop from the sixth circle to the three rings of the seventh circle, then again to the ten rings of the eighth circle, and, at the bottom, to the icy ninth circle. Sixth Circle (Heresy) Canto X In the sixth circle, heretics, such as Epicurus and his followers (who say "the soul dies with the body")[53] are trapped in flaming tombs. Dante holds discourse with a pair of Epicurian Florentines in one of the tombs: Farinata degli Uberti, a famous Ghibelline leader (following the Battle of Montaperti in September 1260, Farinata strongly protested the proposed destruction of Florence at the meeting of the victorious Ghibellines; he died in 1264 and was posthumously condemned for heresy in 1283); and Cavalcante de' Cavalcanti, a Guelph who was the father of Dante's friend and fellow poet, Guido Cavalcanti. The political affiliation of these two men allows for a further discussion of Florentine politics. In response to a question from Dante about the "prophecy" he has received, Farinata explains that what the souls in Hell know of life on earth comes from seeing the future, not from any observation of the present. Consequently, when "the portal of the future has been shut",[54] it will no longer be possible for them to know anything. Farinata explains that also crammed within the tomb are Emperor Frederick II, commonly reputed to be an Epicurean, and Ottaviano degli Ubaldini, to whom Dante refers to as il Cardinale. Canto XI Dante reads an inscription on one of the tombs indicating it belongs to Pope Anastasius II - although some modern scholars hold that Dante erred in the verse mentioning Anastasius ("Anastasio papa guardo, / lo qual trasse Fotin de la via dritta", lines 8-9), confusing the pope with the Byzantine emperor of the time, Anastasius I.[55][56][57][58] Pausing for a moment before the steep descent to the foul-smelling seventh circle, Virgil explains the geography and rationale of Lower Hell, in which the sins of violence (or bestiality) and fraud (or malice) are punished. In his explanation, Virgil refers to the Nicomachean Ethics and the Physics of Aristotle, with medieval interpretations. Virgil asserts that there are only two legitimate sources of wealth: natural resources ("Nature") and human labor and activity ("Art"). Usury, to be punished in the next circle, is therefore an offence against both; it is a kind of blasphemy, since it is an act of violence against Art, which is the child of Nature, and Nature derives from God.[59] Virgil then indicates the time through his unexplained awareness of the stars' positions. The "Wain", the Great Bear, now lies in the northwest over Caurus (the northwest wind). The constellation Pisces (the Fish) is just appearing over the horizon: it is the zodiacal sign preceding Aries (the Ram). Canto I notes that the sun is in Aries, and since the twelve zodiac signs rise at two-hour intervals, it must now be about two hours prior to sunrise: 4:00 A.M. on Holy Saturday, April 9.[59][60] Seventh Circle (Violence) Canto XII The Seventh Circle, divided into three rings, houses the Violent. Dante and Virgil descend a jumble of rocks that had once formed a cliff to reach the Seventh Circle from the Sixth Circle, having first to evade the Minotaur (L'infamia di Creti, "the infamy of Crete", line 12); at the sight of them, the Minotaur gnaws his flesh. Virgil assures the monster that Dante is not its hated enemy, Theseus. This causes the Minotaur to charge them as Dante and Virgil swiftly enter the seventh circle. Virgil explains the presence of shattered stones around them: they resulted from the great earthquake that shook the earth at the moment of Christ's death (Matt. 27:51), at the time of the Harrowing of Hell. Ruins resulting from the same shock were previously seen at the beginning of Upper Hell (the entrance of the Second Circle, Canto V). "Along the brink of the vermilion boiling, / Wherein the boiled were uttering loud laments. / People I saw within up to the eyebrows ..."[61] Ring 1: Against Neighbors: In the first round of the seventh circle, the murderers, war-makers, plunderers, and tyrants are immersed in Phlegethon, a river of boiling blood and fire. Ciardi writes, "as they wallowed in blood during their lives, so they are immersed in the boiling blood forever, each according to the degree of his guilt".[62] The Centaurs, commanded by Chiron and Pholus, patrol the ring, shooting arrows into any sinners who emerge higher out of the boiling blood than each is allowed. The centaur Nessus guides the poets along Phlegethon and points out Alexander the Great, "Dionysius" (either Dionysius I or Dionysius II, or both; they were bloodthirsty, unpopular tyrants of Sicily), Ezzelino III da Romano (the cruelest of the Ghibelline tyrants), Obizzo d'Este, and Guy de Montfort. The river grows shallower until it reaches a ford, after which it comes full circle back to the deeper part where Dante and Virgil first approached it; immersed here are tyrants including Attila, King of the Huns (flagello in terra, "scourge on earth", line 134), "Pyrrhus" (either the bloodthirsty son of Achilles or King Pyrrhus of Epirus), Sextus, Rinier da Corneto, and Rinier Pazzo. After bringing Dante and Virgil to the shallow ford, Nessus leaves them to return to his post. This passage may have been influenced by the early medieval Visio Karoli Grossi.[nb 3] Harpies in the wood of the suicides, from Inferno Canto XIII, by Gustave Doré, 1861 Canto XIII Ring 2: Against Self: The second round of the seventh circle is the Wood of the Suicides, in which the souls of the people who attempted or committed suicide are transformed into gnarled, thorny trees and then fed upon by Harpies, hideous clawed birds with the faces of women; the trees are only permitted to speak when broken and bleeding. Dante breaks a twig off one of the trees and from the bleeding trunk hears the tale of Pietro della Vigna, a powerful minister of Emperor Frederick II until he fell out of favor and was imprisoned and blinded. He subsequently committed suicide; his presence here, rather than in the Ninth Circle, indicates that Dante believes that the accusations made against him were false.[63] The Harpies and the characteristics of the bleeding bushes are based on Book 3 of the Aeneid. According to Dorothy L. Sayers, the sin of suicide is an "insult to the body; so, here, the shades are deprived of even the semblance of the human form. As they refused life, they remain fixed in a dead and withered sterility. They are the image of the self-hatred which dries up the very sap of energy and makes all life infertile."[63] The trees can also be interpreted as a metaphor for the state of mind in which suicide is committed.[64] Dante learns that these suicides, unique among the dead, will not be corporally resurrected after the Final Judgement since they threw their bodies away; instead, they will maintain their bushy form, with their own corpses hanging from the thorny limbs. After Pietro della Vigna finishes his story, Dante notices two shades (Lano da Siena and Jacopo Sant' Andrea) race through the wood, chased and savagely mauled by ferocious bitches - this is the punishment of the violently profligate who, "possessed by a depraved passion ... dissipated their goods for the sheer wanton lust of wreckage and disorder".[63] The destruction wrought upon the wood by the profligates' flight and punishment as they crash through the undergrowth causes further suffering to the suicides, who cannot move out of the way. Brunetto Latini speaks with Dante in Canto XV, an engraving by Gustave Doré. Canto XIV Ring 3: Against God, Art, and Nature: The third round of the seventh circle is a great Plain of Burning Sand scorched by great flakes of flame falling slowly down from the sky, an image derived from the fate of Sodom and Gomorrah (Gen. 19:24.) The Blasphemers (the Violent against God) are stretched supine upon the burning sand, the Sodomites (the Violent against Nature) run in circles, while the Usurers (the Violent against Art, which is the Grandchild of God, as explained in Canto XI) crouch huddled and weeping. Ciardi writes, "Blasphemy, sodomy, and usury are all unnatural and sterile actions: thus the unbearing desert is the eternity of these sinners; and thus the rain, which in nature should be fertile and cool, descends as fire".[65] Dante finds Capaneus stretched out on the sands; for blasphemy against Jove, he was struck down with a thunderbolt during the Siege of Thebes; he is still scorning Jove in the afterlife. The overflow of Phlegethon, the river of blood from the First Round, flows boiling through the Wood of the Suicides (the second round) and crosses the Burning Plain. Virgil explains the origin of the rivers of Hell, which includes references to the Old Man of Crete. Canto XV Protected by the powers of the boiling rivulet, Dante and Virgil progress across the burning plain. They pass a roving group of Sodomites, and Dante, to his surprise, recognizes Brunetto Latini. Dante addresses Brunetto with deep and sorrowful affection, "paying him the highest tribute offered to any sinner in the Inferno",[66] thus refuting suggestions that Dante only placed his enemies in Hell.[67] Dante has great respect for Brunetto and feels spiritual indebtedness to him and his works ("you taught me how man makes himself eternal; / and while I live, my gratitude for that / must always be apparent in my words"),[68] Brunetto prophesies Dante's bad treatment by the Florentines. He also identifies other sodomites, including Priscian, Francesco d'Accorso, and Bishop Andrea de' Mozzi. A Gustave Doré wood engraving of Geryon, Canto XVII. Canto XVI The Poets begin to hear the waterfall that plunges over the Great Cliff into the Eighth Circle when three shades break from their company and greet them. They are Iacopo Rusticucci, Guido Guerra, and Tegghiaio Aldobrandi - all Florentines much admired by Dante. Rusticucci blames his "savage wife" for his torments. The sinners ask for news of Florence, and Dante laments the current state of the city. At the top of the falls, at Virgil's order, Dante removes a cord from about his waist and Virgil drops it over the edge; as if in answer, a large, distorted shape swims up through the filthy air of the abyss. Canto XVII The creature is Geryon, the Monster of Fraud; Virgil announces that they must fly down from the cliff on the monster's back. Dante goes alone to examine the Usurers: he does not recognize them, but each has a heraldic device emblazoned on a leather purse around his neck ("On these their streaming eyes appeared to feast"[69]). The coats of arms indicate that they came from prominent Florentine families; they indicate the presence of Catello di Rosso Gianfigliazzi, Ciappo Ubriachi, the Paduan Reginaldo degli Scrovegni (who predicts that his fellow Paduan Vitaliano di Iacopo Vitaliani will join him here), and Giovanni di Buiamonte. Dante then rejoins Virgil and, both mounted atop Geryon's back, the two begin their descent from the great cliff in the Eighth Circle: the Hell of the Fraudulent and Malicious. Geryon, the winged monster who allows Dante and Virgil to descend a vast cliff to reach the Eighth Circle, was traditionally represented as a giant with three heads and three conjoined bodies.[70] Dante's Geryon, meanwhile, is an image of fraud,[71] combining human, bestial, and reptilian elements: Geryon is a "monster with the general shape of a wyvern but with the tail of a scorpion, hairy arms, a gaudily-marked reptilian body, and the face of a just and honest man".[72] The pleasant human face on this grotesque body evokes the insincere fraudster whose intentions "behind the face" are all monstrous, cold-blooded, and stinging with poison. Eighth Circle (Fraud) See also: Malebolge Canto XVIII Dante now finds himself in the Eighth Circle, called Malebolge ("Evil Ditches"): the upper half of the Hell of the Fraudulent and Malicious. The Eighth Circle is a large funnel of stone shaped like an amphitheatre around which run a series of ten deep, narrow, concentric ditches or trenches called bolge (singular: bolgia). Within these ditches are punished those guilty of Simple Fraud. From the foot of the Great Cliff to the Well (which forms the neck of the funnel) are large spurs of rock, like umbrella ribs or spokes, which serve as bridges over the ten ditches. Dorothy L. Sayers writes that the Malebolge is, "the image of the City in corruption: the progressive disintegration of every social relationship, personal and public. Sexuality, ecclesiastical and civil office, language, ownership, counsel, authority, psychic influence, and material interdependence - all the media of the community's interchange are perverted and falsified".[73] Illustration by Sandro Botticelli: Dante and Virgil visit the first two bolge of the eighth circle Bolgia 1 - Panderers and seducers: These sinners make two files, one along either bank of the ditch, and march quickly in opposite directions while being whipped by horned demons for eternity. They "deliberately exploited the passions of others and so drove them to serve their own interests, are themselves driven and scourged".[73] Dante makes reference to a recent traffic rule developed for the Jubilee year of 1300 in Rome.[73] In the group of panderers, the poets notice Venedico Caccianemico, a Bolognese Guelph who sold his own sister Ghisola to the Marchese d'Este. In the group of seducers, Virgil points out Jason, the Greek hero who led the Argonauts to fetch the Golden Fleece from Aeëtes, King of Colchis. He gained the help of the king's daughter, Medea, by seducing and marrying her only to later desert her for Creusa.[73] Jason had previously seduced Hypsipyle when the Argonauts landed at Lemnos on their way to Colchis, but "abandoned her, alone and pregnant[74] Bolgia 2 - Flatterers: These also exploited other people, this time abusing and corrupting language to play upon others' desires and fears. They are steeped in excrement (representative of the false flatteries they told on earth) as they howl and fight amongst themselves. Alessio Interminei of Lucca and Thaïs are seen here.[73] Canto XIX Bolgia 3 - Simoniacs: Dante now forcefully expresses his condemnation of those who committed simony, or the sale of ecclesiastic favors and offices, and therefore made money for themselves out of what belongs to God: "Rapacious ones, who take the things of God, / that ought to be the brides of Righteousness, / and make them fornicate for gold and silver! / The time has come to let the trumpet sound / for you; ...".[75] The sinners are placed head-downwards in round, tube-like holes within the rock (debased mockeries of baptismal fonts), with flames burning the soles of their feet. The heat of the fire is proportioned to their guilt. The simile of baptismal fonts gives Dante an incidental opportunity to clear his name of an accusation of malicious damage to the font at the Baptistery of San Giovanni.[76] Simon Magus, who offered gold in exchange for holy power to Saint Peter and after whom the sin is named, is mentioned here (although Dante does not encounter him). One of the sinners, Pope Nicholas III, must serve in the hellish baptism by fire from his death in 1280 until 1303 - the arrival in Hell of Pope Boniface VIII - who will take his predecessor's place in the stone tube until 1314, when he will in turn be replaced by Pope Clement V, a puppet of King Philip IV of France who moved the Papal See to Avignon, ushering in the Avignon Papacy (1309-77). Dante delivers a denunciation of simoniacal corruption of the Church. Punishment of sorcerers and diviners in the Fourth Bolgia, Canto XX, illustrated by Stradanus. Canto XX Bolgia 4 - Sorcerers: In the middle of the bridge of the Fourth Bolgia, Dante looks down at the souls of fortune tellers, diviners, astrologers, and other false prophets. The punishment of those who attempted to "usurp God's prerogative by prying into the future",[77] is to have their heads twisted around on their bodies; in this horrible contortion of the human form, these sinners are compelled to walk backwards for eternity, blinded by their own tears. John Ciardi writes, "Thus, those who sought to penetrate the future cannot even see in front of themselves; they attempted to move themselves forward in time, so must they go backwards through all eternity; and as the arts of sorcery are a distortion of God's law, so are their bodies distorted in Hell."[78] While referring primarily to attempts to see into the future by forbidden means, this also symbolises the twisted nature of magic in general.[77] Dante weeps in pity, and Virgil rebukes him, saying, "Here pity only lives when it is dead; / for who can be more impious than he / who links God's judgment to passivity?"[79] Virgil gives a lengthy explanation of the founding of his native city of Mantua. Among the sinners in this circle are King Amphiaraus (one of the Seven Against Thebes; foreseeing his death in the war, he sought to avert it by hiding from battle but died in an earthquake trying to flee) and two Theban soothsayers: Tiresias (in Ovid's Metamorphoses III, 324-331, Tiresias was transformed into a woman upon striking two coupling serpents with his rod; seven years later, he was changed back to a man in an identical encounter) and his daughter Manto. Also in this bolgia are Aruns (an Etruscan soothsayer who predicted the Caesar's victory in the Roman civil war in Lucan's Pharsalia I, 585-638), the Greek augur Eurypylus, astrologers Michael Scot (served at Frederick II's court at Palermo) and Guido Bonatti (served the court of Guido da Montefeltro), and Asdente (a shoemaker and soothsayer from Parma). Virgil implies that the moon is now setting over the Pillars of Hercules in the West: the time is just after 6:00 A.M., the dawn of Holy Saturday. Dante's guide rebuffs Malacoda and his fiends between Bolge V and VI, Canto XXI Canto XXI Bolgia 5 - Barrators: Corrupt politicians, who made money by trafficking in public offices (the political analogue of the simoniacs), are immersed in a lake of boiling pitch, which represents the sticky fingers and dark secrets of their corrupt deals.[80] They are guarded by demons called the Malebranche ("Evil Claws"), who tear them to pieces with claws and grappling hooks if they catch them above the surface of the pitch. The Poets observe a demon arrive with a grafting Senator of Lucca and throw him into the pitch where the demons set upon him. Virgil secures safe-conduct from the leader of the Malebranche, named Malacoda ("Evil Tail"). He informs them that the bridge across the Sixth Bolgia is shattered (as a result of the earthquake that shook Hell at the death of Christ in 34 AD) but that there is another bridge further on. He sends a squad of demons led by Barbariccia to escort them safely. Based on details in this Canto (and if Christ's death is taken to have occurred at exactly noon), the time is now 7:00 A.M. of Holy Saturday.[81][nb 4] The demons provide some savage and satirical black comedy - in the last line of Canto XXI, the sign for their march is provided by a fart: "and he had made a trumpet of his ass".[83] Canto XXII One of the grafters, an unidentified Navarrese (identified by early commentators as Ciampolo) is seized by the demons, and Virgil questions him. The sinner speaks of his fellow grafters, Friar Gomita (a corrupt friar in Gallura eventually hanged by Nino Visconti (see Purg. VIII) for accepting bribes to let prisoners escape) and Michel Zanche (a corrupt Vicar of Logodoro under King Enzo of Sardinia). He offers to lure some of his fellow sufferers into the hands of the demons, and when his plan is accepted he escapes back into the pitch. Alichino and Calcabrina start a brawl in mid-air and fall into the pitch themselves, and Barbariccia organizes a rescue party. Dante and Virgil take advantage of the confusion to slip away. Canto XXIII Bolgia 6 - Hypocrites: The Poets escape the pursuing Malebranche by sliding down the sloping bank of the next pit. Here they find the hypocrites listlessly walking around a narrow track for eternity, weighted down by leaden robes. The robes are brilliantly gilded on the outside and are shaped like a monk's habit - the hypocrite's "outward appearance shines brightly and passes for holiness, but under that show lies the terrible weight of his deceit",[84] a falsity that weighs them down and makes spiritual progress impossible for them.[85] Dante speaks with Catalano dei Malavolti and Loderingo degli Andalò, two Bolognese brothers of the Jovial Friars, an order that had acquired a reputation for not living up to its vows and was eventually disbanded by Papal decree.[85] Friar Catalano points out Caiaphas, the High Priest under Pontius Pilate who counseled the Pharisees to crucify Jesus for the public good (John 11:49-50). He himself is crucified to the floor of Hell by three large stakes, and in such a position that every passing sinner must walk upon him: he "must suffer upon his body the weight of all the world's hypocrisy".[84] The Jovial Friars explain to Virgil how he may climb from the pit; Virgil discovers that Malacoda lied to him about the bridges over the Sixth Bolgia. The Thieves tortured by Serpents: engraving by Gustave Doré illustrating Canto XXIV of the Inferno. Canto XXIV Bolgia 7 - Thieves: Dante and Virgil leave the bolgia of the Hypocrites by climbing the ruined rocks of a bridge destroyed by the great earthquake, after which they cross the bridge of the Seventh Bolgia to the far side to observe the next chasm. The pit is filled with monstrous reptiles: the shades of thieves are pursued and bitten by snakes and lizards, who curl themselves about the sinners and bind their hands behind their backs. The full horror of the thieves' punishment is revealed gradually: just as they stole other people's substance in life, their very identity becomes subject to theft here.[86] One sinner, who reluctantly identifies himself as Vanni Fucci, is bitten by a serpent at the jugular vein, bursts into flames, and is re-formed from the ashes like a phoenix. Vanni tells a dark prophecy against Dante. Canto XXV Vanni hurls an obscenity at God and the serpents swarm over him. The centaur Cacus arrives to punish the wretch; he has a fire-breathing dragon on his shoulders and snakes covering his equine back. (In Roman mythology, Cacus, the monstrous, fire-breathing son of Vulcan, was killed by Hercules for raiding the hero's cattle; in Aeneid VIII, 193-267, Virgil did not describe him as a centaur). Dante then meets five noble thieves of Florence and observes their various transformations. Agnello Brunelleschi, in human form, is merged with the six-legged serpent that is Cianfa Donati. A figure named Buoso (perhaps either Buoso degli Abati or Buoso Donati, the latter of whom is mentioned in Inf. XXX.44) first appears as a man, but exchanges forms with Francesco de' Cavalcanti, who bites Buoso in the form of a four-footed serpent. Puccio Sciancato remains unchanged for the time being. Dante and Virgil observe the false counsellors, Canto XXVI Canto XXVI Bolgia 8 - Counsellors of Fraud: Dante addresses a passionate lament to Florence before turning to the next bolgia. Here, fraudulent advisers or evil counsellors move about, hidden from view inside individual flames. These are not people who gave false advice, but people who used their position to advise others to engage in fraud.[87] Ulysses and Diomedes are punished together within a great double-headed flame; they are condemned for the stratagem of the Trojan Horse (resulting in the Fall of Troy), persuading Achilles to sail for Troy (causing Deidamia to die of grief), and for the theft of the sacred statue of Pallas, the Palladium (upon which, it was believed, the fate of Troy depended). Ulysses, the figure in the larger horn of the flame, narrates the tale of his last voyage and death (Dante's invention). He tells how, after his detainment by Circe, his love for neither his son, his father, nor his wife could overpower his desire to set out on the open sea to "gain experience of the world / and of the vices and the worth of men".[88] As they approach the Pillars of Hercules, Ulysses urges his crew: 'Brothers,' I said, 'o you, who having crossed a hundred thousand dangers, reach the west, to this brief waking-time that still is left unto your senses, you must not deny experience of that which lies beyond the sun, and of the world that is unpeopled. Consider well the seed that gave you birth: you were not made to live your lives as brutes, but to be followers of worth and knowledge.'[89] Ulysses tells how he and his men traveled south across the equator, observed the southern stars, and found that the North Star had sunk below the horizon; they sight Mount Purgatory in the Southern Hemisphere after five months of passage. Canto XXVII Dante is approached by Guido da Montefeltro, head of the Ghibellines of Romagna, asking for news of his country. Dante replies with a tragic summary of the current state of the cities of Romagna. Guido then recounts his life: he advised Pope Boniface VIII to offer a false amnesty to the Colonna family, who, in 1297, had walled themselves inside the castle of Palestrina in the Lateran. When the Colonna accepted the terms and left the castle, the Pope razed it to the ground and left them without a refuge. Guido describes how St. Francis, founder of the Franciscan order, came to take his soul to Heaven, only to have a devil assert prior claim. Although Boniface had absolved Guido in advance for his evil advice, the devil points out the invalidity: absolution requires contrition, and a man cannot be contrite for a sin at the same time that he is intending to commit it[90] Canto XXVIII Bolgia 9 - Sowers of Discord: In the Ninth Bolgia, the Sowers of Discord are hacked and mutilated for all eternity by a large demon wielding a bloody sword; their bodies are divided as, in life, their sin was to tear apart what God had intended to be united;[91] these are the sinners who are "ready to rip up the whole fabric of society to gratify a sectional egotism".[92] The souls must drag their ruined bodies around the ditch, their wounds healing in the course of the circuit, only to have the demon tear them apart anew. There are divided into three categories: (i) religious schism and discord, (ii) civil strife and political discord, and (iii) family disunion, or discord between kinsmen. Chief among the first category is Muhammad, the founder of Islam: his body is ripped from groin to chin, with his entrails hanging out. Dante apparently saw Muhammad as causing a schism within Christianity when he and his followers splintered off.[92][93] Dante also condemns Muhammad's son-in-law, Ali, for schism between Sunni and Shiite: his face is cleft from top to bottom. Muhammad ironically tells Dante to warn the schismatic and heretic Fra Dolcino. In the second category are Pier da Medicina (his throat slit, nose slashed off as far as the eyebrows, a wound where one of his ears had been), the Roman tribune Gaius Scribonius Curio (who advised Caesar to cross the Rubicon and thus begin the Civil War; his tongue is cut off), and Mosca dei Lamberti (who incited the Amidei family to kill Buondelmonte dei Buondelmonti, resulting in conflict between Guelphs and Ghibellines; his arms are hacked off). Finally, in the third category of sinner, Dante sees Bertrand de Born (1140-1215). The knight carries around his severed head by its own hair, swinging it like a lantern. Bertrand is said to have caused a quarrel between Henry II of England and his son Prince Henry the Young King; his punishment in Hell is decapitation, since dividing father and son is like severing the head from the body.[92] Canto XXIX Bolgia 10 - Falsifiers: The final bolgia of the Eighth Circle, is home to various sorts of falsifiers. A "disease" on society, they are themselves afflicted with different types of afflictions:[94] horrible diseases, stench, thirst, filth, darkness, and screaming. Some lie prostrate while others run hungering through the pit, tearing others to pieces. Shortly before their arrival in this pit, Virgil indicates that it is approximately noon of Holy Saturday, and he and Dante discuss one of Dante's kinsmen (Geri de Bello) among the Sowers of Discord in the previous ditch. The first category of falsifiers Dante encounters are the Alchemists (Falsifiers of Things). He speaks with two spirits viciously scrubbing and clawing at their leprous scabs: Griffolino d'Arezzo (an alchemist who extracted money from the foolish Alberto da Siena on the promise of teaching him to fly; Alberto's reputed father the Bishop of Siena had Griffolino burned at the stake) and Capocchio (burned at the stake at Siena in 1293 for practicing alchemy). Dante et Virgile by William-Adolphe Bouguereau: Capocchio, an alchemist, is attacked by Gianni Schicchi, who impersonated the dead Buoso Donati to claim his inheritance, Canto XXX. Canto XXX Suddenly, two spirits - Gianni Schicchi de' Cavalcanti and Myrrha, both punished as Imposters (Falsifiers of Persons) - run rabid through the pit. Schicchi sinks his tusks into Capocchio's neck and drags him away like prey. Griffolino explains how Myrrha disguised herself to commit incest with her father King Cinyras, while Schicchi impersonated the dead Buoso Donati to dictate a will giving himself several profitable bequests. Dante then encounters Master Adam of Brescia, one of the Counterfeiters (Falsifiers of Money): for manufacturing Florentine florins of twenty-one (rather than twenty-four) carat gold, he was burned at the stake in 1281. He is punished by a loathsome dropsy-like disease, which gives him a bloated stomach, prevents him from moving, and an eternal, unbearable thirst. Master Adam points out two sinners of the fourth class, the Perjurers (Falsifiers of Words). These are Potiphar's wife (punished for her false accusation of Joseph, Gen. 39:7-19) and Sinon, the Achaean spy who lied to the Trojans to convince them to take the Trojan Horse into their city (Aeneid II, 57-194); Sinon is here rather than in Bolgia 8 because his advice was false as well as evil. Both suffer from a burning fever. Master Adam and Sinon exchange abuse, which Dante watches until he is rebuked by Virgil. As a result of his shame and repentance, Dante is forgiven by his guide. Sayers remarks that the descent through Malebolge "began with the sale of the sexual relationship, and went on to the sale of Church and State; now, the very money is itself corrupted, every affirmation has become perjury, and every identity a lie"[94] so that every aspect of social interaction has been progressively destroyed. Central Well of Malebolge Titans and giants, including Ephialtes on the left, in Doré's illustrations. Canto XXXI Dante and Virgil approach the Central Well, at the bottom of which lies the Ninth and final Circle of Hell. The classical and biblical Giants - who perhaps symbolize pride and other spiritual flaws lying behind acts of treachery[95] - stand perpetual guard inside the well-pit, their legs embedded in the banks of the Ninth Circle while their upper halves rise above the rim and can be visible from the Malebolge.[96] Dante initially mistakes them for great towers of a city. Among the Giants, Virgil identifies Nimrod (who tried to build the Tower of Babel; he shouts out the unintelligible Raphèl mai amècche zabì almi); Ephialtes (who with his brother Otus tried to storm Olympus during the Gigantomachy; he has his arms chained up) and Briareus (who Dante claimed to have challenged the Gods); and Tityos and Typhon, who insulted Jupiter. Also here is the Giant Antaeus, who did not join in the rebellion against the Olympian Gods and therefore is not chained. At Virgil's persuasion, Antaeus takes the Poets in his large palm and lowers them gently to the final level of Hell. Ninth Circle (Treachery) Dante speaks to the traitors in the ice, Canto XXXII. Canto XXXII At the base of the well, Dante finds himself within a large frozen lake: Cocytus, the Ninth Circle of Hell. Trapped in the ice, each according to his guilt, are punished sinners guilty of treachery against those with whom they had special relationships. The lake of ice is divided into four concentric rings (or "rounds") of traitors corresponding, in order of seriousness, to betrayal of family ties, betrayal of community ties, betrayal of guests, and betrayal of lords. This is in contrast to the popular image of Hell as fiery; as Ciardi writes, "The treacheries of these souls were denials of love (which is God) and of all human warmth. Only the remorseless dead center of the ice will serve to express their natures. As they denied God's love, so are they furthest removed from the light and warmth of His Sun. As they denied all human ties, so are they bound only by the unyielding ice."[97] This final, deepest level of hell is reserved for traitors, betrayers and oathbreakers (its most famous inmate is Judas Iscariot). Round 1 - Caïna: this round is named after Cain, who killed his own brother in the first act of murder (Gen. 4:8). This round houses the Traitors to their Kindred: they have their necks and heads out of the ice and are allowed to bow their heads, allowing some protection from the freezing wind. Here Dante sees the brothers Alessandro and Napoleone degli Alberti, who killed each other over their inheritance and their politics some time between 1282 and 1286. Camiscion de' Pazzi, a Ghibelline who murdered his kinsman Ubertino, identifies several other sinners: Mordred (traitorous nephew of King Arthur); Vanni de' Cancellieri, nicknamed Focaccia (a White Guelph of Pistoia who killed his cousin, Detto de' Cancellieri); and Sassol Mascheroni of the noble Toschi family of Florence (murdered a relative). Camicion is aware that, in July 1302, his relative Carlino de' Pazzi would accept a bribe to surrender the Castle of Piantravigne to the Blacks, betraying the Whites. As a traitor to his party, Carlino belongs in Antenora, the next circle down - his greater sin will make Camiscion look virtuous by comparison.[98] Ugolino and His Sons by Jean-Baptiste Carpeaux (Metropolitan Museum of Art) depicts Ugolino della Gherardesca's story from Canto XXXIII. Imprisoned for treachery, Ugolino starves to death with his children, who, before dying, beg him to eat their bodies. Round 2 - Antenora: the second round is named after Antenor, a Trojan soldier who betrayed his city to the Greeks. Here lie the Traitors to their Country: those who committed treason against political entities (parties, cities, or countries) have their heads above the ice, but they cannot bend their necks. Dante accidentally kicks the head of Bocca degli Abati, a traitorous Guelph of Florence, and then proceeds to treat him more savagely than any other soul he has thus far met. Also punished in this level are Buoso da Duera (Ghibelline leader bribed by the French to betray Manfred, King of Naples), Tesauro dei Beccheria (a Ghibelline of Pavia; beheaded by the Florentine Guelphs for treason in 1258), Gianni de' Soldanieri (noble Florentine Ghibelline who joined with the Guelphs after Manfred's death in 1266), Ganelon (betrayed the rear guard of Charlemagne to the Muslims at Roncesvalles), and Tebaldello de' Zambrasi of Faenza (a Ghibelline who turned his city over to the Bolognese Guelphs on Nov. 13, 1280). The Poets then see two heads frozen in one hole, one gnawing the nape of the other's neck. Canto XXXIII The gnawing sinner tells his story: he is Count Ugolino, and the head he gnaws belongs to Archbishop Ruggieri. In "the most pathetic and dramatic passage of the Inferno",[99] Ugolino describes how he conspired with Ruggieri in 1288 to oust his nephew and take control over the Guelphs of Pisa. However, as soon as Nino was gone, the Archbishop, sensing the Guelphs' weakened position, turned on Ugolino and imprisoned him with his sons and grandsons in the Torre dei Gualandi. In March 1289, the Archbishop condemned the prisoners to death by starvation in the tower. Round 3 - Ptolomaea: the third region of Cocytus is named after Ptolemy, who invited his father-in-law Simon Maccabaeus and his sons to a banquet and then killed them (1 Maccabees 16).[100] Traitors to their Guests lie supine in the ice while their tears freeze in their eye sockets, sealing them with small visors of crystal - even the comfort of weeping is denied them. Dante encounters Fra Alberigo, one of the Jovial Friars and a native of Faenza, who asks Dante to remove the visor of ice from his eyes. In 1285, Alberigo invited his opponents, Manfred (his brother) and Alberghetto (Manfred's son), to a banquet at which his men murdered the dinner guests. He explains that often a living person's soul falls to Ptolomea before he dies ("before dark Atropos has cut their thread"[101]). Then, on earth, a demon inhabits the body until the body's natural death. Fra Alberigo's sin is identical in kind to that of Branca d'Oria, a Genoese Ghibelline who, in 1275, invited his father-in-law, Michel Zanche (seen in the Eighth Circle, Bolgia 5) and had him cut to pieces. Branca (that is, his earthly body) did not die until 1325, but his soul, together with that of his nephew who assisted in his treachery, fell to Ptolomaea before Michel Zanche's soul arrived at the bolgia of the Barrators. Dante leaves without keeping his promise to clear Fra Alberigo's eyes of ice ("And yet I did not open them for him; / and it was courtesy to show him rudeness"[102]). Canto XXXIV Round 4 - Judecca: the fourth division of Cocytus, named for Judas Iscariot, contains the Traitors to their Lords and benefactors. Upon entry into this round, Virgil says "Vexilla regis prodeunt inferni" ("The banners of the King of Hell draw closer").[103] Judecca is completely silent: all of the sinners are fully encapsulated in ice, distorted and twisted in every conceivable position. The sinners present an image of utter immobility: it is impossible to talk with any of them, so Dante and Virgil quickly move on to the centre of Hell. Centre of Hell Satan in the Inferno is trapped in the frozen central zone in the Ninth Circle of Hell, Canto XXXIV (Gustave Doré) See also: Dante's Satan In the very centre of Hell, condemned for committing the ultimate sin (personal treachery against God), is the Devil, referred to by Virgil as Dis (the Roman god of the underworld; the name "Dis" was often used for Pluto in antiquity, such as in Virgil's Aeneid). The arch-traitor, Lucifer was once held by God to be fairest of the angels before his pride led him to rebel against God, resulting in his expulsion from Heaven. Lucifer is a giant, terrifying beast trapped waist-deep in the ice, fixed and suffering. He has three faces, each a different color: one red (the middle), one a pale yellow (the right), and one black (the left): ... he had three faces: one in front bloodred; and then another two that, just above the midpoint of each shoulder, joined the first; and at the crown, all three were reattached; the right looked somewhat yellow, somewhat white; the left in its appearance was like those who come from where the Nile, descending, flows.[104] Dorothy L. Sayers notes that Satan's three faces are thought by some to suggest his control over the three human races: red for the Europeans (from Japheth), yellow for the Asiatic (from Shem), and black for the African (the race of Ham).[105] All interpretations recognize that the three faces represent a fundamental perversion of the Trinity: Satan is impotent, ignorant, and full of hate, in contrast to the all-powerful, all-knowing, and all-loving nature of God.[105] Lucifer retains his six wings (he originally belonged to the angelic order of Seraphim, described in Isaiah 6:2), but these are now dark, bat-like, and futile: the icy wind that emanates from the beating of Lucifer's wings only further ensures his own imprisonment in the frozen lake. He weeps from his six eyes, and his tears mix with bloody froth and pus as they pour down his three chins. Each face has a mouth that chews eternally on a prominent traitor. Marcus Junius Brutus and Gaius Cassius Longinus dangle with their feet in the left and right mouths, respectively, for their involvement in the assassination of Julius Caesar (March 15, 44 BC) - an act which, to Dante, represented the destruction of a unified Italy and the killing of the man who was divinely appointed to govern the world.[105] In the central, most vicious mouth is Judas Iscariot, the apostle who betrayed Christ. Judas is receiving the most horrifying torture of the three traitors: his head is gnawed inside Lucifer's mouth while his back is forever flayed and shredded by Lucifer's claws. According to Dorothy L. Sayers, "just as Judas figures treason against God, so Brutus and Cassius figure treason against Man-in-Society; or we may say that we have here the images of treason against the Divine and the Secular government of the world".[105] At about 6:00 p.m. on Saturday evening, Virgil and Dante begin their escape from Hell by clambering down Satan's ragged fur, feet-first. When they reach Satan's genitalia, the poets pass through the center of the universe and of gravity from the Northern Hemisphere of land to the Southern Hemisphere of water. When Virgil changes direction and begins to climb "upward" towards the surface of the Earth at the antipodes, Dante, in his confusion, initially believes they are returning to Hell. Virgil indicates that the time is halfway between the canonical hours of Prime (6 a.m.) and Terce (9 a.m.) - that is, 7:30 a.m. of the same Holy Saturday which was just about to end. Dante is confused as to how, after about an hour and a half of climbing, it is now apparently morning. Virgil explains that as a result of passing through the Earth's center into the Southern Hemisphere, which is twelve hours ahead of Jerusalem, the central city of the Northern Hemisphere (where, therefore, it is currently 7:30 p.m.). Virgil goes on to explain how the Southern Hemisphere was once covered with dry land, but the land recoiled in horror to the north when Lucifer fell from Heaven and was replaced by the ocean. Meanwhile, the inner rock Lucifer displaced as he plunged into the center of the earth rushed upwards to the surface of the Southern Hemisphere to avoid contact with him, forming the Mountain of Purgatory. This mountain - the only land mass in the waters of the Southern Hemisphere - rises above the surface at a point directly opposite Jerusalem. The poets then ascend a narrow chasm of rock through the "space contained between the floor formed by the convex side of Cocytus and the underside of the earth above,"[106] moving in opposition to Lethe, the river of oblivion, which flows down from the summit of Mount Purgatory. The poets finally emerge a little before dawn on the morning of Easter Sunday (April 10, 1300 A.D.) beneath a sky studded with stars.

eugene onegin - pushkin

Contents 1 Main characters 2 Plot 3 Major themes 4 Composition and publication 5 The duel 6 Translations 6.1 Into English 6.2 Into other languages 7 Film, TV, Radio or theatrical adaptations 7.1 Opera 7.2 Ballet 7.3 Incidental music 7.4 Play 7.5 Film 7.6 Radio 7.7 Audiobook 8 Footnotes 9 References 10 External links Main characters Eugene Onegin as imagined by Alexander Pushkin, 1830. Eugene Onegin: A dandy from Saint Petersburg, about 25. An arrogant, selfish and world-weary cynic. Vladimir Lensky: A young poet, about 18. A very romantic and naïve dreamer. Tatyana Larina: A shy and quiet, but passionate, landowner's daughter. Pushkin referred to her as aged 17 in a letter to Pyotr Vyazemsky. Olga Larina: Tatyana's younger sister. Plot In the 1820s, Eugene Onegin is a bored Saint Petersburg dandy, whose life consists of balls, concerts, parties and nothing more. One day he inherits a landed estate from his uncle. When he moves to the country, he strikes up a friendship with his neighbor, a starry-eyed young poet named Vladimir Lensky. One day, Lensky takes Onegin to dine with the family of his fiancée, the sociable but rather thoughtless Olga Larina. At this meeting he also catches a glimpse of Olga's sister Tatyana. A quiet, precocious romantic and the exact opposite of Olga, Tatyana becomes intensely drawn to Onegin. Soon after, she bares her soul to Onegin in a letter professing her love. Contrary to her expectations, Onegin does not write back. When they meet in person, he rejects her advances politely but dismissively and condescendingly. This famous speech is often referred to as Onegin's Sermon: he admits that the letter was touching, but says that he would quickly grow bored with marriage and can only offer Tatyana friendship; he coldly advises more emotional control in the future, lest another man take advantage of her innocence. Onegin by Dmitry Kardovsky, 1909 Later, Lensky mischievously invites Onegin to Tatyana's name day celebration promising a small gathering with just Tatyana, Olga, and their parents. When Onegin arrives, he finds instead a boisterous country ball, a rural parody of and contrast to the society balls of St. Petersburg he has grown tired of. Onegin is irritated with the guests who gossip about him and Tatyana, and with Lensky for persuading him to come. He decides to avenge himself by dancing and flirting with Olga. Olga is insensitive to her fiancé and apparently attracted to Onegin. Earnest and inexperienced, Lensky is wounded to the core and challenges Onegin to fight a duel; Onegin reluctantly accepts, feeling compelled by social convention. During the duel, Onegin unwillingly kills Lensky. Afterwards, he quits his country estate, traveling abroad to deaden his feelings of remorse. Tatyana visits Onegin's mansion, where she looks through his books and his notes in the margins, and begins to question whether Onegin's character is merely a collage of different literary heroes, and if there is, in fact, no "real Onegin". Several years pass, and the scene shifts to St. Petersburg. Onegin has come to attend the most prominent balls and interact with the leaders of old Russian society. He sees the most beautiful woman, who captures the attention of all and is central to society's whirl, and he realizes that it is the same Tatyana whose love he had once turned away. Now she is married to an aged prince (a general). Upon seeing Tatyana again, he becomes obsessed with winning her affection, despite the fact that she is married. However, his attempts are rebuffed. He writes her several letters, but receives no reply. Eventually Onegin manages to see Tatyana and presents to her the opportunity to finally elope after they have become reacquainted. She recalls the days when they might have been happy, but that time has passed. Onegin repeats his love for her. Faltering for a moment, she admits that she still loves him, but she will not allow him to ruin her and declares her determination to remain faithful to her husband. She leaves him regretting his bitter destiny.

ruslan and ludmila - pushkin

Dedication Pushkin dedicates the poem to unnamed young beauties, the "queens of my soul" (души моей царицы dushi mojej tsaritsy), and states that his reward is the hope that some lovesick girl will read the poem in secret. Song 1 "У лукоморья дуб зеленый..." MENU0:00 Excerpt from "Ruslan and Ludmila" Problems playing this file? See media help. In a brief prologue, the narrator of the story describes a green oak by the sea, on which a good cat walks back on forth on a gold chain. When the cat walks to the right, he sings - to the left he tells stories. In this magical place, fairy tales come alive including common in Russian folktales such as a hut on hen's legs (избушка на курьих ножках), Baba Yaga (Баба-Яга), and King Koschei (царь Кащей[4]) and fairy tales that Pushkin himself wrote, including the 33 warriors from The Tale of Tsar Sultan. The narrator tells us he has been to this magical place and the cat has told the narrator these stories, including the following story. Metal pin of the story-telling cat, labeled СКАЗКИ А.С. ПУШКИНА ("Tales of A.S. Pushkin") The story opens with a feast given by Prince Vladimir (Владимир) to celebrate the marriage of his daughter, Ludmila, to the bold warrior Ruslan. Among the guests are Ruslan's jealous rivals, the bold warrior Rogday (Рогдай), the boastful Farlaf (Фарлаф), and the young khazar Khan Ratmir (Ратмир). On their wedding night, as Ruslan prepares to consummate the marriage, a strange presence fills the bedroom, accompanied by thunder and lightning. Ruslan finds that his bride has mysteriously vanished. On hearing of Ludmila's disappearance, the angered Vladimir annuls the marriage and promises his daughter's hand to whoever is able to return her safely. Ruslan and his three rivals set off on horseback. Ruslan encounters an old man in a cavern who tells him that Ludmila had been abducted by the sorcerer Chernomor (Черномор), but hurries to add it is extremely unlikely he damaged her honor - for all of his magical abilities, Chernomor is powerless before the ravages of old age. The old man himself is a Finn who tells the story of how he had fallen in love with a beautiful young maiden, Naina (Наина), who spurned his attention. In order to win her love he tried to become a glorious warrior, but when she rejected him, spent years learning the magical arts instead. He finally cast a spell to win Naina's love, only to find that she herself was actually an old crone. After he rejected her, she became bent on revenge. Now that Finn had helped Ruslan, Naina will hate him as well. Song 2 1905 set design for the opera by Ivan Bilibin (This and each of the remaining songs begin with an "editorial comment" by the author. These comments often evoke classical mythology and sometimes contain contemporary references.) Rogday decides to abandon the quest for Ludmila and to find and kill Ruslan instead. Seeing a rider, he attacks, only to find it is Farlaf and not Ruslan, and leaves him shaken but alive. An old woman appears and points Rogday to the direction in which to find Ruslan. She then advises Farlaf to return to Kiev (Киев) to await his trophy. Ruslan is challenged by another rider and the story turns briefly to Ludmila's fate. She finds herself in a lavish chamber where three maidens are ready to fulfill her every desire. Opening the chamber door, she discovers a marvelous garden to rival Solomon's. However, she feels empty without Ruslan. She is startled by a hunchbacked dwarf approaching her, carried by ten manservants. She lashes out and he tumbles to the ground, tripping over his long beard. It is the wizard Chernomor, who leaves his hat as he flees. Back to Ruslan, who defeats the challenger and leaves him to drown in the Dnieper (Днепр). It is, of course, Rogday. Song 3 Chernomor is visited by a flying dragon who turns out to be Naina, pledging her alliance in defeating the Finn. Encouraged, he decides to go to Ludmila and make advances toward her, but she is nowhere to be found. She had tried on the wizard's hat and found that she could vanish and reappear at will by varying its position on her head. As Ruslan rides on, he finds himself in the midst of a deserted battlefield, strewn with bones, dead horses, and war relics. He momentarily mourns his own fate, then realizes it is an opportunity to arm himself. He leaves with a lance, helmet, coat of armor, and a battle horn. He could not, however, find a suitable sword. Continuing, he finds his path blocked by a huge hill emitting strange sounds. Closer inspection reveals it to be a giant slumbering human head. Ruslan awakens the head, which becomes angered and begins to taunt him. It sticks out its tongue. Ruslan seizes the opportunity and thrusts his lance into the tongue. Then, he gives it a slap powerful enough to knock it off its place. Where it once stood, Ruslan finds a shining sword suitable for a bogatyr. As Ruslan prepares to attack with the sword, the head pleads for mercy. The head tells his story: He was once a mighty warrior, the brother of Chernomor, who envied him. Chernomor's magic power lay in his beard, and he told his brother that they must secure the sword, which had the power to kill the both of them - Chernomor, by cutting his beard, the brother, by severing his head. They set off in quest of the sword, but then disputed to whom it should belong once they found it. Chernomor proposed that they both put their heads to the ground and the sword would go to the one who first heard a sound. Instead, he used the sword to sever his brother's head, which magically remained alive. The head tells Ruslan that he bears no grudge and will be grateful if Ruslan uses the sword to defeat Chernomor. Song 4 1905 costume design by Bilibin Ratmir is interrupted in his journey by a young maiden who beckons him into a castle, where he finds himself enveloped in luxury. He soon forgets Ludmila. Ludmila eludes Chernomor's henchmen by remaining invisible, but then is tricked by the wizard into revealing herself when he takes the form of Ruslan and calls to her in his voice. He is thwarted by the sound of a horn and hurries off, leaving his hat behind. Song 5 Chernomor confronts Ruslan, who has arrived at the wizard's lair. They trade blows, and Chernomor flies off, with Ruslan holding on to his beard. For three days they fly, with Ruslan snipping away at the beard, until the bedraggled wizard pleads for mercy and agrees to take Ruslan to Ludmila. Ruslan searches the palace and wanders into the garden, all the time calling for Ludmila, who remains hidden. Finally, a chance thrust of his flailing sword knocks the hat from her head. However, his lover is in a trance and does not hear him calling. He hears the Finn's voice from a distance telling him to return Ludmila to Kiev where she will awaken. Ruslan sets off, carrying his bride and Chernomor. He encounters the head, who, contented that he has been avenged, dies in peace. Ruslan comes to rest at a stream and is met by a fisherman, who turns out to be the Khan Ratmir. He explains that he has met his true love and no longer yearns for Ludmila. The two part as friends. Naina appears to Farlaf and tells him that his hour has arrived. He saddles up and rides off, finding Ruslan encamped and thrusting his sword into him as he sleeps. As Farlaf rides off with his prey, Ruslan lies unconscious and finally succumbs to his injuries. Song 6 Chernomor awakens and is joyful to see Ruslan lying dead. Farlaf returns Ludmila to Vladimir, whose initial happiness soon turns to mourning as he finds that she cannot be awakened from her deep slumber. Farlaf hangs his head in remorse. To make matters even worse, the city of Kiev is under siege. The Finn finds Ruslan and resurrects him with magical waters. He gives Ruslan a ring which will break Ludmila's spell, but tells him that he must first save the city from its attackers. Ruslan returns to Kiev, Chernomor still in tow, and leads the city's warriors to victory. Ruslan touches Ludmila's face with the ring and she awakens. Vladimir gives the couple his blessing. Ruslan forgives both Farlaf and Chernomor. Chaliapin as Farlaf, by Alexander Golovin Epilogue Another editorial comment by the author, who bemoans better days gone by.

the master and margarita - bulgakov

The novel alternates between two settings. The first is 1930s Moscow, where Satan appears at the Patriarch Ponds in the guise of "Professor Woland", a mysterious gentleman and "magician" of uncertain origin. He arrives with a retinue that includes the grotesquely dressed valet Koroviev; the mischievous, gun-happy, fast-talking black cat Behemoth; the fanged hitman Azazello; and the witch Hella. They wreak havoc targeting the literary elite and its trade union MASSOLIT.[note 1] Its privileged HQ is Griboyedov's house. The association is made up of corrupt social climbers and their women (wives and mistresses alike), bureaucrats, profiteers, and, more generally, skeptics of the human spirit. The second setting is the Jerusalem of Pontius Pilate, described by Woland in his conversations with Berlioz and later reflected in the Master's novel. This part of the novel concerns Pontius Pilate's trial of Yeshua Ha-Notsri, his recognition of an affinity with, and spiritual need for, Yeshua, and his reluctant but resigned submission to Yeshua's execution. Part one of the novel opens with a direct confrontation between Berlioz, the atheistic head of the literary bureaucracy, and an urbane foreign gentleman (Woland), who defends belief and reveals his prophetic powers. Berlioz brushes off the prophecy of his death, but dies pages later in the novel. The fulfillment of the death prophecy is witnessed by Ivan Ponyrev, a young and enthusiastically modern poet. He writes poems under the alias Bezdomny ("homeless"). His futile attempt to chase and capture the "gang" and warn of their evil and mysterious nature lands Ponyrev in a lunatic asylum. There, he is introduced to the Master, an embittered author. The rejection of his historical novel about Pontius Pilate and Christ had led the Master to such despair that he burned his manuscript and turned his back on the world, including his devoted lover, Margarita. Major episodes in the first part of the novel include a satirical portrait of the Massolit and their Griboyedov house; Satan's magic show at the Variety Theatre, satirizing the vanity, greed and gullibility of the new rich; and Woland and his retinue taking over the late Berlioz's apartment for their own use. (Apartments were at a premium in Moscow and were controlled by the state's elite. Bulgakov referred to his own apartment as one of the settings in the Moscow section of the novel.) Part two of the novel introduces Margarita, the Master's mistress. She refuses to despair over her lover or his work. She is invited to the Devil's midnight ball, where Woland offers her the chance to become a witch with supernatural powers. This takes place the night of Good Friday. This is the time of the spring full moon, as it was traditionally when Christ's fate was affirmed by Pontius Pilate, sending him to be crucified in Jerusalem. The Master's novel also covers this event. All three events in the novel are linked by this. Margarita enters naked into the realm of night after she learns to fly and control her unleashed passions. (She takes violent retribution on the literary bureaucrats who had condemned her beloved to despair.) She takes her enthusiastic maid Natasha with her, to fly over the deep forests and rivers of the USSR. She bathes and returns to Moscow with Azazello, her escort, as the anointed hostess for Satan's great spring ball. Standing by his side, she welcomes the dark celebrities of human history as they arrive from Hell. She survives this ordeal and, for her pains, Satan offers to grant Margarita her deepest wish. She chooses to liberate a woman whom she met at the ball from the woman's eternal punishment. The woman had been raped and killed her resulting infant. Her punishment was to wake each morning and find the same handkerchief by which she had killed the child lying on her nightstand. Satan grants her first wish and offers her another, saying that Margarita's first wish was unrelated to her own desires. For her second wish, she chooses to liberate the Master and live in poverty-stricken love with him. Neither Woland nor Yeshua appreciates her chosen way of life, and Azazello is sent to retrieve them. The three drink Pontius Pilate's poisoned wine in the Master's basement. The Master and Margarita die, metaphorically, as Azazello watches their physical manifestations die. Azazello reawakens them, and they leave civilization with the Devil, while Moscow's cupolas and windows burn in the setting Easter sun. Because the Master and Margarita did not lose their faith in humanity, they are granted "peace" but are denied "light" — that is, they will spend eternity together in a shadowy yet pleasant region similar to Dante's depiction of Limbo. They have not earned the glories of Heaven, but do not deserve the punishments of Hell. As a parallel, the Master releases Pontius Pilate from eternal punishment, telling him he's free to walk up the moonbeam path in his dreams to Yeshua, where another eternity awaits.

moby-dick - melville

Voyage of the Pequod (illustrated by Everett Henry) Ishmael travels in December from Manhattan Island to New Bedford with plans to sign up for a whaling voyage. The inn where he arrives is overcrowded, so he must share a bed with the tattooed Polynesian Queequeg, a harpooneer whose father was king of the fictional island of Rokovoko. The next morning, Ishmael and Queequeg attend Father Mapple's sermon on Jonah, then head for Nantucket. Ishmael signs up with the Quaker ship-owners Bildad and Peleg for a voyage on their whaler Pequod. Peleg describes Captain Ahab: "He's a grand, ungodly, god-like man" who nevertheless "has his humanities". They hire Queequeg the following morning. A man named Elijah prophesies a dire fate should Ishmael and Queequeg join Ahab. While provisions are loaded, shadowy figures board the ship. On a cold Christmas Day, the Pequod leaves the harbor. Ishmael discusses cetology (the zoological classification and natural history of the whale), and describes the crew members. The chief mate is 30-year-old Starbuck, a Nantucket Quaker with a realist mentality, whose harpooneer is Queequeg; second mate is Stubb, from Cape Cod, happy-go-lucky and cheerful, whose harpooneer is Tashtego, a proud, pure-blooded Indian from Gay Head, and the third mate is Flask, also from Martha's Vineyard, short, stout, whose harpooneer is Daggoo, a tall African, now a resident of Nantucket. When Ahab finally appears on the quarterdeck, he announces he is out for revenge on the white whale which took one leg from the knee down and left him with a prosthesis fashioned from a whale's jawbone. Ahab will give the first man to sight Moby Dick a doubloon, a gold coin, which he nails to the mast. Starbuck objects that he has not come for vengeance but for profit. Ahab's purpose exercises a mysterious spell on Ishmael: "Ahab's quenchless feud seemed mine". Instead of rounding Cape Horn, Ahab heads for the equatorial Pacific Ocean via southern Africa. One afternoon, as Ishmael and Queequeg are weaving a mat — "its warp seemed necessity, his hand free will, and Queequeg's sword chance" — Tashtego sights a sperm whale. Five previously unknown men appear on deck and are revealed to be a special crew selected by Ahab. Their leader, Fedallah, a Parsee, is Ahab's harpooneer. The pursuit is unsuccessful. Moby Dick Southeast of the Cape of Good Hope, the Pequod makes the first of nine sea-encounters, or "gams", with other ships: Ahab hails the Goney (Albatross) to ask whether they have seen the White Whale, but the trumpet through which her captain tries to speak falls into the sea before he can answer. Ishmael explains that because of Ahab's absorption with Moby Dick, he sails on without the customary "gam", which defines as a "social meeting of two (or more) Whale-ships", in which the two captains remain on one ship and the chief mates on the other. In the second gam off the Cape of Good Hope, with the Town-Ho, a Nantucket whaler, the concealed story of a "judgment of God" is revealed, but only to the crew: a defiant sailor who struck an oppressive officer is flogged, and when that officer led the chase for Moby Dick, he fell from the boat and was killed by the whale. Ishmael digresses on pictures of whales, brit (microscopic sea creatures on which whales feed), squid and — after four boats lowered in vain because Daggoo mistook a giant squid for the white whale — whale-lines. The next day, in the Indian Ocean, Stubb kills a sperm whale, and that night Fleece, the Pequod's black cook, prepares him a rare whale steak. Fleece delivers a sermon to the sharks that fight each other to feast on the whale's carcass, tied to the ship, saying that their nature is to be voracious, but they must overcome it. The whale is prepared, beheaded, and barrels of oil are tried out. Standing at the head of the whale, Ahab begs it to speak of the depths of the sea. The Pequod next encounters the Jeroboam, which not only lost its chief mate to Moby Dick, but also is now plagued by an epidemic. The whale carcass still lies in the water. Queequeg mounts it, tied to Ishmael's belt by a monkey-rope as if they were Siamese twins. Stubb and Flask kill a right whale whose head is fastened to a yardarm opposite the sperm whale's head. Ishmael compares the two heads in a philosophical way: the right whale is Lockean, stoic, and the sperm whale as Kantean, platonic. Tashtego cuts into the head of the sperm whale and retrieves buckets of oil. He falls into the head, and the head falls off the yardarm into the sea. Queequeg dives after him and frees his mate with his sword. The Pequod next gams with the Jungfrau from Bremen. Both ships sight whales simultaneously, with the Pequod winning the contest. The three harpooneers dart their harpoons, and Flask delivers the mortal strike with a lance. The carcass sinks, and Queequeg barely manages to escape. The Pequod's next gam is with the French whaler Bouton de Rose, whose crew is ignorant of the ambergris in the gut of the diseased whale in their possession. Stubb talks them out of it, but Ahab orders him away. Days later, an encounter with a harpooned whale prompts Pip, a little black cabin-boy from Alabama, to jump out of his whale boat. The whale must be cut loose, because the line has Pip so entangled in it. Furious, Stubb orders Pip to stay in the whale boat, but Pip later jumps again, and is left alone in the immense sea and has gone insane by the time he is picked up. Cooled sperm oil congeals and must be squeezed back into liquid state; blubber is boiled in the try-pots on deck; the warm oil is decanted into casks, and then stowed in the ship. After the operation, the decks are scrubbed. The coin hammered to the main mast shows three Andes summits, one with a flame, one with a tower, and one a crowing cock. Ahab stops to look at the doubloon and interprets the coin as signs of his firmness, volcanic energy, and victory; Starbuck takes the high peaks as evidence of the Trinity; Stubb focuses on the zodiacal arch over the mountains; and Flask sees nothing of any symbolic value at all. The Manxman mutters in front of the mast, and Pip declines the verb "look". Queequeg The Pequod next gams with the Samuel Enderby of London, captained by Boomer, a down-to-earth fellow who lost his right arm to Moby Dick. Nevertheless, he carries no ill will toward the whale, which he regards not as malicious, but as awkward. Ahab puts an end to the gam by rushing back to his ship. The narrator now discusses the subjects of (1) whalers supply; (2) a glen in Tranque in the Arsacides islands full of carved whale bones, fossil whales, whale skeleton measurements; (3) the chance that the magnitude of the whale will diminish and that the leviathan might perish. Leaving the Samuel Enderby, Ahab wrenches his ivory leg and orders the carpenter to fashion him another. Starbuck informs Ahab of oil leakage in the hold. Reluctantly, Ahab orders the harpooneers to inspect the casks. Queequeg, sweating all day below decks, develops a chill and soon is almost mortally feverish. The carpenter makes a coffin for Queequeg, who fears an ordinary burial at sea. Queequeg tries it for size, with Pip sobbing and beating his tambourine, standing by and calling himself a coward while he praises Queequeg for his gameness. Yet Queequeg suddenly rallies, briefly convalesces, and leaps up, back in good health. Henceforth, he uses his coffin for a spare seachest, which is later caulked and pitched to replace the Pequod's life buoy. The Pequod sails northeast toward Formosa and into the Pacific Ocean. Ahab, with one nostril, smells the musk from the Bashee isles, and with the other, the salt of the waters where Moby Dick swims. Ahab goes to Perth, the blacksmith, with bag of racehorse shoenail stubs to be forged into the shank of a special harpoon, and with his razors for Perth to melt and fashion into a harpoon barb. Ahab tempers the barb in blood from Queequeg, Tashtego, and Daggoo. The Pequod gams next with the Bachelor, a Nantucket ship heading home full of sperm oil. Every now and then, the Pequod lowers for whales with success. On one of those nights in the whaleboat, Fedallah prophesies that neither hearse nor coffin can be Ahab's, that before he dies, Ahab must see two hearses — one not made by mortal hands and the other made of American wood — that Fedallah will precede his captain in death, and finally that only hemp can kill Ahab. As the Pequod approaches the Equator, Ahab scolds his quadrant for telling him only where he is and not where he will be. He dashes it to the deck. That evening, an impressive typhoon attacks the ship. Lightning strikes the mast, setting the doubloon and Ahab's harpoon aglow. Ahab delivers a speech on the spirit of fire, seeing the lightning as a portent of Moby Dick. Starbuck sees the lightning as a warning, and feels tempted to shoot the sleeping Ahab with a musket. Next morning, when he finds that the lightning disoriented the compass, Ahab makes a new one out of a lance, a maul, and a sailmaker's needle. He orders the log be heaved, but the weathered line snaps, leaving the ship with no way to fix its location. The Pequod is now heading southeast toward Moby Dick. A man falls overboard from the mast. The life buoy is thrown, but both sink. Now Queequeg proposes that his superfluous coffin be used as a new life buoy. Starbuck orders the carpenter take care it is lidded and caulked. Next morning, the ship meets in another truncated gam with the Rachel, commanded by Captain Gardiner from Nantucket. The Rachel is seeking survivors from one of her whaleboats which had gone after Moby Dick. Among the missing is Gardiner's young son. Ahab refuses to join the search. Twenty-four hours a day, Ahab now stands and walks the deck, while Fedallah shadows him. Suddenly, a sea hawk grabs Ahab's slouched hat and flies off with it. Next, the Pequod, in a ninth and final gam, meets the Delight, badly damaged and with five of her crew left dead by Moby Dick. Her captain shouts that the harpoon which can kill the white whale has yet to be forged, but Ahab flourishes his special lance and once more orders the ship forward. Ahab shares a moment of contemplation with Starbuck. Ahab speaks about his wife and child, calls himself a fool for spending 40 years on whaling, and claims he can see his own child in Starbuck's eye. Starbuck tries to persuade Ahab to return to Nantucket to meet both their families, but Ahab simply crosses the deck and stands near Fedallah. On the first day of the chase, Ahab smells the whale, climbs the mast, and sights Moby Dick. He claims the doubloon for himself, and orders all boats to lower except for Starbuck's. The whale bites Ahab's boat in two, tosses the captain out of it, and scatters the crew. On the second day of the chase, Ahab leaves Starbuck in charge of the Pequod. Moby Dick smashes the three boats that seek him into splinters and tangles their lines. Ahab is rescued, but his ivory leg and Fedallah are lost. Starbuck begs Ahab to desist, but Ahab vows to slay the white whale, even if he would have to dive through the globe itself to get his revenge. Moby Dick On the third day of the chase, Ahab sights Moby Dick at noon, and sharks appear, as well. Ahab lowers his boat for a final time, leaving Starbuck again on board. Moby Dick breaches and destroys two boats. Fedallah's corpse, still entangled in the fouled lines, is lashed to the whale's back, so Moby Dick turns out to be the hearse Fedallah prophesied. "Possessed by all the fallen angels", Ahab plants his harpoon in the whale's flank. Moby Dick smites the whaleboat, tossing its men into the sea. Only Ishmael is unable to return to the boat. He is left behind in the sea, and so is the only crewman of the Pequod to survive the final encounter. The whale now fatally attacks the Pequod. Ahab then realizes that the destroyed ship is the hearse made of American wood in Fedallah's prophesy. The whale returns to Ahab, who stabs at him again. The line loops around Ahab's neck, and as the stricken whale swims away, the captain is drawn with him out of sight. Queequeg's coffin comes to the surface, the only thing to escape the vortex when Pequod sank. For an entire day, Ishmael floats on it, and then the Rachel, still looking for its lost seamen, rescues him.

goethe's faust

Faust, Part One Faust I, first edition, 1808 Main article: Faust, Part One The principal characters of Faust Part One include: Heinrich Faust, a scholar, sometimes said to be based on Johann Georg Faust, or on Jacob Bidermann's dramatized account of the Legend of the Doctor of Paris, Cenodoxus; see also Faust Mephistopheles, an agent of the Devil Gretchen, Faust's love (short for Margarete; Goethe uses both forms) Marthe, Gretchen's neighbour Valentin, Gretchen's brother Wagner, Faust's attendant Faust Part One takes place in multiple settings, the first of which is Heaven. The demon Mephistopheles makes a bet with God: he says that he can lure God's favourite human being (Faust), who is striving to learn everything that can be known, away from righteous pursuits. The next scene takes place in Faust's study where Faust, despairing at the vanity of scientific, humanitarian and religious learning, turns to magic for the showering of infinite knowledge. He suspects, however, that his attempts are failing. Frustrated, he ponders suicide, but rejects it as he hears the echo of nearby Easter celebrations begin. He goes for a walk with his assistant Wagner and is followed home by a stray poodle (the term then meant a medium-to-big-size dog, similar to a sheep dog). In Faust's study, the poodle transforms into Mephistopheles. Faust makes an arrangement with him: Mephistopheles will do everything that Faust wants while he is here on Earth, and in exchange Faust will serve the Devil in Hell. Faust's arrangement is that if he is pleased enough with anything Mephistopheles gives him that he wants to stay in that moment forever, then he will die in that moment. When Mephistopheles tells Faust to sign the pact with blood, Faust complains that Mephistopheles does not trust Faust's word of honor. In the end, Mephistopheles wins the argument and Faust signs the contract with a drop of his own blood. Faust has a few excursions and then meets Margaret (also known as Gretchen). He is attracted to her and with jewellery and with help from a neighbor, Martha, Mephistopheles draws Gretchen into Faust's arms. With Mephistopheles' aid, Faust seduces Gretchen. Gretchen's mother dies from a sleeping potion, administered by Gretchen to obtain privacy so that Faust could visit her. Gretchen discovers she is pregnant. Gretchen's brother condemns Faust, challenges him and falls dead at the hands of Faust and Mephistopheles. Gretchen drowns her illegitimate child and is convicted of the murder. Faust tries to save Gretchen from death by attempting to free her from prison. Finding that she refuses to escape, Faust and Mephistopheles flee the dungeon, while voices from Heaven announce that Gretchen shall be saved - "Sie ist gerettet" - this differs from the harsher ending of Urfaust - "Sie ist gerichtet!" - "she is condemned." Faust, Part Two Faust II, first edition, 1832 Main article: Faust, Part Two Rich in classical allusion, in Part Two the romantic story of the first Faust is put aside, and Faust wakes in a field of fairies to initiate a new cycle of adventures and purpose. The piece consists of five acts (relatively isolated episodes) each representing a different theme. Ultimately, Faust goes to Heaven, for he loses only half of the bet. Angels, who arrive as messengers of divine mercy, declare at the end of Act V: "He who strives on and lives to strive/ Can earn redemption still" (V, 11936-7). Relationship between the parts Throughout Part One, Faust remains unsatisfied; the ultimate conclusion of the tragedy and the outcome of the wagers are only revealed in Faust Part Two. The first part represents the "small world" and takes place in Faust's own local, temporal milieu. In contrast, Part Two takes place in the "wide world" or macrocosmos.

the trial - kafka

On his thirtieth birthday, the chief cashier of a bank, Josef K., is unexpectedly arrested by two unidentified agents from an unspecified agency for an unspecified crime. The agents' boss later arrives and holds a mini-tribunal in the room of K.'s neighbor, Fräulein Bürstner. K. is not taken away, however, but left "free" and told to await instructions from the Committee of Affairs. He goes to work, and that night apologizes to Fräulein Bürstner for the intrusion into her room. At the end of the conversation he suddenly kisses her. K. receives a phone call summoning him to court, and the coming Sunday is arranged as the date. No time is set, but the address is given to him. The address turns out to be a huge tenement building. K. has to explore to find the court, which turns out to be in the attic. The room is airless, shabby and crowded, and although he has no idea what he is charged with, or what authorizes the process, K. makes a long speech denigrating the whole process, including the agents who arrested him; during this speech an attendant's wife and a man engage in sexual activities. K. then returns home. K. later goes to visit the court again, although he has not been summoned, and finds that it is not in session. He instead talks with the attendant's wife, who attempts to seduce him into taking her away, and who gives him more information about the process and offers to help him. K. later goes with the attendant to a higher level of the attic where the shabby and airless offices of the court are housed. K. returns home to find Fräulein Montag, a lodger from another room, moving in with Fräulein Bürstner. He suspects that this is to prevent him from pursuing his affair with the latter woman. Yet another lodger, Captain Lanz, appears to be in league with Montag. Later, in a store room at his own bank, K. discovers the two agents who arrested him being whipped by a flogger for asking K. for bribes and as a result of complaints K. made at court. K. tries to argue with the flogger, saying that the men need not be whipped, but the flogger cannot be swayed. The next day he returns to the store room and is shocked to find everything as he had found it the day before, including the whipper and the two agents. K. is visited by his uncle, who was K.'s guardian. The uncle seems distressed by K.'s predicament. At first sympathetic, he becomes concerned that K. is underestimating the seriousness of the case. The uncle introduces K. to a lawyer, who is attended by Leni, a nurse, whom K.'s uncle suspects is the advocate's mistress. During the discussion it becomes clear how different this process is from regular legal proceedings: guilt is assumed, the bureaucracy running it is vast with many levels, and everything is secret, from the charge, to the rules of the court, to the authority behind the courts - even the identity of the judges at the higher levels. The attorney tells him that he can prepare a brief for K., but since the charge is unknown and the rules are unknown, it is difficult work. It also never may be read, but is still very important. The lawyer says that his most important task is to deal with powerful court officials behind the scenes. As they talk, the lawyer reveals that the Chief Clerk of the Court has been sitting hidden in the darkness of a corner. The Chief Clerk emerges to join the conversation, but K. is called away by Leni, who takes him to the next room, where she offers to help him and seduces him. They have a sexual encounter. Afterwards K. meets his uncle outside, who is angry, claiming that K.'s lack of respect has hurt K.'s case. K. visits the lawyer several times. The lawyer tells him incessantly how dire his situation is and tells many stories of other hopeless clients and of his behind-the-scenes efforts on behalf of these clients, and brags about his many connections. The brief is never complete. K.'s work at the bank deteriorates as he is consumed with worry about his case. K. is surprised by one of his bank clients, who tells K. that he is aware that K. is dealing with a trial. The client learned of K.'s case from Titorelli, a painter, who has dealings with the court and told the client about K.'s case. The client advises K. to go to Titorelli for advice. Titorelli lives in the attic of a tenement in a suburb on the opposite side of town from the court that K. visited. Three teenage girls taunt K. on the steps and tease him sexually. Titorelli turns out to be an official painter of portraits for the court (an inherited position), and has a deep understanding of the process. K. learns that, to Titorelli's knowledge, not a single defendant has ever been acquitted. He sets out K.'s options and offers to help K. with either. The options are: obtain a provisional verdict of innocence from the lower court, which can be overturned at any time by higher levels of the court, which would lead to re-initiation of the process; or curry favor with the lower judges to keep the process moving at a glacial pace. Titorelli has K. leave through a small back door, as the girls are blocking the door through which K. entered. To K.'s shock, the door opens into another warren of the court's offices - again shabby and airless. K. decides to take control of matters himself and visits his lawyer with the intention of dismissing him. At the lawyer's office he meets a downtrodden individual, Block, a client who offers K. some insight from a client's perspective. Block's case has continued for five years and he has gone from being a successful businessman to being almost bankrupt and is virtually enslaved by his dependence on the lawyer and Leni, with whom he appears to be sexually involved. The lawyer mocks Block in front of K. for his dog-like subservience. This experience further poisons K.'s opinion of his lawyer. (This chapter was left unfinished by the author.) K. is asked by the bank to show an Italian client around local places of cultural interest, but the Italian client, short of time, asks K. to take him only to the cathedral, setting a time to meet there. When the client does not show up, K. explores the cathedral, which is empty except for an old woman and a church official. K. notices a priest who seems to be preparing to give a sermon from a small second pulpit, and K. begins to leave, lest it begin and K. be compelled to stay for its entirety. Instead of giving a sermon, the priest calls out K.'s name. K. approaches the pulpit and the priest berates him for his attitude toward the trial and for seeking help, especially from women. K. asks him to come down and the two men walk inside the cathedral. The priest works for the court as a chaplain and tells K. a fable (which was published earlier as "Before the Law") that is meant to explain his situation. K. and the priest discuss the parable. The priest tells K. that the parable is an ancient text of the court, and many generations of court officials have interpreted it differently. On the eve of K.'s thirty-first birthday, two men arrive at his apartment. He has been waiting for them, and he offers little resistance - indeed the two men take direction from K. as they walk through town. K. leads them to a quarry where the two men place K's head on a discarded block. One of the men produces a double-edged butcher knife, and as the two men pass it back and forth between them, the narrator tells us that "K. knew then precisely, that it would have been his duty to take the knife... and thrust it into himself." He does not take the knife. One of the men holds his shoulder and pulls him up and the other man stabs him in the heart and twists the knife twice. K.'s last words are: "Like a dog!".

anna karenina - tolstoy

Plot summary The novel is divided into eight parts. Its epigraph is Vengeance is mine; I will repay, from Romans 12:19, which in turn quotes from Deuteronomy 32:35. The novel begins with one of its most often-quoted lines: " Happy families are all alike; every unhappy family is unhappy in its own way. " Part 1 Tatiana Samoilova as Anna in the 1967 Soviet screen version of Tolstoy's novel The novel opens with a scene that introduces Prince Stepan Arkadyevich Oblonsky ("Stiva"), a Moscow aristocrat and civil servant who has been unfaithful to his wife Princess Darya Alexandrovna ("Dolly"). Dolly has discovered his affair with the family's governess, and the household and family are in turmoil. Stiva informs the household that his married sister, Countess Anna Arkadyevna Karenina, is coming to visit from Saint Petersburg. Meanwhile, Stiva's childhood friend, Konstantin Dmitrievich Levin ("Kostya"), arrives in Moscow with the aim of proposing to Dolly's youngest sister, Princess Katerina Alexandrovna Shcherbatskaya ("Kitty"). Levin is a passionate, restless, but shy aristocratic landowner who, unlike his Moscow friends, chooses to live in the country on his large estate. He discovers that Kitty is also being pursued by Count Alexei Kirillovich Vronsky, an army officer. Whilst at the railway station to meet Anna, Stiva bumps into Vronsky who is there to meet his mother, the Countess Vronskaya. Anna and Vronskaya have traveled and talked together in the same carriage. As the family members are reunited, and Vronsky sees Anna for the first time, a railway worker accidentally falls in front of a train and is killed. Anna interprets this as an "evil omen." Vronsky, however, is infatuated with her. Anna is uneasy about leaving her young son, Sergei ("Seryozha"), alone for the first time. At the Oblonsky home, Anna talks openly and emotionally to Dolly about Stiva's affair and convinces her that Stiva still loves her despite the infidelity. Dolly is moved by Anna's speeches and decides to forgive Stiva. Kitty, who comes to visit Dolly and Anna, is just eighteen. In her first season as a debutante, she is expected to make an excellent match with a man of her social standing. Vronsky has been paying her considerable attention, and she expects to dance with him at a ball that evening. Kitty is very struck by Anna's beauty and personality and becomes infatuated with her just as Vronsky is. When Levin proposes to Kitty at her home, she clumsily turns him down, believing she is in love with Vronsky and that he will propose to her, and encouraged to do so by her mother who believes Vronsky would be a better match (in contrast to Kitty's father, who favors Levin). At the big ball Kitty expects to hear something definitive from Vronsky, but he dances with Anna, choosing her as a partner over a shocked and heartbroken Kitty. Kitty realizes that Vronsky has fallen in love with Anna and has no intention of marrying her, despite his overt flirtations. Vronsky has regarded his interactions with Kitty merely as a source of amusement and assumes that Kitty has acted for the same reasons. Anna, shaken by her emotional and physical response to Vronsky, returns at once to St. Petersburg. Vronsky travels on the same train. During the overnight journey, the two meet and Vronsky confesses his love. Anna refuses him, although she is deeply affected by his attentions to her. Levin, crushed by Kitty's refusal, returns to his estate, abandoning any hope of marriage. Anna returns to her husband, Count Alexei Alexandrovich Karenin, a senior government official, and her son Seryozha in St. Petersburg. On seeing her husband for the first time since her encounter with Vronsky, Anna realizes that she finds him unattractive, though she tells herself he is a good man. Part 2 The Shcherbatskys consult doctors over Kitty's health, which has been failing since Vronsky's rejection. A specialist advises that Kitty should go abroad to a health spa to recover. Dolly speaks to Kitty and understands she is suffering because of Vronsky and Levin, whom she cares for and had hurt in vain. Kitty, humiliated by Vronsky and tormented by her rejection of Levin, upsets her sister by referring to Stiva's infidelity, saying she could never love a man who betrayed her. Meanwhile, Stiva visits Levin on his country estate while selling a nearby plot of land. In St. Petersburg, Anna begins to spend more time in the inner circle of Princess Elizaveta ("Betsy"), a fashionable socialite and Vronsky's cousin. Vronsky continues to pursue Anna. Although she initially tries to reject him, she eventually succumbs to his attentions. Karenin reminds his wife of the impropriety of paying too much attention to Vronsky in public, which is becoming the subject of gossip. He is concerned about the couple's public image, although he believes that Anna is above suspicion. Vronsky, a keen horseman, takes part in a steeplechase event, during which he rides his mare Frou-Frou too hard—his irresponsibility causing her to fall and break her back. Anna is unable to hide her distress during the accident. Before this, Anna had told Vronsky that she is pregnant with his child. Karenin is also present at the races and remarks to Anna that her behaviour is improper. Anna, in a state of extreme distress and emotion, confesses her affair to her husband. Karenin asks her to break it off to avoid further gossip, believing that their marriage will be preserved. Kitty and her mother travel to a German spa to recover from her ill health. There, they meet the wheelchair-bound Pietist Madame Stahl and the saintly Varenka, her adopted daughter. Influenced by Varenka, Kitty becomes extremely pious, but becomes disillusioned by her father's criticism when she learns Madame Stahl is faking her illness. She then returns to Moscow. Part 3 Portrait of a young lady (so-called Anna Karenina) by Aleksei Mikhailovich Kolesov, 1885, National Museum in Warsaw Levin continues working on his estate, a setting closely tied to his spiritual thoughts and struggles. He wrestles with the idea of falseness, wondering how he should go about ridding himself of it, and criticising what he feels is falseness in others. He develops ideas relating to agriculture, and the unique relationship between the agricultural labourer and his native land and culture. He comes to believe that the agricultural reforms of Europe will not work in Russia because of the unique culture and personality of the Russian peasant. When Levin visits Dolly, she attempts to understand what happened between him and Kitty and to explain Kitty's behaviour. Levin is very agitated by Dolly's talk about Kitty, and he begins to feel distant from Dolly as he perceives her loving behaviour towards her children as false. Levin resolves to forget Kitty and contemplates the possibility of marriage to a peasant woman. However, a chance sighting of Kitty in her carriage makes Levin realise he still loves her. Meanwhile, in St. Petersburg, Karenin refuses to separate from Anna, insisting that their relationship will continue. He threatens to take away Seryozha if she persists in her affair with Vronsky. Part 4 When Anna and Vronsky continue seeing each other, Karenin consults with a lawyer about obtaining a divorce. During the time period, a divorce in Russia could only be requested by the innocent party in an affair and required either that the guilty party confessed—which would ruin Anna's position in society and bar her from remarrying in the Orthodox Church—or that the guilty party be discovered in the act of adultery. Karenin forces Anna to hand over some of Vronsky's love letters, which the lawyer deems insufficient as proof of the affair. Stiva and Dolly argue against Karenin's drive for a divorce. Karenin changes his plans after hearing that Anna is dying after the difficult birth of her daughter, Annie. At her bedside, Karenin forgives Vronsky. However, Vronsky, embarrassed by Karenin's magnanimity, unsuccessfully attempts suicide by shooting himself. As Anna recovers, she finds that she cannot bear living with Karenin despite his forgiveness and his attachment to Annie. When she hears that Vronsky is about to leave for a military posting in Tashkent, she becomes desperate. Anna and Vronsky reunite and elope to Europe, leaving Seryozha and Karenin's offer of divorce. Meanwhile, Stiva acts as a matchmaker with Levin: he arranges a meeting between him and Kitty, which results in their reconciliation and betrothal. Part 5 Levin and Kitty marry and start their new life on his country estate. Although the couple are happy, they undergo a bitter and stressful first three months of marriage. Levin feels dissatisfied at the amount of time Kitty wants to spend with him and dwells on his inability to be as productive as he was as a bachelor. When the marriage starts to improve, Levin learns that his brother, Nikolai, is dying of consumption. Kitty offers to accompany Levin on his journey to see Nikolai and proves herself a great help in nursing Nikolai. Seeing his wife take charge of the situation in an infinitely more capable manner than he could have done himself without her, Levin's love for Kitty grows. Kitty eventually learns that she is pregnant. In Europe, Vronsky and Anna struggle to find friends who will accept them. Whilst Anna is happy to be finally alone with Vronsky, he feels suffocated. They cannot socialize with Russians of their own class and find it difficult to amuse themselves. Vronsky, who believed that being with Anna was the key to his happiness, finds himself increasingly bored and unsatisfied. He takes up painting and makes an attempt to patronize an émigré Russian artist of genius. However, Vronsky cannot see that his own art lacks talent and passion, and that his conversation about art is extremely pretentious. Increasingly restless, Anna and Vronsky decide to return to Russia. In St. Petersburg, Anna and Vronsky stay in one of the best hotels, but take separate suites. It becomes clear that whilst Vronsky is still able to move freely in Russian society, Anna is barred from it. Even her old friend, Princess Betsy, who has had affairs herself, evades her company. Anna starts to become anxious that Vronsky no longer loves her. Meanwhile, Karenin is comforted by Countess Lidia Ivanovna, an enthusiast of religious and mystic ideas fashionable with the upper classes. She advises him to keep Seryozha away from Anna and to tell him his mother is dead. However, Seryozha refuses to believe that this is true. Anna visits Seryozha uninvited on his ninth birthday but is discovered by Karenin. Anna, desperate to regain at least some of her former position in society, attends a show at the theatre at which all of St. Petersburg's high society are present. Vronsky begs her not to go, but he is unable to bring himself to explain to her why she cannot attend. At the theatre, Anna is openly snubbed by her former friends, one of whom makes a deliberate scene and leaves the theatre. Anna is devastated. Unable to find a place for themselves in St. Petersburg, Anna and Vronsky leave for Vronsky's own country estate. Part 6 Dolly, her mother the Princess Scherbatskaya, and Dolly's children spend the summer with Levin and Kitty. The Levins' life is simple and unaffected, although Levin is uneasy at the "invasion" of so many Scherbatskys. He becomes extremely jealous when one of the visitors, Veslovsky, flirts openly with the pregnant Kitty. Levin tries to overcome his feelings, but eventually succumbs to them and makes Veslovsky leave his house in an embarrassing scene. Veslovsky immediately goes to stay with Anna and Vronsky at their nearby estate. When Dolly visits Anna, she is struck by the difference between the Levins' aristocratic-yet-simple home life and Vronsky's overtly luxurious and lavish country estate. She is also unable to keep pace with Anna's fashionable dresses or Vronsky's extravagant spending on a hospital he is building. In addition, all is not quite well with Anna and Vronsky. Dolly notices Anna's anxious behaviour and her uncomfortable flirtations with Veslovsky. Vronsky makes an emotional request to Dolly, asking her to convince Anna to divorce Karenin so that the two might marry and live normally. Anna has become intensely jealous of Vronsky and cannot bear it when he leaves her even for short excursions. When Vronsky leaves for several days of provincial elections, Anna becomes convinced that she must marry him to prevent him from leaving her. After Anna writes to Karenin, she and Vronsky leave the countryside for Moscow. Part 7 While visiting Moscow for Kitty's confinement, Levin quickly gets used to the city's fast-paced, expensive and frivolous society life. He accompanies Stiva to a gentleman's club, where the two meet Vronsky. Levin and Stiva pay a visit to Anna, who is occupying her empty days by being a patroness to an orphaned English girl. Levin is initially uneasy about the visit, but Anna easily puts him under her spell. When he admits to Kitty that he has visited Anna, she accuses him of falling in love with her. The couple are later reconciled, realising that Moscow society life has had a negative, corrupting effect on Levin. Anna cannot understand why she can attract a man like Levin, who has a young and beautiful new wife, but can no longer attract Vronsky. Her relationship with Vronsky is under increasing strain, because he can move freely in Russian society while she remains excluded. Her increasing bitterness, boredom, and jealousy cause the couple to argue. Anna uses morphine to help her sleep, a habit she began while living with Vronsky at his country estate. She has become dependent on it. Meanwhile, after a long and difficult labour, Kitty gives birth to a son, Dmitri, nicknamed "Mitya". Levin is both horrified and profoundly moved by the sight of the tiny, helpless baby. Stiva visits Karenin to seek his commendation for a new post. During the visit, Stiva asks Karenin to grant Anna a divorce (which would require him to confess to a non-existent affair), but Karenin's decisions are now governed by a French "clairvoyant" recommended by Lidia Ivanovna. The clairvoyant apparently had a vision in his sleep during Stiva's visit and gives Karenin a cryptic message that he interprets in a way such that he must decline the request for divorce. Anna becomes increasingly jealous and irrational towards Vronsky, whom she suspects of having love affairs with other women. She is also convinced that he will give in to his mother's plans to marry him off to a rich society woman. They have a bitter row and Anna believes the relationship is over. She starts to think of suicide as an escape from her torments. In her mental and emotional confusion, she sends a telegram to Vronsky asking him to come home to her, and then pays a visit to Dolly and Kitty. Anna's confusion and anger overcome her and, in a parallel to the railway worker's accidental death in Part 1, she commits suicide by throwing herself under the carriage of a passing train. Part 8 Sergei Ivanovich's (Levin's brother) latest book is ignored by readers and critics and he joins the new pan-Slavic movement. Stiva gets the post he desired so much, and Karenin takes custody of Vronsky and Anna's baby, Anna. A group of Russian volunteers, including the suicidal Vronsky, depart from Russia to fight in the Orthodox Serbian revolt that has broken out against the Turks. A lightning storm occurs at Levin's estate while his wife and newborn son are outdoors and, in his fear for their safety, Levin realizes that he does indeed love his son as much as he loves Kitty. Kitty's family is concerned that a man as altruistic as her husband does not consider himself to be a Christian. After speaking at length to a peasant, Levin has a true change of heart, concluding that he does believe in the Christian principles taught to him in childhood and no longer questions his faith. He realizes that one must decide for oneself what is acceptable concerning one's own faith and beliefs. He chooses not to tell Kitty of the change that he has undergone. Levin is initially displeased that his return to his faith does not bring with it a complete transformation to righteousness. However, at the end of the story, Levin arrives at the conclusion that despite his newly accepted beliefs, he is human and will go on making mistakes. His life can now be meaningfully and truthfully oriented toward righteousness.

the great gatsby - fitzgerald

In the summer of 1922, Nick Carraway, a Yale graduate and veteran of the Great War from the Midwest—who serves as the novel's narrator—takes a job in New York as a bond salesman. He rents a small house on Long Island, in the fictional village of West Egg, next door to the lavish mansion of Jay Gatsby, a mysterious multi-millionaire who holds extravagant parties but does not participate in them. Nick drives around the bay to East Egg for dinner at the home of his cousin, Daisy Fay Buchanan, and her husband, Tom, a college acquaintance of Nick's. They introduce Nick to Jordan Baker, an attractive, cynical young golfer. She reveals to Nick that Tom has a mistress, Myrtle Wilson, who lives in the "valley of ashes",[11] an industrial dumping ground between West Egg and New York City. Not long after this revelation, Nick travels to New York City with Tom and Myrtle to an apartment Tom keeps his affairs with Myrtle and others. At Tom's New York apartment, a vulgar and bizarre party takes place. It ends with Tom breaking Myrtle's nose after she annoys him by saying Daisy's name several times. The Plaza Hotel in the early-1920s Nick eventually receives an invitation to one of Gatsby's parties. Nick encounters Jordan Baker at the party and they meet Gatsby himself, an aloof and surprisingly young man who recognizes Nick from their same division in the Great War. Through Jordan, Nick later learns that Gatsby knew Daisy through a purely chance meeting in 1917 when Daisy and her friends were doing volunteer services' work with young Officers headed to Europe. From their brief meetings and casual encounters at that time, Gatsby became (and still is) deeply in love with Daisy. Gatsby had hoped that his wild parties would attract an unsuspecting Daisy, who lived across the bay, to appear at his doorstep and allow him to present himself as a man of wealth and position. Having developed a budding friendship with Nick, Gatsby uses him to arrange a reunion between himself and Daisy. Nick invites Daisy to have tea at his house without telling her that Gatsby will also be there. After an initially awkward reunion, Gatsby and Daisy begin an affair over the summer. At a luncheon at the Buchanans' house, Daisy speaks to Gatsby with such undisguised intimacy that Tom realizes she is in love with Gatsby. Though Tom is himself involved in an extramarital affair, he is outraged by his wife's infidelity. He forces the group to drive into New York City and confronts Gatsby in a suite at the Plaza Hotel, asserting that he and Daisy have a history that Gatsby could never understand. In addition to that, he announces to his wife that Gatsby is a criminal whose fortune comes from bootlegging alcohol and other illegal activities. Daisy realizes that her allegiance is to Tom, and Tom contemptuously sends her back to East Egg with Gatsby, attempting to prove that Gatsby cannot hurt her. On the way back, Gatsby's car strikes and kills Tom's mistress, Myrtle. Nick later learns from Gatsby that Daisy, not Gatsby himself, was driving the car at the time of the accident. Myrtle's husband, Wilson, falsely concludes that the driver of the yellow car is the secret lover he suspects she has. He learns that the yellow car is Gatsby's, fatally shoots him and then turns the gun on himself. Nick stages an unsettlingly small funeral for Gatsby which none of Gatsby's associates or partygoers attend. Later, Nick runs into Tom in New York and finds out that Tom had told George that the yellow car was Gatsby's and gave him Gatsby's address. Disillusioned with the East, Nick moves back to the Midwest.

jane eyre - Charlotte Brontë

Jane Eyre is divided into 38 chapters, and most editions are at least 400 pages long. It was originally published in three volumes, comprising chapters 1 to 15, 16 to 27, and 28 to 38; this was a common publishing format during the 19th century. Brontë dedicated the novel's second edition to William Makepeace Thackeray. This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (October 2017) (Learn how and when to remove this template message) Introduction The novel is a first-person narrative from the perspective of the title character. The novel's setting is somewhere in the north of England, late in the reign of George III (1760-1820).[a] It goes through five distinct stages: Jane's childhood at Gateshead Hall, where she is emotionally and physically abused by her aunt and cousins; her education at Lowood School, where she gains friends and role models but suffers privations and oppression; her time as governess at Thornfield Hall, where she falls in love with her Byronic employer, Edward Rochester; her time with the Rivers family, during which her earnest but cold clergyman cousin, St. John Rivers, proposes to her; and ultimately her reunion with, and marriage to, her beloved Rochester. Throughout these sections, the novel provides perspectives on a number of important social issues and ideas, many of which are critical of the status quo. Literary critic Jerome Beaty opines that the close first person perspective leaves the reader "too uncritically accepting of her worldview", and often leads reading and conversation about the novel towards supporting Jane, regardless of how irregular her ideas or perspectives are.[5] Jane's childhood Young Jane argues with her guardian Mrs. Reed of Gateshead, illustration by F. H. Townsend The novel begins with the titular character, Jane Eyre, aged 10, living with her maternal uncle's family, the Reeds, as a result of her uncle's dying wish. It is several years after her parents died of typhus. Mr. Reed, Jane's uncle, was the only member of the Reed family who was ever kind to Jane. Jane's aunt, Sarah Reed, dislikes her, treats her as a burden, and discourages her children from associating with Jane. Mrs. Reed and her three children are abusive to Jane, physically, emotionally, and spiritually. The nursemaid Bessie proves to be Jane's only ally in the household, even though Bessie sometimes scolds Jane, rather harshly. Excluded from the family activities, Jane leads a very unhappy childhood, with only a doll and books with which to entertain herself with. One day, as punishment for defending herself against her cousin John Reed, after the latter knocks her down, Jane is relegated to the red room in which her late uncle had died; there, she faints from panic after she thinks she has seen his ghost. She is subsequently attended to by the kindly apothecary Mr. Lloyd to whom Jane reveals how unhappy she is living at Gateshead Hall. He recommends to Mrs. Reed that Jane should be sent to school, an idea Mrs. Reed happily supports. Mrs. Reed then enlists the aid of the harsh Mr. Brocklehurst, director of Lowood Institution, a charity school for girls. Mrs. Reed cautions Mr. Brocklehurst that Jane has a "tendency for deceit", which he interprets as her being a "liar". Before Jane leaves, however, she confronts Mrs. Reed and declares that she'll never call her "aunt" again, that Mrs. Reed and her daughters, Georgiana and Eliza, are the ones who are deceitful, and that she will tell everyone at Lowood how cruelly Mrs. Reed treated her.[6] Lowood At Lowood Institution, a school for poor and orphaned girls, Jane soon finds that life is harsh, but she attempts to fit in and befriends an older girl, Helen Burns, who is able to accept her punishment philosophically. During a school inspection by Mr. Brocklehurst, Jane accidentally breaks her slate, thereby drawing attention to herself. He then stands her on a stool, brands her a liar, and shames her before the entire assembly. Jane is later comforted by her friend, Helen. Miss Temple, the caring superintendent, facilitates Jane's self-defence and writes to Mr. Lloyd, whose reply agrees with Jane's. Jane is then publicly cleared of Mr. Brocklehurst's accusations. The 80 pupils at Lowood are subjected to cold rooms, poor meals, and thin clothing. Many students fall ill when a typhus epidemic strikes, and Jane's friend Helen dies of consumption in her arms. When Mr. Brocklehurst's maltreatment of the students is discovered, several benefactors erect a new building and install a sympathetic management committee to moderate Mr. Brocklehurst's harsh rule. Conditions at the school then improve dramatically. The name Lowood symbolizes the "low" point in Jane's life where she was maltreated.[citation needed] Helen Burns is a representation of Charlotte's elder sister Maria, who died of tuberculosis after spending time at a school where the children were mistreated. Thornfield Hall Further information: Thornfield Hall After six years as a student and two as a teacher at Lowood, Jane decides to leave, like her friend and confidante Miss Temple, who recently married. She advertises her services as a governess and receives one reply, from Alice Fairfax, housekeeper at Thornfield Hall. Jane takes the position, teaching Adèle Varens, a young French girl. One night, while Jane is walking to a nearby town, a horseman passes her. The horse slips on ice and throws the rider. Despite the rider's surliness, Jane helps him to get back onto his horse. Later, back at Thornfield, she learns that this man is Edward Rochester, master of the house. Adèle is his ward, left in his care when her mother abandoned her. It is not immediately clear whether Adèle is Rochester's daughter or not. At Jane's first meeting with him within Thornfield, Mr. Rochester teases her, accusing her of bewitching his horse to make him fall. He also talks strangely in other ways, but Jane is able to stand up to his initially arrogant manner. Mr. Rochester and Jane soon come to enjoy each other's company, and spend many evenings together. Odd things start to happen at the house, such as a strange laugh, a mysterious fire in Mr. Rochester's room (from which Jane saves Rochester by rousing him and throwing water on him and the fire), and an attack on a house guest named Mr. Mason. Then Jane receives word that her aunt Mrs. Reed is calling for her, because she suffered a stroke after her son John died. Jane returns to Gateshead and remains there for a month, attending to her dying aunt. Mrs. Reed confesses to Jane that she wronged her, giving Jane a letter from Jane's paternal uncle, Mr. John Eyre, in which he asks for her to live with him and be his heir. Mrs. Reed admits to telling Mr. Eyre that Jane had died of fever at Lowood. Soon afterward, Mrs. Reed dies, and Jane helps her cousins after the funeral before returning to Thornfield. St. John Rivers admits Jane to Moor House, illustration by F. H. Townsend Back at Thornfield, Jane broods over Mr. Rochester's rumoured impending marriage to the beautiful and talented, but snobbish and heartless, Blanche Ingram. However, one midsummer evening, Rochester baits Jane by saying how much he will miss her after getting married, but how she will soon forget him. The normally self-controlled Jane reveals her feelings for him. Rochester is then sure that Jane is sincerely in love with him, and he proposes marriage. Jane is at first sceptical of his sincerity, before accepting his proposeal. She then writes to her Uncle John, telling him of her happy news. As she prepares for her wedding, Jane's forebodings arise when a strange woman sneaks into her room one night and rips her wedding veil in two. As with the previous mysterious events, Mr. Rochester attributes the incident to Grace Poole, one of his servants. During the wedding ceremony, Mr. Mason and a lawyer declare that Mr. Rochester cannot marry because he is already married to Mr. Mason's sister, Bertha. Mr. Rochester admits this is true but explains that his father tricked him into the marriage for her money. Once they were united, he discovered that she was rapidly descending into congenital madness, and so he eventually locked her away in Thornfield, hiring Grace Poole as a nurse to look after her. When Grace gets drunk, Rochester's wife escapes and causes the strange happenings at Thornfield. It turns out that Jane's uncle, Mr. John Eyre, is a friend of Mr. Mason's and was visited by him soon after Mr. Eyre received Jane's letter about her impending marriage. After the marriage ceremony is broken off, Mr. Rochester asks Jane to go with him to the south of France, and live with him as husband and wife, even though they cannot be married. Refusing to go against her principles, and despite her love for him, Jane leaves Thornfield in the middle of the night.[7] Other employment Jane travels as far from Thornfield as she can using the little money she had previously saved. She accidentally leaves her bundle of possessions on the coach and has to sleep on the moor, and unsuccessfully attempts to trade her handkerchief and gloves for food. Exhausted and hungry, she eventually makes her way to the home of Diana and Mary Rivers, but is turned away by the housekeeper. She collapses on the doorstep, preparing for her death. St. John Rivers, Diana and Mary's brother and a clergyman, saves her. After she regains her health, St. John finds Jane a teaching position at a nearby village school. Jane becomes good friends with the sisters, but St. John remains aloof. The sisters leave for governess jobs, and St. John becomes somewhat closer to Jane. St. John learns Jane's true identity and astounds her by telling her that her uncle, John Eyre, has died and left her his entire fortune of 20,000 pounds (equivalent to just under $1.7 million in 2018[8]). When Jane questions him further, St. John reveals that John Eyre is also his and his sisters' uncle. They had once hoped for a share of the inheritance but were left virtually nothing. Jane, overjoyed by finding that she has living and friendly family members, insists on sharing the money equally with her cousins, and Diana and Mary come back to live at Moor House. Proposals Thinking that the pious Jane will make a suitable missionary's wife, St. John asks her to marry him and to go with him to India, not out of love, but out of duty. Jane initially accepts going to India but rejects the marriage proposal, suggesting they travel as brother and sister. As soon as Jane's resolve against marriage to St. John begins to weaken, she mystically hears Mr. Rochester's voice calling her name. Jane then returns to Thornfield to find only blackened ruins. She learns that Mr. Rochester's wife set the house on fire and committed suicide by jumping from the roof. In his rescue attempts, Mr. Rochester lost a hand and his eyesight. Jane reunites with him, but he fears that she will be repulsed by his condition. "Am I hideous, Jane?", he asks. "Very, sir: you always were, you know", she replies. When Jane assures him of her love and tells him that she will never leave him, Mr. Rochester again proposes, and they are married. He eventually recovers enough sight to see their firstborn son.

Cien años de soledad - Gabriel García Márquez

One Hundred Years of Solitude is the story of seven generations of the Buendía Family in the town of Macondo. The founding patriarch of Macondo, José Arcadio Buendía, and Úrsula Iguarán, his wife (and first cousin), leave Riohacha, Colombia, to find a better life and a new home. One night of their emigration journey, while camping on a riverbank, José Arcadio Buendía dreams of "Macondo", a city of mirrors that reflected the world in and about it. Upon awakening, he decides to establish Macondo at the river side; after days of wandering the jungle, José Arcadio Buendía's founding of Macondo is utopic.[3] Founding patriarch José Arcadio Buendía believes Macondo to be surrounded by water, and from that island, he invents the world according to his perceptions.[3] Soon after its foundation, Macondo becomes a town frequented by unusual and extraordinary events that involve the generations of the Buendía family, who are unable or unwilling to escape their periodic (mostly self-inflicted) misfortunes. For years the town is solitary and unconnected to the outside world with the exception of the annual visit of a band of gypsies, who show the townspeople technology such as magnets, telescopes and ice. The leader of the gypsies, Melquiades, maintains a close friendship with José Arcadio Buendía who becomes increasingly withdrawn, obsessed with investigating the mysteries of the universe presented to him by the gypsies. Ultimately he is driven insane, speaking only in Latin, and is tied to a chestnut tree by his family for many years until his death. Eventually Macondo becomes exposed to the outside world and the government of newly-independent Colombia. A rigged election between the Conservative and Liberal parties is held in the town, and this inspires Aureliano Buendía to join a civil war against the Conservative government. He becomes an iconic revolutionary leader, fighting for many years and surviving multiple attempts on his life, but ultimately becomes tired of war and signs a peace treaty with the Conservatives. Disillusioned, he returns to Macondo and spends the rest of his life making tiny goldfish out of gold in his workshop. The railroad is brought to Macondo, bringing in new technology and many foreign settlers. An American fruit company constructs a banana plantation outside the town and builds their own segregated village across the river. This ushers in a period of prosperity that ends in tragedy as thousands of striking plantation workers are massacred by the Colombian army, an incident based on the real life Banana massacre of 1928. José Arcadio Segundo, the only survivor of the massacre, finds no evidence of the massacre and the surviving townspeople refusing to believe that it happened. By the novel's end Macondo has fallen into a decrepit and near-abandoned state, with the only remaining Buendías being Amaranta Úrsula and her nephew Aureliano. Aureliano's parentage is hidden by his grandmother Fernanda, and he and Amaranta Úrsula enter an incestuous relationship unknowingly. They have a child who bears the tail of a pig, fulfilling the lifelong fear of the long-dead matriarch Úrsula. Amaranta Úrsula dies in childbirth and the child is devoured by ants, leaving Aureliano the last member of the family. He decodes an encryption left behind in a manuscript by Melquiades generations ago. The secret message informs the recipient of every fortune and misfortune lived by the Buendía family's generations. As he reads the manuscript, a hurricane destroys all trace of Macondo's existence. [8]

the metamorphosis - kafka

Part I One day, Gregor Samsa, a traveling salesman, wakes up to find himself transformed into a giant insect (the most common translation of the German description ungeheures Ungeziefer, literally "monstrous vermin"). He reflects on how dreary life as a traveling salesman is. As he looks at the wall clock, he notices that he has overslept and missed his train for work. He ponders the consequences of this delay. Gregor becomes annoyed at how his boss never accepts excuses or explanations from any of his employees no matter how hard-working they are, displaying an apparent lack of trusting abilities. Gregor's mother knocks on the door, and he answers her. She is concerned for Gregor because he is late for work, which is unorthodox for him. Gregor answers his mother and realizes that his voice has changed, but his answer is short, so his mother does not notice. His sister, Grete, to whom he is very close, then whispers through the door and begs him to open it. He tries to get out of bed but is incapable of moving his body. While trying to move, he finds that his office manager, the chief clerk, has shown up to check on him. He finally rocks his body to the floor and calls out that he will open the door shortly. Offended by Gregor's delayed response in opening the door, the clerk warns him of the consequences of missing work. He adds that Gregor's recent performance has been unsatisfactory. Gregor disagrees and tells him that he will open the door shortly. Nobody on the other side of the door has understood a single word he had uttered as Gregor's voice has also transformed, and they conclude that he is seriously ill. Finally, Gregor manages to unlock and open the door with his mouth. He apologizes to the office manager for the delay. Horrified by Gregor's appearance, his mother faints, and the manager bolts out of the apartment. Gregor tries to catch up with him, but his father drives him back into the bedroom with a cane and a rolled newspaper. Gregor injures himself squeezing back through the doorway, and his father slams the door shut. Gregor, exhausted, falls asleep. Part II Gregor awakens and sees that someone has put milk and bread in his room. Initially excited, he quickly discovers that he has no taste for milk, once one of his favorites. He settles himself under a couch. The next morning, his sister comes in, sees that he has not touched the milk, and replaces it with rotting food scraps, which Gregor happily eats. This begins a routine in which his sister feeds him and cleans up while he hides under the couch, afraid that his appearance will frighten her. Gregor spends his time listening through the wall to his family members talking. They often discuss the difficult financial situation they find themselves in now that Gregor can't provide them any help. Gregor had plans of sending Grete to the conservatory to pursue violin lessons, something everyone else - including Grete - considered a dream. His inability to provide for his family, coupled with his speechlessness, reduces his thought process greatly. Gregor also learns that his mother wants to visit him, but his sister and father will not let her. Gregor grows more comfortable with his changed body. He begins climbing the walls and ceiling for amusement. Discovering Gregor's new pastime, Grete decides to remove some of the furniture to give Gregor more space. She and her mother begin taking furniture away, but Gregor finds their actions deeply distressing. He tries to save a picture on the wall of a woman wearing a fur hat, fur scarf, and fur muff. Gregor's mother sees him hanging on the wall and passes out. Grete angrily calls out to Gregor - the first time anyone has spoken directly to him since his transformation. Gregor runs out of the room and into the kitchen. He encounters his father, who has just returned home from work. The father throws apples at Gregor, and one of them sinks into a sensitive spot in his back and remains lodged there, paralyzing his movements for a month and damaging him permanently. Gregor manages to get back into his bedroom but is severely injured. Part III One evening, the cleaning lady leaves Gregor's door open while three lodgers, whom the family has taken on for additional income, lounge about the living room. Grete has been asked to play the violin for them, and Gregor - who usually takes care to avoid crossing paths with anyone in the flat - creeps out of his bedroom to listen in the midst of his depression and resultant detachment. The lodgers, who initially seemed interested in Grete, grow bored with her performance, but Gregor is transfixed by it. One of the lodgers spots Gregor, and the rest become alarmed. Gregor's father tries to shove the lodgers back into their rooms, but the three men protest and announce that they will move out immediately without paying rent because of the disgusting conditions in the apartment. Grete, who has by now become tired of taking care of Gregor and is realizing the burden his existence puts on each one in the family, tells her parents they must get rid of Gregor, or they will all be ruined. Her father agrees, wishing Gregor could understand them and would leave of his own accord. Gregor does, in fact, understand and slowly moves back to the bedroom. There, determined to rid his family of his presence, Gregor dies. Upon discovering Gregor is dead, the family feels a great sense of relief. The father kicks out the boarders and decides to fire the cleaning lady, who has disposed of Gregor's body. The family takes a trolley ride out to the countryside, during which they consider their finances. They decide to move to a smaller apartment to further save money, an act they were unable to carry out in Gregor's presence. During this short trip, Mr. and Mrs. Samsa realize that, in spite of going through hardships which have brought an amount of paleness to her face, Grete appears to have grown up into a pretty and well-figured lady, which leads her parents to think about finding her a husband.

lolita - nabokov

Part One The story starts with a fictional foreword by one John Ray Jr., PhD, an editor of psychology books. In it, Ray says he's presenting the details of a memoir entitled The Confession of a White Widowed Male written by a literary scholar of mixed European ethnicity who died recently in an American jail of heart failure while awaiting his murder trial. The memoir's author uses the pseudonym Humbert Humbert to refer to himself in the manuscript. Humbert begins the memoir with his Parisian childhood and ends it with his incarceration. Thus, the story is told entirely from Humbert's perspective. Ray says he received the memoir from Humbert's lawyer, C.C. Clark, and adds that he (Ray) has changed the names of the people mentioned in it to protect their identities except for one: "Lolita"; the nickname Humbert used to refer to the young girl he was sexually obsessed with. Ray notes that Lolita died in 1952 while giving birth to a stillborn girl on Christmas Day while married to Richard Schiller, presumably the father of her child. Growing up in a wealthy family, Humbert meets his teenage sweetheart, Annabel Leigh, and they begin a romance but Annabel's family moves away before the adolescent couple has the opportunity to have sex. Annabel dies shortly thereafter of typhus. As an adult, Humbert develops a hebephilic fixation with girls ages 9 to 14 whom he refers to as nymphets. He claims the cause of his fixation is the grief he experienced over Annabel's death in his youth. Humbert visits many prostitutes as an adult but is particularly drawn to those whom he views as nymphets. Later, he marries a Polish woman named Valeria to allay suspicion of his hebephilia. However, their marriage dissolves after she admits to having an affair. Afterward, Humbert suffers a mental breakdown and recovers in a psychiatric hospital for the second time in his life. Upon his release, he moves to the United States to write. Humbert fantasizes about molesting the 12-year-old daughter of the McCoo family from whom he agrees to rent a room in the fictional New England town of Ramsdale. Upon his arrival, however, he discovers that their house has burned down. Afterward, Charlotte Haze, a wealthy Ramsdale widow, offers to accommodate him instead and Humbert visits her residence out of politeness. He initially plans to decline Charlotte's offer but agrees to rent when he sees her 12-year-old daughter, Dolores, whom Charlotte calls Lo.[3] Charlotte and Dolores frequently argue intensely while Humbert finds himself growing infatuated with Dolores and privately nicknames her Lolita. He starts a diary in which he records his obsessive, sexual thoughts about Dolores where he also expresses hateful feelings for Charlotte whom he sees as standing between himself and her daughter. One day, while left alone with Humbert, Dolores sits flirtatiously on his lap. This causes Humbert to ejaculate in his pajama pants unbeknownst to Dolores. Charlotte drives Dolores to summer camp, where Dolores will be staying for three weeks, and Charlotte leaves Humbert a letter in which she confesses that she has fallen in love with him. She adds that if he doesn't love her back he must move out immediately. Humbert's solution to this dilemma is to marry Charlotte, not because he loves her but to stay close to Dolores. Later, Charlotte voices her plan to send Dolores to a boarding school when she returns from camp. Humbert then contemplates murdering Charlotte to remain close to Dolores but stops before carrying it out. A few days later, Charlotte finds Humbert's diary and furiously confronts him, telling him he will never see Dolores again. Charlotte then runs out of the house to mail letters she's written to friends about Humbert's obsession with Dolores but is killed by a passing car. Humbert recovers the letters from the accident scene and then burns them. Later, he convinces Charlotte's friends and neighbors that he should look after Dolores as he is her stepfather. Humbert retrieves Dolores from camp and tells her Charlotte has been hospitalized. He then takes her to a high-end hotel. Humbert wants to have sex with her and, to make her more compliant, he gives her a sleeping pill. As he waits for the pill to take effect he wanders through the hotel and meets an anonymous man who, in fact, is famous playwright Clare Quilty, a friend of the now-deceased Charlotte. Quilty talks to him ambiguously about Dolores. Humbert excuses himself from the conversation and returns to the hotel room. There, he finds that the sedative was too mild after seeing Dolores drifting in and out of sleep. He dares not touch her that night. In the morning, she reveals to Humbert that she engaged in sexual activity with a boy at camp. Humbert tricks her into believing that he has no knowledge of sex play and it is not something that adults do. She wants to show him, and the two have sex. While driving the next day, Humbert finally reveals to Dolores that her mother is dead after Dolores insists on calling her from a pay phone. Part Two Humbert and Dolores begin traveling across the country, driving all day and staying in motels. To keep Dolores from going to the police or running away, Humbert points out she would likely wind up in a state-run orphanage if she leaves him, a prospect which terrifies her. He manipulates her with gifts of money and clothing in return for sexual favors. Paranoid and jealous, Humbert controls Dolores's movements carefully and forbids her from associating with other teenagers. After a year of touring the United States, Humbert takes Dolores to settle in the (fictional) New England town of Beardsley, and enrolls her in a girls' school at the start of the school year where Humbert reluctantly grants Dolores permission to join the school play which, unbeknownst to Humbert, was written by Quilty. Humbert and Dolores argue before opening night and Humbert physically hurts Dolores during the quarrel. She runs out of their apartment. Humbert chases after her and finds her using a pay phone in a drug store. While talking to her, Humbert discovers Dolores has had a complete change of heart. She decides not to participate in the school play and asks Humbert to take her on another cross-country trip. Humbert eagerly agrees. The two return to the Humbert's apartment where they have sex once more. While on their second road trip, Humbert becomes suspicious that a driver is following them. On one occasion, Humbert leaves Dolores in a Texas hotel to run errands. After returning, he discovers Dolores's hair is disheveled and her make up is smudged. He strongly suspects she has had sex with another man while he was out but he has no way to prove it. Later in the trip, Dolores falls ill and Humbert checks her into a hospital while he stays in a nearby motel. After several days, he contacts a nurse at the hospital to inquire about Dolores's condition. The nurse surprises him by saying her uncle has paid her bill, checked her out and has taken her to her grandfather's home. Humbert knows Lolita has no living relatives and immediately realizes something is very wrong. He embarks on a frantic search to find Dolores and her abductor but fails. Two years later, while living in New York City, Humbert receives a letter from Dolores, now 17, telling him that she is married, pregnant, and in desperate need of money. In the letter, Dolores says she lives in the town of Coalmont with her husband, Richard Schiller. She did not provide Humbert with her street address. Humbert immediately leaves New York for Coalmont. He tracks down Dolores and finds her living in clapboard house with her husband. Upon arriving, Humbert and Dolores discuss her new married life. Humbert realizes he's still in love with her and asks her to leave with him. She declines. Also, he asks her who it was that abducted her from the hospital two years earlier. She reveals it was Quilty and that she willingly left because she was in love with him. However, after moving into his mansion in Ramsdale, Quilty tried to make her star in one of his pornographic films but she refused. He then expelled her from his home. Afterward, she supported herself by working as a waitress. Humbert leaves in tears after giving Dolores $4,000. Humbert leaves Coalmont for Ramsdale to find Quilty. Quilty's uncle, who is a Ramsdale dentist, reveals to Humbert where Quilty lives. Humbert then drives to Quilty's mansion with the intent of killing him. He arrives to find the front door unlocked and Quilty under the influence of drugs. Humbert reveals his identity and they end up in a tussle where Humbert fatally shoots Quilty. Later, Humbert allows himself to be captured by police while driving recklessly.

the captain's daughter - pushkin

Pyotr Andreyich Grinyov is the only surviving child of a retired army officer. When Pyotr turns 17, his father sends him into military service in Orenburg. En route Pyotr gets lost in a blizzard, but is rescued by a mysterious man. As a token of his gratitude, Pyotr gives the guide his hareskin coat. Arriving in Orenburg, Pyotr reports to his commanding officer and is assigned to serve at Fort Belogorsky under captain Ivan Mironov. The fort is little more than a fence around a village, and the captain's wife Vasilisa is really in charge. Pyotr befriends his fellow officer Shvabrin, who has been banished here after a duel resulted in the death of his opponent. When Pyotr dines with the Mironov family, he meets their daughter Masha and falls in love with her. This causes a rift between Pyotr and Shvabrin, who has been turned down by Masha. When Shvabrin insults Masha's honor, Pyotr and Shvabrin duel and Pyotr is injured. Pyotr asks his father's consent to marry Masha, but is refused. Not much later, the fortress is besieged by the insurgent Yemelyan Pugachev, who claims to be the murdered emperor Peter III. The cossacks stationed at the fortress defect to the forces of Pugachev, and he takes the fortress easily. He demands that Captain Mironov swear an oath of allegiance to him, and when refused, hangs the Captain and kills his wife. When it is Pyotr's turn, Shvabrin suddenly appears to have defected as well, and upon his advice Pugachev orders Pyotr to be hanged. However, his life is suddenly spared as Pugachev turns out to be the guide who rescued Pyotr from the blizzard, and he recognizes Pyotr whom he remembers with affection. The next evening, Pyotr and Pugachev talk in private. Pyotr impresses Pugachev with the sincerity of his insistence that he cannot serve him. Pugachev decides to let Pyotr go to Orenburg. He is to relay a message to the Governor that Pugachev will be marching on his city. The fort is to be left under the command of Shvabrin, who takes advantage of the situation to try to compel Masha to marry him. Pyotr rushes off to prevent this marriage, but is captured by Pugachev's troops. After explaining the situation to Pugachev, they both ride off to the fortress. Masha and Pyotr; illustration by Pavel Sokolov After Masha has been freed, she and Pyotr take off to his father's estate, but they are intercepted by the army. Pyotr decides to stay with the army and sends Masha to his father. The war with Pugachev goes on and Pyotr rejoins the army. But at the moment of Pugachev's defeat, Pyotr is arrested for having friendly relations with Pugachev. During his interrogation, Shvabrin testifies that Pyotr is a traitor. Not willing to drag Masha into court, Pyotr is unable to repudiate this accusation and receives the death penalty. Although Empress Catherine the Great spares his life, Pyotr remains a prisoner. Masha understands why Pyotr wasn't able to defend himself and decides to go to St. Petersburg, to present a petition to the empress. In Tsarskoye Selo, she meets a lady of the court and details her plan to see the Empress on Pyotr's behalf. The lady refuses at first, saying that Pyotr is a traitor, but Masha is able to explain all the circumstances. Soon, Masha receives an invitation to see the Empress, and is shocked to recognize her as the lady she had talked to earlier. The Empress has become convinced of Pyotr's innocence and has ordered his release. Pyotr witnesses the beheading of Pugachev. He and Masha are married.

crime and punishment - dostoevsky

Rodion Romanovich Raskolnikov, a former law student, lives in extreme poverty in a tiny, rented room in Saint Petersburg. He has abandoned all attempts to support himself and has devised a plan to murder and rob an elderly pawn-broker, Alyona Ivanovna. While still considering the plan, Raskolnikov makes the acquaintance of Semyon Zakharovich Marmeladov, a drunkard who recently squandered his family's little wealth. Marmeladov tells him about his teenage daughter, Sonya, who has chosen to become a prostitute in order to support the family. Raskolnikov also receives a letter from his mother in which she speaks of their coming visit to Saint Petersburg, and describes at length the problems of his sister Dunya, who has been working as a governess, with her ill-intentioned employer. To escape her vulnerable position, and with hopes of helping her brother, Dunya has chosen to marry a wealthy suitor. Raskolnikov is inwardly enraged at her sacrifice, feeling it is the same as what Sonya felt compelled to do. After much deliberation, Raskolnikov sneaks into Alyona Ivanovna's apartment, where he murders her with an axe. He also kills her half-sister, Lizaveta, who happens to stumble upon the scene of the crime. Shaken by his actions, Raskolnikov manages to steal only a handful of items and a small purse, leaving much of the pawn-broker's wealth untouched. Raskolnikov then flees and, due to a series of coincidences, manages to leave unseen and undetected. After the bungled murder, Raskolnikov falls into a feverish state and begins to worry obsessively over the murder. He hides the stolen items and purse under a rock, and tries desperately to clean his clothing of any blood or evidence. He falls into a fever later that day, though not before calling briefly on his old friend Razumikhin. As the fever comes and goes in the following days, Raskolnikov behaves as though he wishes to betray himself. He shows strange reactions to whoever mentions the murder of the pawn-broker, which is now known about and talked of in the city. In his delirium, Raskolnikov wanders Saint Petersburg, drawing more and more attention to himself and his relation to the crime. In one of his walks through the city, he sees Marmeladov, who has been struck mortally by a carriage in the streets. Raskolnikov rushes to help and succeeds in conveying the stricken man back to his family's apartment. Calling out for Sonya to forgive him, Marmeladov dies in his daughter's arms. Raskolnikov gives his last twenty roubles (from money that had been sent him by his mother) to Marmeladov's consumptive wife, Katerina Ivanovna, saying it is the repayment of a debt to his friend. In the meantime, Raskolnikov's mother, Pulkheria Alexandrovna, and his sister, Avdotya Romanovna (Dunya), have arrived in the city. Dunya had been working as a governess for the Svidrigaïlov family until this point, but was forced out of the position by the head of the family, Arkady Ivanovich Svidrigaïlov. Svidrigaïlov, a married man, was attracted to Dunya's physical beauty and her feminine qualities, and offered her riches and elopement. Mortified, Dunya fled the Svidrigaïlov family and lost her source of income, only to meet Pyotr Petrovich Luzhin, a man of modest income and rank. Luzhin proposes to marry Dunya, thereby securing her and her mother's financial safety, provided she accept him quickly and without question. It is for these very reasons that the two of them come to Saint Petersburg, both to meet Luzhin there and to obtain Raskolnikov's approval. Luzhin, however, calls on Raskolnikov while he is in a delirious state and presents himself as a foolish, self-righteous and presumptuous man. Raskolnikov dismisses him immediately as a potential husband for his sister, and realizes that she only accepted him to help her family. As the novel progresses, Raskolnikov is introduced to the detective Porfiry, who begins to suspect him of the murder purely on psychological grounds. At the same time, a chaste relationship develops between Raskolnikov and Sonya. Sonya, though a prostitute, is full of Christian virtue and is only driven into the profession by her family's poverty. Meanwhile, Razumikhin and Raskolnikov manage to keep Dunya from continuing her relationship with Luzhin, whose true character is exposed to be conniving and base. At this point, Svidrigaïlov appears on the scene, having come from the province to Petersburg, almost solely to seek out Dunya. He reveals that his wife, Marfa Petrovna, is dead, and that he is willing to pay Dunya a vast sum of money in exchange for nothing. She, upon hearing the news, refuses flat out, suspecting him of treachery. As Raskolnikov and Porfiry continue to meet, Raskolnikov's motives for the crime become exposed. Porfiry becomes increasingly certain of the man's guilt, but has no concrete evidence or witnesses with which to back up this suspicion. Furthermore, another man admits to committing the crime under questioning and arrest. However, Raskolnikov's nerves continue to wear thinner, and he is constantly struggling with the idea of confessing, though he knows that he can never be truly convicted. He turns to Sonya for support and confesses his crime to her. By coincidence, Svidrigaïlov has taken up residence in a room next to Sonya's and overhears the entire confession. When the two men meet face to face, Svidrigaïlov acknowledges this fact, and suggests that he may use it against him, should he need to. Svidrigaïlov also speaks of his own past, and Raskolnikov grows to suspect that the rumors about his having committed several murders are true. In a later conversation with Dunya, Svidrigaïlov denies that he had a hand in the death of his wife. Raskolnikov is at this point completely torn; he is urged by Sonya to confess, and Svidrigaïlov's testimony could potentially convict him. Furthermore, Porfiry confronts Raskolnikov with his suspicions and assures him that confession would substantially lighten his sentence. Meanwhile, Svidrigaïlov attempts to seduce Dunya, but when he realizes that she will never love him, he lets her go. He then spends a night in confusion and in the morning shoots himself. This same morning, Raskolnikov goes again to Sonya, who again urges him to confess and to clear his conscience. He makes his way to the police station, where he is met by the news of Svidrigaïlov's suicide. He hesitates a moment, thinking again that he might get away with a perfect crime, but is persuaded by Sonya to confess. The epilogue tells of how Raskolnikov is sentenced to eight years of penal servitude in Siberia, where Sonya follows him. Dunya and Razumikhin marry and are left in a happy position by the end of the novel, while Pulkheria, Raskolnikov's mother, falls ill and dies, unable to cope with her son's situation. Raskolnikov himself struggles in Siberia. It is only after some time in prison that his redemption and moral regeneration begin under Sonya's loving influence.[20]

a christmas carol - dickens

Stave one The story begins on a cold and bleak Christmas Eve in London, seven years after the death of Ebenezer Scrooge's business partner, Jacob Marley. Scrooge, an old miser, hates Christmas and refuses an invitation to Christmas dinner from his nephew Fred. He turns away two men who seek a donation from him in order to provide food and heating for the poor, and only grudgingly allows his overworked, underpaid clerk, Bob Cratchit, Christmas Day off with pay to conform to the social custom. At home that night, Scrooge is visited by Marley's ghost, who wanders the Earth, entwined by heavy chains and money boxes, forged during a lifetime of greed and selfishness. Marley tells Scrooge that he has one chance to avoid the same fate: he will be visited by three spirits and he must listen to them or be cursed to carry chains of his own, much longer than Marley's chains. Stave two The first of the spirits, the Ghost of Christmas Past, takes Scrooge to Christmas scenes of Scrooge's boyhood and youth, reminding him of a time when he was more innocent. The boyhood scenes portray Scrooge's lonely childhood, his relationship with his beloved sister Fan, and a Christmas party hosted by his first employer, Mr. Fezziwig, who treated Scrooge like a son. They also portray Scrooge's neglected fiancée Belle, who ends their relationship after she realises that Scrooge will never love her as much as he loves money. Finally, they visit a now-married Belle with her large, happy family on a recent Christmas Eve. Stave three The second spirit, the Ghost of Christmas Present, takes Scrooge to a joy-filled market of people buying the makings of Christmas dinner and celebrations of Christmas in a miner's cottage and in a lighthouse. Scrooge and the ghost also visit Fred's Christmas party. A major part of this stave is taken up with Bob Cratchit's family feast and introduces his youngest son, Tiny Tim, a happy boy who is seriously ill. The spirit informs Scrooge that Tiny Tim will die soon unless the course of events changes. Before disappearing, the spirit shows Scrooge two hideous, emaciated children named Ignorance and Want. He tells Scrooge to beware the former above all and mocks Scrooge's concern for their welfare. Stave four Scrooge and Bob Cratchit celebrate Christmas in an illustration from Stave Five of the original edition, 1843. The third spirit, the Ghost of Christmas Yet to Come, shows Scrooge a Christmas Day in the future. The ghost shows him scenes involving the death of a disliked man. The man's funeral will only be attended by local businessmen if lunch is provided. His charwoman Mrs. Dilber, his laundress, and the local undertaker steal some of his possessions and sell them to a fence named Old Joe. When Scrooge asks the ghost to show anyone who feels any emotion over the man's death, the ghost can only show him the pleasure of a poor couple in debt to the man, rejoicing that his death gives them more time to put their finances in order. After Scrooge asks to see some tenderness connected with any death, the ghost shows him Bob Cratchit and his family mourning the passing of Tiny Tim. The ghost then shows Scrooge the man's neglected grave, whose tombstone bears Scrooge's name. Sobbing, Scrooge pledges to the ghost that he will change his ways to avoid this outcome. Stave five Scrooge awakens on Christmas morning a changed man. He spends the day with Fred's family and anonymously sends a large turkey to the Cratchit home for Christmas dinner. The following day, he gives Cratchit an increase in pay and becomes like another father to Tiny Tim. From then on Scrooge begins to treat everyone with kindness, generosity and compassion, embodying the spirit of Christmas.

don quijote - miguel saavedra de cervantes

Summary Don Quijote (Don Quixote) Illustration by Gustave Doré, depicting the famous windmill scene. Cervantes wrote that the first chapters were taken from "The Archive of La Mancha", and the rest were translated from Arabic by the Moorish author Cide Hamete Benengeli. This metafictional trick appears to give a greater credibility to the text, implying that Don Quixote is a real character and that the events related truly occurred several decades prior to the recording of this account. However, it was also common practice in that era for fictional works to make some pretense of being factual, such as the common opening line of fairy tales "Once upon a time in a land far away..." In the course of their travels, the protagonists meet innkeepers, prostitutes, goatherders, soldiers, priests, escaped convicts and scorned lovers. The aforementioned characters sometimes tell tales that incorporate events from the real world, like the conquest of the Kingdom of Maynila[citation needed] or battles in the Eighty Years' War[citation needed]. Their encounters are magnified by Don Quixote's imagination into chivalrous quests. Don Quixote's tendency to intervene violently in matters irrelevant to himself, and his habit of not paying debts, result in privations, injuries and humiliations (with Sancho often the victim). Finally, Don Quixote is persuaded to return to his home village. The narrator hints that there was a third quest, but says that records of it have been lost. Part 1 This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (September 2017) (Learn how and when to remove this template message) The First Sally (Chapters 1-5) Alonso Quixano, the protagonist of the novel (though he is not given this name until much later in the book), is a Hidalgo (member of the lesser Spanish nobility), nearing 50 years of age, living in an unnamed section of La Mancha with his niece and housekeeper, as well as a boy who is never heard of again after the first chapter. Although Quixano is usually a rational man, in keeping with the humoral theory of the time, not sleeping adequately — because he was reading — has caused his brain to dry; Quixano's temperament is thus choleric, the hot and dry humor. As a result, he is easily given to anger[4] and believes every word of these fictional books of chivalry to be true. Imitating the protagonists of these books, he decides to become a knight-errant in search of adventure. To these ends, he dons an old suit of armour, renames himself "Don Quixote", names his exhausted horse "Rocinante", and designates Aldonza Lorenzo, a neighboring farm girl, as his lady love, renaming her Dulcinea del Toboso, while she knows nothing of this. Expecting to become famous quickly, he arrives at an inn, which he believes to be a castle; calls the prostitutes he meets "ladies" (doncellas); and asks the innkeeper, whom he takes as the lord of the castle, to dub him a knight. He spends the night holding vigil over his armor and becomes involved in a fight with muleteers who try to remove his armor from the horse trough so that they can water their mules. In a pretended ceremony, the innkeeper dubs him a knight to be rid of him and sends him on his way. Don Quixote next "frees" a young boy named Andres who is tied to a tree and beaten by his master, and makes his master swear to treat the boy fairly; but the boy's beating is continued as soon as Quixote leaves. Don Quixote then encounters traders from Toledo, who "insult" the imaginary Dulcinea. He attacks them, only to be severely beaten and left on the side of the road, and is returned to his home by a neighbouring peasant. Destruction of Don Quixote's library (Chapters 6 and 7) While Don Quixote is unconscious in his bed, his niece, the housekeeper, the parish curate and the local barber burn most of his chivalric and other books. A large part of this section consists of the priest deciding which books deserve to be burned and which to be saved. It is a scene of high comedy: If the books are so bad for morality, how does the priest know them well enough to describe every naughty scene? Even so, this gives an occasion for many comments on books Cervantes himself liked and disliked. For example, Cervantes' own pastoral novel La Galatea is saved, while the rather unbelievable romance Felixmarte de Hyrcania is burned. After the books are dealt with, they seal up the room which contained the library, later telling Don Quixote that it was the action of a wizard (encantador). The Second Sally After a short period of feigning health, Don Quixote requests his neighbour, Sancho Panza, to be his squire, promising him a petty governorship (ínsula). Sancho is a poor and simple farmer but more practical than the head-in-the-clouds Don Quixote and agrees to the offer, sneaking away with Don Quixote in the early dawn. It is here that their famous adventures begin, starting with Don Quixote's attack on windmills that he believes to be ferocious giants. The two next encounter a group of friars accompanying a lady in a carriage. Don Quixote takes the friars to be enchanters who hold the lady captive, knocks a friar from his horse, and is immediately challenged by an armed Basque traveling with the company. As he has no shield, the Basque uses a pillow to protect himself, which saves him when Don Quixote strikes him. Cervantes chooses this point, in the middle of the battle, to say that his source ends here. Soon, however, he resumes Don Quixote's adventures after a story about finding Arabic notebooks containing the rest of the story by Cid Hamet Ben Engeli. The combat ends with the lady leaving her carriage and commanding those traveling with her to "surrender" to Don Quixote. First editions of the first and second part The Pastoral Peregrinations (Chapters 11-15) Sancho and Don Quixote fall in with a group of goat herders. Don Quixote tells Sancho and the goat herders about the "Golden Age" of man, in which property does not exist and men live in peace. The goatherders invite the Knight and Sancho to the funeral of Grisóstomo, a former student who left his studies to become a shepherd after reading pastoral novels (paralleling Don Quixote's decision to become a knight), seeking the shepherdess Marcela. At the funeral Marcela appears, vindicating herself from the bitter verses written about her by Grisóstomo, and claiming her own autonomy and freedom from expectations put on her by pastoral clichés. She disappears into the woods, and Don Quixote and Sancho follow. Ultimately giving up, the two dismount by a pond to rest. Some Galicians arrive to water their ponies, and Rocinante (Don Quixote's horse) attempts to mate with the ponies. The Galicians hit Rocinante with clubs to dissuade him, whereupon Don Quixote tries to defend Rocinante. The Galicians beat Don Quixote and Sancho, leaving them in great pain. The inn (Chapters 16-17) After escaping the musketeers, Don Quixote and Sancho ride to a nearby inn. Once again, Don Quixote imagines the inn is a castle, although Sancho is not quite convinced. Don Quixote is given a bed in a former hayloft, and Sancho sleeps on the rug next to the bed; they share the loft with a muleteer. When night comes, Don Quixote imagines the servant girl at the inn, Helen, to be a beautiful princess, and makes her sit on his bed with him, scaring her. Seeing what is happening, the muleteer attacks Don Quixote, breaking the fragile bed and leading to a large and chaotic fight in which Don Quixote and Sancho are once again badly hurt. Don Quixote's explanation for everything is that they fought with an enchanted Moor. He also believes that he can cure their wounds with a mixture he calls "the balm of Firearbras", which only makes them sick. Don Quixote and Sancho decide to leave the inn, but Quixote, following the example of the fictional knights, leaves without paying. Sancho, however, remains and ends up wrapped in a blanket and tossed up in the air (blanketed) by several mischievous guests at the inn, something that is often mentioned over the rest of the novel. After his release, he and Don Quixote continue their travels. The galley slaves and Cardenio (Chapters 19-24) Don Quixote de la Mancha and Sancho Panza, 1863, by Gustave Doré. After Don Quixote has adventures involving a dead body, a helmet, and freeing a group of galley slaves, he and Sancho wander into the Sierra Morena and there encounter the dejected Cardenio. Cardenio relates the first part of his story, in which he falls deeply in love with his childhood friend Luscinda, and is hired as the companion to the Duke's son, leading to his friendship with the Duke's younger son, Don Fernando. Cardenio confides in Don Fernando his love for Luscinda and the delays in their engagement, caused by Cardenio's desire to keep with tradition. After reading Cardenio's poems praising Luscinda, Don Fernando falls in love with her. Don Quixote interrupts when Cardenio suggests that his beloved may have become unfaithful after the formulaic stories of spurned lovers in chivalric novels. They get into a fight, ending with Cardenio beating all of them and walking away to the mountains. The priest, the barber, and Dorotea (Chapters 25-31) Quixote pines for Dulcinea, imitating Cardenio. Quixote sends Sancho to deliver a letter to Dulcinea, but instead Sancho finds the barber and priest and brings them to Quixote. The priest and barber make plans to trick Don Quixote to come home. They get the help of Dorotea, a woman who has been deceived by Don Fernando. She pretends that she is the Princess Micomicona and desperate to get Quixote's help. Quixote runs into Andres, who insults his incompetence. Return to the inn (Chapters 32-42) [icon] This section needs expansion. You can help by adding to it. (June 2016) The group returns to the previous inn where the priest tells the story of Anselmo while Quixote battles with wineskins. Dorotea is reunited with Don Fernando and Cardenio with Lucinda. A captive from Moorish lands arrives and is asked to tell the story of his life. A judge arrives, and it is found that the captive is his long-lost brother, and the two are reunited. The ending (Chapters 45-52) An officer of the Santa Hermandad has a warrant for Quixote's arrest for freeing the galley-slaves. The priest begs for the officer to have mercy on account of Quixote's insanity. The officer agrees, and Quixote is locked in a cage and made to think that it is an enchantment and that there is a prophecy of his heroic return home. While traveling, the group stops to eat and lets Quixote out of the cage, and he gets into a fight with a goatherd and with a group of pilgrims, who beat him into submission, and he is finally brought home. The narrator ends the story by saying that he has found manuscripts of Quixote's further adventures. Part 2 Illustration to The Ingenious Gentleman Don Quixote of La Mancha. Volume II. Ilustración para el ingenioso caballero Don Quijote de La Mancha. Volumen dos. Although the two parts are now published as a single work, Don Quixote, Part Two was a sequel published ten years after the original novel. While Part One was mostly farcical, the second half is more serious and philosophical about the theme of deception. Part Two of Don Quixote explores the concept of a character understanding that he is written about, an idea much explored in the 20th century. The Third Sally As Part Two begins, it is assumed that the literate classes of Spain have all read the first part of the story. Cervantes's meta-fictional device was to make even the characters in the story familiar with the publication of Part One, as well as with an actually published, fraudulent Part Two. When strangers encounter the duo in person, they already know their famous history. A Duke and Duchess, and others, deceive Don Quixote for entertainment, setting forth a string of imagined adventures resulting in a series of practical jokes. Some of them put Don Quixote's sense of chivalry and his devotion to Dulcinea through many tests. Pressed into finding Dulcinea, Sancho brings back three ragged peasant girls and tells Don Quixote that they are Dulcinea and her ladies-in-waiting. When Don Quixote only sees the peasant girls, Sancho pretends (reversing some incidents of Part One) that their derelict appearance results from an enchantment. Sancho later gets his comeuppance for this when, as part of one of the Duke and Duchess's pranks, the two are led to believe that the only method to release Dulcinea from her spell is for Sancho to give himself three thousand three hundred lashes. Sancho naturally resists this course of action, leading to friction with his master. Under the Duke's patronage, Sancho eventually gets a governorship, though it is false; and he proves to be a wise and practical ruler; though this ends in humiliation as well. Near the end, Don Quixote reluctantly sways towards sanity. The lengthy untold "history" of Don Quixote's adventures in knight-errantry comes to a close after his battle with the Knight of the White Moon (a young man from Don Quixote's hometown who had previously posed as the Knight of Mirrors) on the beach in Barcelona, in which the reader finds him conquered. Bound by the rules of chivalry, Don Quixote submits to prearranged terms that the vanquished is to obey the will of the conqueror: here, it is that Don Quixote is to lay down his arms and cease his acts of chivalry for the period of one year (in which he may be cured of his madness). He and Sancho undergo one more prank by the Duke and Duchess before setting off. Upon returning to his village, Don Quixote announces his plan to retire to the countryside as a shepherd, but his housekeeper urges him to stay at home. Soon after, he retires to his bed with a deathly illness, and later awakes from a dream, having fully recovered his sanity. Sancho tries to restore his faith, but Quixano (his proper name) only renounces his previous ambition and apologizes for the harm he has caused. He dictates his will, which includes a provision that his niece will be disinherited if she marries a man who reads books of chivalry. After Alonso Quixano dies, the author emphasizes that there are no more adventures to relate and that any further books about Don Quixote would be spurious.

all quiet on the western front - Erich Maria Remarque

The book tells the story of Paul Bäumer, a German soldier who—urged on by his school teacher—joins the German army shortly after the start of World War I. His class was "scattered over the platoons amongst Frisian fishermen, peasants, and labourers." Bäumer arrives at the Western Front with his friends and schoolmates (Leer, Müller, Kropp and a number of other characters). There they meet Stanislaus Katczinsky, an older soldier, nicknamed Kat, who becomes Paul's mentor. While fighting at the front, Bäumer and his comrades have to engage in frequent battles and endure the treacherous and filthy conditions of trench warfare. At the very beginning of the book, Erich Maria Remarque says "This book is to be neither an accusation nor a confession, and least of all an adventure, for death is not an adventure to those who stand face to face with it. It will try simply to tell of a generation of men who, even though they may have escaped (its) shells, were destroyed by the war."[3] The book does not focus on heroic stories of bravery, but rather gives a view of the conditions in which the soldiers find themselves. The monotony between battles, the constant threat of artillery fire and bombardments, the struggle to find food, the lack of training of young recruits (meaning lower chances of survival), and the overarching role of random chance in the lives and deaths of the soldiers are described in detail. They had been forced into the army. The battles fought here have no names and seem to have little overall significance, except for the impending possibility of injury or death for Bäumer and his comrades. Only pitifully small pieces of land are gained, about the size of a football field, which are often lost again later. Remarque often refers to the living soldiers as old and dead, emotionally drained and shaken. "We are not youth any longer. We don't want to take the world by storm. We are fleeing from ourselves, from our life. We were eighteen and had begun to love life and the world; and we had to shoot it to pieces." Paul's visit on leave to his home highlight the cost of the war on his psyche. The town has not changed since he went off to war; however, he finds that he does "not belong here anymore, it is a foreign world." He feels disconnected from most of the townspeople. His father asks him "stupid and distressing" questions about his war experiences, not understanding "that a man cannot talk of such things." An old schoolmaster lectures him about strategy and advancing to Paris while insisting that Paul and his friends know only their "own little sector" of the war but nothing of the big picture. Indeed, the only person he remains connected to is his dying mother, with whom he shares a tender, yet restrained relationship. The night before he is to return from leave, he stays up with her, exchanging small expressions of love and concern for each other. He thinks to himself, "Ah! Mother, Mother! How can it be that I must part from you? Here I sit and there you are lying; we have so much to say, and we shall never say it." In the end, he concludes that he "ought never to have come [home] on leave." Paul feels glad to be reunited with his comrades. Soon after, he volunteers to go on a patrol and kills a man for the first time in hand-to-hand combat. He watches the man die, in pain for hours. He feels remorse and asks forgiveness from the man's corpse. He is devastated and later confesses to Kat and Albert, who try to comfort him and reassure him that it is only part of the war. They are then sent on what Paul calls a "good job." They must guard a supply depot in a village that was evacuated due to being shelled too heavily. During this time, the men are able to adequately feed themselves, unlike the near-starvation conditions in the German trenches. In addition, the men enjoy themselves while living off the spoils from the village and officers' luxuries from the supply depot (such as fine cigars). While evacuating the villagers (enemy civilians), Paul and Albert are taken by surprise by artillery fired at the civilian convoy and wounded by a shell. On the train back home, Albert takes a turn for the worse and cannot complete the journey, instead being sent off the train to recuperate in a Catholic hospital. Paul uses a combination of bartering and manipulation to stay by Albert's side. Albert eventually has his leg amputated, while Paul is deemed fit for service and returned to the front. By now, the war is nearing its end and the German Army is retreating. In despair, Paul watches as his friends fall one by one. It is the death of Kat that eventually makes Paul careless about living. In the final chapter, he comments that peace is coming soon, but he does not see the future as bright and shining with hope. Paul feels that he has no aims or goals left in life and that their generation will be different and misunderstood. In October 1918, Paul is finally killed on a remarkably peaceful day. The situation report from the frontline states a simple phrase: "All quiet on the Western Front." Paul's corpse displays a calm expression on its face, "as though almost glad the end had come." Themes One of the major themes of the novel is the difficulty of soldiers to revert to civilian life after having experienced extreme combat situations. Remarque comments in the preface that "[This book] will try simply to tell of a generation of men who, even though they may have escaped its shells, were destroyed by the war."[3] This internal destruction can be found as early as the first chapter as Paul comments that, although all the boys are young, their youth has left them. In addition, the massive loss of life and negligible gains from the fighting are constantly emphasized. Soldiers' lives are thrown away by their commanding officers who are stationed comfortably away from the front, ignorant of the daily terrors of the front line.

pride and prejudice - jane austen

The novel opens with Mrs. Bennet trying to persuade Mr. Bennet to visit Mr. Bingley, an eligible bachelor who has arrived in the neighborhood. After some verbal sparring with Mr. Bennet baiting his wife, it transpires that this visit has already taken place at Netherfield, Mr. Bingley's rented house. The visit is followed by an invitation to a ball at the local assembly rooms that the whole neighbourhood will attend. At the ball, Mr. Bingley is open and cheerful, popular with all the guests, and appears to be very attracted to the beautiful Miss Jane Bennet. His friend, Mr. Darcy, is reputed to be twice as wealthy; however, he is haughty and aloof. He declines to dance with Elizabeth, suggesting that she is not pretty enough to tempt him.[3] She finds this amusing and jokes about the statement with her friends. Mr. Bingley's sister, Caroline, later invites Jane to visit. When Jane visits Miss Bingley, she is caught in a rain shower on the way and comes down with a serious cold. Elizabeth visits the ill Jane at Netherfield. There Darcy begins to be attracted to Elizabeth, while Miss Bingley becomes jealous, since she has designs on Darcy herself. Illustration by Hugh Thomson representing Mr. Collins, protesting that he never reads novels Mr. Collins, a cousin of Mr. Bennet and heir to the Longbourn estate, visits the Bennet family. He is a pompous and obsequious clergyman, who expects each of the Bennet girls to wish to marry him due to his inheritance. He quickly decides to propose to Elizabeth when he is led to believe Jane is taken. Elizabeth and her family meet the dashing and charming George Wickham, who singles out Elizabeth and tells her a story of the hardship that Mr. Darcy has caused him by depriving him of a living (position as clergyman in a prosperous parish with good revenue that, once granted, is for life) promised to him by Mr. Darcy's late father. Elizabeth's dislike of Mr. Darcy is confirmed.[3] At a ball at Netherfield, Elizabeth reluctantly dances with Mr. Darcy. Other than Jane and Elizabeth, several members of the Bennet family show a distinct lack of decorum. Mrs. Bennet hints loudly that she fully expects Jane and Bingley to become engaged and the younger Bennet sisters otherwise expose the family to ridicule. Mr. Collins proposes to Elizabeth, who rejects him, to the fury of her mother and the relief of her father. Shortly thereafter, they receive news that the Bingleys are suddenly leaving for London, with no intention to return. After his humiliating rejection by Elizabeth, Mr. Collins proposes to Charlotte Lucas, a sensible young woman and Elizabeth's friend. Charlotte is slightly older and is grateful to receive a proposal that will guarantee her a comfortable home. Elizabeth is aghast at such pragmatism in matters of love. Heartbroken, Jane goes to visit her Aunt and Uncle Gardiner at an unfashionable address in London. Miss Bingley clearly does not want to continue the friendship and Jane is upset though very composed. In the spring, Elizabeth visits Charlotte and Mr. Collins in Kent. Elizabeth and her hosts are invited to Rosings Park, the imposing home of Lady Catherine de Bourgh, patroness of Mr. Collins and Mr. Darcy's extremely wealthy aunt. She expects Mr. Darcy to marry her daughter. Mr. Darcy and his cousin, Colonel Fitzwilliam, are also visiting at Rosings Park. Colonel Fitzwilliam tells Elizabeth how Mr. Darcy managed to save a friend from a bad match. Elizabeth realizes the story must refer to Jane and is horrified that Darcy has interfered and caused her sister so much pain. Mr. Darcy, meanwhile, has fallen in love with Elizabeth and proposes to her. She rejects him angrily, stating that she could not love a man who has caused her sister such unhappiness and further accuses him of treating Mr. Wickham unjustly. The latter accusation seems to anger Mr. Darcy, and he accuses her family of wanting propriety and suggests he has been kinder to Bingley than himself. They part, barely speaking. Later, Mr. Darcy gives Elizabeth a letter, explaining that Mr. Wickham had refused the living he claimed he was deprived of, and was given money for it instead. Wickham proceeded to waste the money and, then impoverished, demanded the living again. After being refused, he tried to elope with Darcy's 15-year-old sister, Georgiana, for her great dowry. Darcy also writes that he believed Jane, because of her reserved behavior, did not love Mr. Bingley. Darcy apologizes for hurting Jane and Elizabeth begins to change her opinion of Mr. Darcy. Elizabeth tells her father that Darcy was responsible for uniting Lydia and Wickham, one of the two earliest illustrations of Pride and Prejudice.[4] The clothing styles reflect the time the illustration was engraved (the 1830s), not the time in which the novel was written or set. Some months later, Elizabeth and her Aunt and Uncle Gardiner visit Darcy's estate in Derbyshire, Pemberley. On a tour there, Elizabeth hears the housekeeper describe him as being kind and generous. When Mr. Darcy returns unexpectedly, he is overwhelmingly kind and later invites Elizabeth and the Gardiners to meet his sister and go fishing. Elizabeth is surprised and delighted by the kindness to herself and her aunt and uncle. She then suddenly receives news from Longbourn that her sister Lydia had eloped with Mr. Wickham. She tells Mr. Darcy immediately and departs in haste, believing she will never see him again, since Lydia's disgrace has ruined the family's good name. After an agonizing wait, Mr. Wickham is somehow persuaded to marry Lydia. With some degree of decency restored, Lydia visits her family and tells Elizabeth that Mr. Darcy was at her wedding. Mrs. Gardiner informs Elizabeth that it is Mr. Darcy who has made the match at great expense, and hints that he may have "another motive" for doing so. At this point, Mr. Bingley and Mr. Darcy return to Netherfield. Shortly thereafter, Bingley proposes to Jane and is accepted. Lady Catherine, having heard rumors that Elizabeth intends to marry Darcy, visits Elizabeth and demands that she promise not to accept his proposal. Elizabeth makes no such promise and Lady Catherine leaves, outraged by Elizabeth's perceived insolence. Darcy, heartened by Elizabeth's refusal to promise that she wouldn't accept such a proposal, again proposes to Elizabeth and is accepted. He visits Longbourn to ask Mr. Bennet for his permission. Elizabeth wants her father to understand that she is not marrying for money, and it is only after she speaks about Mr. Darcy's true worth that he is happy about the wedding.

doctor zhivago - pasternak

The plot of Doctor Zhivago is long and intricate. It can be difficult to follow for two main reasons: first, Pasternak employs many characters, who interact with each other throughout the book in unpredictable ways, and second, he frequently introduces a character by one of his/her three names, then subsequently refers to that character by another of the three names or a nickname, without expressly stating that he is referring to the same character. To avoid this confusion, the summary below uses a character's full name when the character is first introduced. Part 1 Imperial Russia, 1903. The novel opens during a Russian Orthodox funeral liturgy, or panikhida, for Yuri's mother, Marya Nikolaevna Zhivago. Having long ago been abandoned by his father, Yuri is taken in by his maternal uncle, Nikolai Nikolaevich Vedenyapin, a philosopher and former Orthodox priest who now works for the publisher of a progressive newspaper in a provincial capital on the Volga River. Yuri's father, Andrei Zhivago, was once a wealthy member of Moscow's merchant gentry, but has squandered the family's fortune in Siberia through debauchery and carousing. That summer, Yuri (who is 11 years old) and Nikolai Nikolaevich travel to Duplyanka, the estate of Lavrenty Mikhailovich Kologrivov, a wealthy silk merchant. They are there not to visit Kologrivov, who is abroad with his wife, but to visit a mutual friend, Ivan Ivanovich Voskoboinikov, an intellectual who lives in the steward's cottage.[3] Kologrivov's daughters, Nadya (who is 15 years old) and Lipa (who is younger), are also living at the estate with a governess and servants. Innokenty (Nika) Dudorov, a 13-year-old boy who is the son of a convicted terrorist has been placed with Ivan Ivanovich by his mother and lives with him in the cottage. As Nikolai Nikolavich and Ivan Ivanovich are strolling in the garden and discussing philosophy, they notice that a train passing in the distance has come to a stop in an unexpected place, indicating that something is wrong. On the train, an 11-year-old boy named Misha Grigorievich Gordon is traveling with his father. They have been on the train for three days. During that time, a kind man had given Misha small gifts and had talked for hours with his father, Grigory Osipovich Gordon. However, encouraged by his attorney, who was traveling with him, the man had become drunk. Eventually, the man had rushed to the vestibule of the moving train car, pushed aside the boy's father, opened the door and thrown himself out, killing himself. Misha's father had then pulled the emergency brake, bringing the train to a halt. The passengers disembark and view the corpse while the police are called. The deceased's lawyer stands near the body and blames the suicide on alcoholism. Part 2 During the Russo-Japanese War (1904-1905), Amalia Karlovna Guichard arrives in Moscow from the Urals with her two children: Rodion (Rodya) and Larissa (Lara). Mme. Guichard's late husband was a Belgian who had been working as an engineer for the railroad. Mme. Guichard's late husband had been friends with Victor Ippolitovich Komarovsky, a lawyer and "cold-blooded businessman." Komarovsky sets them up in rooms at the seedy Montenegro hotel, enrolls Rodion in the Cadet Corps and enrolls Lara in a girls' high school. The girls' school is the same school that Nadya Kologrivov attends. On Komarovsky's advice, Amalia invests in a small dress shop. Amalia and her children live at the Montenegro for about a month before moving into the apartment over the dress shop. Despite an ongoing affair with Amalia, Komarovsky begins to court Lara behind her mother's back. In early October, the workers of the Moscow-Brest railroad line go on strike. The foreman of the station is Pavel Ferapontovich Antipov. His friend Kiprian Savelyevich Tiverzin is called into one of the railroad workshops and stops a workman from beating his apprentice (whose name is Osip (Yusupka) Gimazetdinovich Galiullin). The police arrest Pavel Ferapontovich for his role in the strike. Pavel Ferapontovich's boy, Patulya (or Pasha or Pashka) Pavlovich Antipov, comes to live with Tiverzin and his mother. Tiverzin's mother and Patulya attend a demonstration which is attacked by dragoons, but they survive and return home. As the protestors flee the dragoons, Nikolai Nikolaevich (Yuri's uncle) is standing inside a Moscow apartment, at the window, watching the people flee. Some time ago, he moved from the Volga region to Petersburg, and at the same time moved Yuri to Moscow to live at the Gromeko household. Nikolai Nikolaevich had then come to Moscow from Petersburg earlier in the Fall, and is staying with the Sventitskys, who were distant relations. The Gromeko household consists of Alexander Alexandrovich Gromeko, his wife Anna Ivanovna, and his bachelor brother Nikolai Alexandrovich. Anna is the daughter of a wealthy steel magnate, now deceased, from the Yuriatin region in the Urals. They have a daughter Tonya. In January 1906, the Gromekos host a chamber music recital at their home one night. One of the performers is a cellist who is a friend of Amalia's, and her next-door neighbor at the Montenegro.[4] Midway through the performance, the cellist is recalled to the Montenegro because, he is told, someone there is dying. Alexander Alexandrovich, Yuri and Misha come along with the cellist. At the Montenegro, the boys stand in a public corridor outside one of the rooms,[5] embarrassed, while Amalia, who has taken poison, is treated with an emetic. Eventually they are shooed into the room by the boarding house employees who are using the corridor. The boys are assured that Amalia is out of danger and, once inside the room, see her, half-naked and sweaty, talking with the cellist; she tells him that she had "suspicions" but "fortunately it all turned out to be foolishness." The boys then notice, in a dark part of the room, a girl (it is Lara) asleep on a chair. Unexpectedly, Komarovsky emerges from behind a curtain and brings a lamp to the table next to Lara's chair. The light wakes her up and she, unaware that Yuri and Misha are watching, shares a private moment with Komarovsky, "as if he were a puppeteer and she a puppet, obedient to the movements of his hand." They exchange conspiratorial glances, pleased that their secret was not discovered and that Amalia did not die. This is the first time Yuri sees Lara, and he is fascinated by the scene. Misha then whispers to Yuri that the man he is watching is the same one who got his father drunk on the train shortly before his father's suicide. Part 3 In November 1911, Anna Ivanovna Gromeko becomes seriously ill with pneumonia. At this time, Yuri, Misha, and Tonya are studying to be a doctor, philosopher, and lawyer respectively. Yuri learns that his father had a child, a boy named Evgraf, by Princess Stolbunova-Enrizzi. The narrative returns to the Spring of 1906. Lara is increasingly tormented by her affair with Komarovsky, which has now been going on for six months. In order to get away from him, she asks her classmate and friend Nadya Laurentovna Kologrivov to help her find work as a tutor. Nadya says she can work for Nadya's own family because her parents happen to be looking for a tutor for her sister Lipa. Lara spends more than three years working as a governess for the Kologrivovs. Lara admires the Kologrivovs, and they love her as if she were their own child. In her fourth year with the Kologrivovs, Lara is visited by her brother Rodya. He needs 700 rubles to cover a debt. Lara says she will try to get the money, and in exchange demands Rodya's cadet revolver along with some cartridges. She obtains the money from Kologrivov. She does not pay the money back, because she uses her wages to help support her boyfriend Pasha Antipov (see above) and his father (who lives in exile), without Pasha's knowledge. We move forward to 1911. Lara visits the Kologrivovs' country estate with them for the last time. She is becoming discontented with her situation, but she enjoys the pastimes of the estate anyway, and she becomes an excellent shot with Rodya's revolver. When she and the family return to Moscow, her discontent grows. Around Christmas time, she resolves to part from the Kologrivovs, and to ask Komarovsky for the money necessary to do that. She plans to kill him with Rodya's revolver should he refuse her. On 27 December, the date of the Sventitsky's Christmas party, she goes to Komarovsky's home but is informed that he is at a Christmas party. She gets the address of the party and starts toward it, but relents and pays Pasha a visit instead. She tells him that they should get married right away, and he agrees. At the same moment that Lara and Pasha are having this discussion, Yuri and Tonya are passing by Pasha's apartment in the street, on their way to the Sventitskys. They arrive at the party and enjoy the festivities. Later, Lara arrives at the party. She knows no one there other than Komarovsky, and is not dressed for a ball. She tries to get Komarovsky to notice her, but he is playing cards and either does not notice her or pretends not to. Through some quick inferences, she realizes that one of the men playing cards with Komarovsky is Kornakov, a prosecutor of the Moscow court. He prosecuted a group of railway workers that included Kiprian Tiverzin, Pasha's foster father.[6] Later, while Yuri and Tonya are dancing, a shot rings out. There is a great commotion and it is discovered that Lara has shot Kornakov (not Komarovsky) and Kornakov has received only a minor wound. Lara has fainted and is being dragged by some guests to a chair; Yuri recognizes her with amazement. Yuri goes to render medical attention to Lara, but then changes course to Kornakov because he is the nominal victim. He pronounces Kornakov's wound to be "a trifle", and is about to tend to Lara when Mrs. Sventitsky and Tonya urgently tell him that he must return home because something had gone wrong with Anna Ivanovna. When Yuri and Tonya return home, they find that Anna Ivanovna has died. Part 4 Komarovsky uses his political connections to shield Lara from prosecution. Lara and Pasha marry, graduate from university, and depart by train for Yuriatin. The narrative moves to the second autumn of the First World War. Yuri has married Tonya and is working as a doctor at a hospital in Moscow. Tonya gives birth to their first child, a son. Back in Yuriatin, the Antipovs also have their first child, a girl named Katenka. Although he loves Lara deeply, Pasha feels increasingly stifled by her love for him. In order to escape, he volunteers for the Imperial Russian Army. Lara starts to work as a teacher in Yuriatin. Some time later, she leaves Yuriatin and goes to a town in Galicia, to look for Pasha. The town happens to be where Yuri is now working as a military doctor. Elsewhere, Lt. Antipov is taken prisoner by the Austro-Hungarian Army, but is erroneously declared missing in action. Wounded by artillery fire, Yuri is sent to a battlefield hospital in the town of Meliuzeevo, where Lara is his nurse. Galiullin (the apprentice who was beaten in Part 2) is also in Lara's ward, recovering from injuries. He is now a lieutenant in Pasha's unit; he informs Lara that Pasha is alive, but she doubts him. Lara gets to know Yuri better but is not impressed with him. At the very end of this Part, it is announced in the hospital that there has been a revolution. Part 5 After his recovery, Zhivago stays on at the hospital as a physician. This puts him at close quarters with Lara. They are both (along with Galiullin) trying to get permission to leave and return to their homes. In Meliuzeevo, a newly arrived commissar for the Provisional Government, whose name is Gintz, is informed that a local military unit has deserted and is camped in a nearby cleared forest. Gintz decides to accompany a troop of Cossacks who have been summoned to surround and disarm the deserters. He believes he can appeal to the deserters' pride as "soldiers in the world's first revolutionary army." A train of mounted Cossacks arrives and the Cossacks quickly surround the deserters. Gintz enters the circle of horsemen and makes a speech to the deserters. His speech backfires so badly that the Cossacks who are there to support him gradually sheath their sabres, dismount and start to fraternize with the deserters. The Cossack officers advise Gintz to flee; he does; but he is pursued by the deserters and brutally murdered by them at the railroad station. Shortly before he leaves, Yuri says goodbye to Lara. He starts by expressing his excitement over the fact that "the roof over the whole of Russia has been torn off, and we and all the people find ourselves under the open sky" with true freedom for the first time. Despite himself, he then starts to clumsily tell Lara that he has feelings for her. Lara stops him and they part. A week later, they leave by different trains, she to Yuriatin and he to Moscow. On the train to Moscow, Yuri reflects on how different the world has become, and on his "honest trying with all his might not to love [Lara]." Parts 6 to 9 Following the October Revolution and the subsequent Russian Civil War, Yuri and his family decide to flee by train to Tonya's family's former estate (called Varykino), located near the town of Yuriatin in the Ural Mountains. During the journey, he has an encounter with Army Commissar Strelnikov ("The Executioner"), a fearsome commander who summarily executes both captured Whites and many civilians. Yuri and his family settle in an abandoned house on the estate. Over the winter, they read books to each other and Yuri writes poetry and journal entries. Spring comes and the family prepares for farm work. Yuri visits Yuriatin to use the public library, and during one of these visits sees Lara at the library. He decides to talk with her, but finishes up some work first, and when he looks up she is gone. He gets her home address from a request slip she had given the librarian. On another visit to town, he visits her at her apartment (which she shares with her daughter). She informs him that Strelnikov is indeed Pasha, her husband. During one of Yuri's subsequent visits to Yuriatin they consummate their relationship. They meet at her apartment regularly for more than two months, but then Yuri, while returning from one of their trysts to his house on the estate, is abducted by men loyal to Liberius, commander of the "Forest Brotherhood", the Bolshevik guerrilla band. Parts 10 to 13 Liberius is a dedicated Old Bolshevik and highly effective leader of his men. However, Liberius is also a cocaine addict, loud-mouthed and narcissistic. He repeatedly bores Yuri with his long-winded lectures about the glories of socialism and the inevitability of its victory. Yuri spends more than two years with Liberius and his partisans, then finally manages to escape. After a grueling journey back to Yuriatin, made largely on foot, Yuri goes into town to see Lara first, rather than to Varykino to see his family. In town, he learns that his wife, children, and father-in-law fled the estate and returned to Moscow. From Lara, he learns that Tonya delivered a daughter after he left. Lara assisted at the birth and she and Tonya became close friends. Yuri gets a job and stays with Lara and her daughter for a few months. Eventually, a townsperson delivers a letter to Yuri from Tonya, which Tonya wrote five months before and which has passed through innumerable hands to reach Yuri. In the letter, Tonya informs him that she, the children, and her father are being deported, probably to Paris. She says "The whole trouble is that I love you and you do not love me," and "We will never, ever see each other again." When Yuri finishes reading the letter, he has chest pains and faints. Part 14 Komarovsky reappears. Having used his influence within the CPSU, Komarovsky has been appointed Minister of Justice of the Far Eastern Republic, a Soviet puppet state in Siberia. He offers to smuggle Yuri and Lara outside Soviet soil. They initially refuse, but Komarovsky states, falsely, that Pasha Antipov is dead, having fallen from favor with the Party. Stating that this will place Lara in the Cheka's crosshairs, he persuades Yuri that it is in her best interests to leave for the East. Yuri convinces Lara to go with Komarovsky, telling her that he will follow her shortly. Meanwhile, the hunted General Strelnikov (Pasha) returns for Lara. Lara, however, has already left with Komarovsky. After expressing regret over the pain he has caused his country and loved ones, Pasha commits suicide. Yuri finds his body the following morning. Part 15 After returning to Moscow, Zhivago's health declines; he marries another woman and fathers two children with her. He also plans numerous writing projects which he never finishes. Yuri leaves his new family and his friends to live alone in Moscow and work on his writing. However, after living on his own for a short time, he dies of a heart attack while riding the tram. Meanwhile, Lara returns to Russia to learn of her dead husband and ends up attending Yuri Zhivago's funeral. She persuades Yuri's half-brother, who is now NKVD General Yevgraf Zhivago, to assist her in her search for a daughter that she had conceived with Yuri, but had abandoned in the Urals. Ultimately, however, Lara is arrested during Joseph Stalin's Great Purge and dies in the Gulag. Epilogue During World War II, Zhivago's old friends Nika Dudorov and Misha Gordon meet up. One of their discussions revolves around a local laundress named Tanya, a bezprizornaya, or war orphan, and her resemblance to both Yuri and Lara. Tanya tells both men of the difficult childhood she has had due to her mother abandoning her in order to marry Komarovsky. Much later, the two men meet over the first edition of Yuri Zhivago's poems.

dead souls - gogol

The story follows the exploits of Chichikov, a middle-aged gentleman of middling social class and means. Chichikov arrives in a small town and turns on the charm to woo key local officials and landowners. He reveals little about his past, or his purpose, as he sets about carrying out his bizarre and mysterious plan to acquire "dead souls." Chichikov and Nozdryov. The government would tax the landowners based on how many serfs (or "souls") the landowner owned, determined by the census. Censuses in this period were infrequent, so landowners would often be paying taxes on serfs that were no longer living, thus the "dead souls." It is these dead souls, existing on paper only, that Chichikov seeks to purchase from the landlords in the villages he visits; he merely tells the prospective sellers that he has a use for them, and that the sellers would be better off anyway, since selling them would relieve the present owners of a needless tax burden. Although the townspeople Chichikov comes across are gross caricatures, they are not flat stereotypes by any means. Instead, each is neurotically individual, combining the official failings that Gogol typically satirizes (greed, corruption, paranoia) with a curious set of personal quirks. Illustration by Alexander Agin: The Simply Pleasant Lady and The Lady Who Is Pleasant In All Respects Setting off for the surrounding estates, Chichikov at first assumes that the ignorant provincials will be more than eager to give their dead souls up in exchange for a token payment. The task of collecting the rights to dead people proves difficult, however, due to the persistent greed, suspicion, and general distrust of the landowners. He still manages to acquire some 400 souls, swears the sellers to secrecy, and returns to the town to have the transactions recorded legally. Back in the town, Chichikov continues to be treated like a prince amongst the petty officials, and a celebration is thrown in honour of his purchases. Very suddenly, however, rumours flare up that the serfs he bought are all dead, and that he was planning to elope with the Governor's daughter. In the confusion that ensues, the backwardness of the irrational, gossip-hungry townspeople is most delicately conveyed. Absurd suggestions come to light, such as the possibility that Chichikov is Napoleon in disguise or the notorious vigilante 'Captain Kopeikin'. The now disgraced traveller is immediately ostracized from the company he had been enjoying and has no choice but to flee the town in disgrace. Chichikov is revealed by the author to be a former mid-level government official fired for corruption and narrowly avoiding jail. His macabre mission to acquire "dead souls" is actually just another one of his "get rich quick" schemes. Once he acquires enough dead souls, he will take out an enormous loan against them, and pocket the money. In the novel's second section, Chichikov flees to another part of Russia and attempts to continue his venture. He tries to help the idle landowner Tentetnikov gain favor with General Betrishchev so that Tentetnikov may marry the general's daughter, Ulinka. To do this, Chichikov agrees to visit many of Betrishchev's relatives, beginning with Colonel Koshkaryov. From there Chichikov begins again to go from estate to estate, encountering eccentric and absurd characters all along the way. Eventually he purchases an estate from the destitute Khlobuyev but is arrested when he attempts to forge the will of Khlobuyev's rich aunt. He is pardoned thanks to the intervention of the kindly Mourazov but is forced to flee the village. The novel ends mid-sentence with the prince who arranged Chichikov's arrest giving a grand speech that rails against corruption in the Russian government.

the overcoat - gogol

The story narrates the life and death of titular councillor Akaky Akakievich Bashmachkin (Russian: Акакий Акакиевич Башмачкин), an impoverished government clerk and copyist in the Russian capital of St. Petersburg. Akaky is dedicated to his job, though little recognized in his department for his hard work. Instead, the younger clerks tease him and attempt to distract him whenever they can. His threadbare overcoat is often the butt of their jokes. Akaky decides it is necessary to have the coat repaired, so he takes it to his tailor, Petrovich, who declares the coat irreparable, telling Akaky he must buy a new overcoat. The cost of a new overcoat is beyond Akaky's meager salary, so he forces himself to live within a strict budget to save sufficient money to buy the new overcoat. Meanwhile, he and Petrovich frequently meet to discuss the style of the new coat. During that time, Akaky's zeal for copying is replaced with excitement about his new overcoat, to the point that he thinks of little else. Finally, with the addition of an unexpectedly large holiday salary bonus, Akaky has saved enough money to buy a new overcoat. Akaky and Petrovich go to the shops in St. Petersburg and pick the finest materials they can afford (marten fur was too expensive, so they use cat fur for the collar). The new coat is of impressively good quality and appearance and is the talk of Akaky's office on the day he arrives wearing it. His superior decides to host a party honoring the new overcoat, at which the habitually solitary Akaky is out of place; after the party, Akaky goes home, far later than he normally would. En route home, two ruffians confront him, take his coat, kick him down, and leave him in the snow. Akaky finds no help from the authorities in recovering his lost overcoat. Finally, on the advice of another clerk in his department, he asks for help from an "important personage" (Russian: значительное лицо), a general recently promoted to his position who belittles and shouts at his subordinates to solidify his self-importance. After keeping Akaky waiting, the general demands of him exactly why he has brought so trivial a matter to him, personally, and not presented it to his secretary. Socially inept Akaky makes an unflattering remark concerning departmental secretaries, provoking so powerful a scolding from the general that he nearly faints and must be led from the general's office. Soon afterward, Akaky falls deathly ill with fever. In his last hours, he is delirious, imagining himself again sitting before the general; at first, Akaky pleads forgiveness, but as his death nears, he curses the general. Soon, a corpse, identified as Akaky's ghost, haunts areas of St. Petersburg, taking overcoats from people; the police are finding it difficult to capture him. Finally, Akaky's ghost catches up with the general — who, since Akaky's death, had begun to feel guilt over having mistreated him — and takes his overcoat, frightening him terribly; satisfied, Akaky is not seen again. The narrator ends his narration with the account of another ghost seen in another part of the city.

the tin drum - Günter Grass

The story revolves around the life of Oskar Matzerath, as narrated by himself when confined in a mental hospital during the years 1952-1954. Born in 1924 in the Free City of Danzig (now Gdańsk, Poland), with an adult's capacity for thought and perception, he decides never to grow up when he hears his father declare that he would become a grocer. Gifted with a piercing shriek that can shatter glass or be used as a weapon, Oskar declares himself to be one of those "clairaudient infants", whose "spiritual development is complete at birth and only needs to affirm itself". He retains the stature of a child while living through the beginning of World War II, several love affairs, and the world of postwar Europe. Through all this, a toy tin drum, the first of which he received as a present on his third birthday, followed by many replacement drums each time he wears one out from over-vigorous drumming, remains his treasured possession; he is willing to commit violence to retain it. Oskar considers himself to have two "presumptive fathers"—his mother's husband Alfred Matzerath, a member of the Nazi Party, and her cousin and lover Jan Bronski, a Danzig Pole who is executed for defending the Polish Post Office in Danzig during the German invasion of Poland. Oskar's mother having died, Alfred marries Maria, a woman who is secretly Oskar's first mistress. After marrying Alfred, Maria gives birth to Kurt, whom Oskar thereafter refers to as his son. But Oskar is disappointed to find that the baby persists in growing up, and will not join him in ceasing to grow at the age of three. During the war, Oskar joins a troupe of performing dwarfs who entertain the German troops at the front line. But when his second love, the diminutive Roswitha, is killed by Allied troops in the invasion of Normandy, Oskar returns to his family in Danzig where he becomes the leader of a criminal youth gang (akin to the Edelweiss Pirates). The Russian army soon captures Danzig, and Alfred is shot by invading troops after he goes into seizures while swallowing his party pin to avoid being revealed as a Nazi. Oskar bears some culpability for both of his presumptive fathers' deaths since he leads Joseph Bronski to the Polish Post Office in an effort to get his drum repaired and since he returns Alfred Matzerath's Nazi party pin while the latter is being interrogated by Soviet soldiers. After the war Oskar, his widowed stepmother, and their son have to leave the now Polish city of Danzig and move to Düsseldorf, where he models in the nude and works engraving tombstones. Mounting tensions compel Oskar to live apart from Maria and Kurt; he decides on a flat owned by the Zeidlers. Upon moving in, he falls in love with Sister Dorothea, a neighbor, but he later fails to seduce her. During an encounter with fellow musician Klepp, Klepp asks Oskar how he has an authority over the judgement of music. Oskar, willing to prove himself once and for all, picks up his drum and sticks despite his vow to never play again after Alfred's death, and plays a measure on his drum. The ensuing events lead Klepp, Oskar, and Scholle, a guitarist, to form the Rhine River Three jazz band. They are discovered by Mr. Schmuh, who invites them to play at the Onion Cellar club. After a virtuoso performance, a record company talent seeker discovers Oskar the jazz drummer and offers a contract. Oskar soon achieves fame and riches. One day while walking through a field he finds a severed finger: the ring finger of Sister Dorothea, who has been murdered. He then meets and befriends Vittlar. Oskar allows himself to be falsely convicted of the murder and is confined to an insane asylum, where he writes his memoirs.

mother - gorky

In his novel, Gorky portrays the life of a woman who works in a Russian factory doing hard manual labour and combating poverty and hunger, among other hardships. Pelageya Nilovna Vlasova is the real protagonist; her husband, a heavy drunkard, physically assaults her and leaves all the responsibility for raising their son, Pavel Vlasov, to her, but unexpectedly dies. Pavel noticeably begins to emulate his father in his drunkenness and stammer, but suddenly becomes involved in revolutionary activities. Abandoning drinking, Pavel starts to bring books to his home. Being illiterate and having no political interest, Nilovna is at first cautious about Pavel's new activities. However, she wants to help him. Pavel is shown as the main revolutionary character. Nevertheless Nilovna, moved by her maternal feelings and, though uneducated, overcoming her political ignorance to become involved in revolution, is considered the true protagonist of the novel.[3]

the sorrows of young werther - goethe

Most of The Sorrows of Young Werther is presented as a collection of letters written by Werther, a young artist of a sensitive and passionate temperament, to his friend Wilhelm. These give an intimate account of his stay in the fictional village of Wahlheim (based on Garbenheim, near Wetzlar),[citation needed] whose peasants have enchanted him with their simple ways. There he meets Charlotte, a beautiful young girl who takes care of her siblings after the death of their mother. Werther falls in love with Charlotte despite knowing beforehand that she is engaged to a man named Albert, eleven years her senior.[3] Despite the pain it causes him, Werther spends the next few months cultivating a close friendship with them both. His sorrow eventually becomes so unsupportable that he is forced to leave Wahlheim for Weimar, where he makes the acquaintance of Fräulein von B. He suffers great embarrassment when he forgetfully visits a friend and unexpectedly has to face there the weekly gathering of the entire aristocratic set. He is not tolerated and asked to leave since he is not a nobleman. He then returns to Wahlheim, where he suffers still more than before, partly because Charlotte and Albert are now married. Every day becomes a torturing reminder that Charlotte will never be able to requite his love. She, out of pity for her friend and respect for her husband, decides that Werther must not visit her so frequently. He visits her one final time, and they are both overcome with emotion after he recites to her a passage of his own translation of Ossian. Even before that incident, Werther had hinted at the idea that one member of the love triangle - Charlotte, Albert or Werther himself - had to die to resolve the situation. Unable to hurt anyone else or seriously consider murder, Werther sees no other choice but to take his own life. After composing a farewell letter to be found after his death, he writes to Albert asking for his two pistols, on the pretext that he is going "on a journey". Charlotte receives the request with great emotion and sends the pistols. Werther then shoots himself in the head, but does not die until twelve hours later. He is buried under a linden tree that he has mentioned frequently in his letters. The funeral is not attended by any clergy, or by Albert or Charlotte. The book ends with an intimation that Charlotte may die of a broken heart. "I shall say nothing of... Charlotte's grief.... Charlotte's life was despaired of," etc.

death in venice - thomas mann

The main character is Gustav von Aschenbach, a famous author in his early fifties who has recently been ennobled in honor of his artistic achievement (thus acquiring the aristocratic "von" in his name). He is a man dedicated to his art, disciplined and ascetic to the point of severity, who was widowed at a young age. As the story opens, he is strolling outside a cemetery and sees a coarse-looking red-haired foreigner who stares back at him belligerently. Aschenbach walks away, embarrassed but curiously stimulated. He has a vision of a primordial swamp-wilderness, fertile, exotic and full of lurking danger. Soon afterwards, he resolves to take a holiday. After a false start in traveling to Pula on the Austro-Hungarian coast, Aschenbach realizes he was "meant" to go to Venice and takes a suite in the Grand Hôtel des Bains on the Lido island. While shipbound and en route to the island he sees an elderly man, in company with a group of high-spirited youths, who has tried hard to create the illusion of his own youth with a wig, false teeth, makeup, and foppish attire. Aschenbach turns away in disgust. Later he has a disturbing encounter with an unlicensed gondolier--another red-haired, skull-faced foreigner--who repeats "I can row you well" when Aschenbach orders him to return to the wharf. Aschenbach checks into his hotel, where at dinner he sees an aristocratic Polish family at a nearby table. Among them is an adolescent boy of about fourteen in a sailor suit. Aschenbach, startled, realizes that the boy is supremely beautiful, like a Greek sculpture. His older sisters, by contrast, are so severely dressed that they look like nuns. Later, after spying the boy and his family at a beach, Aschenbach overhears the lad's name, Tadzio, and conceives what he first interprets as an uplifting, artistic interest. Soon the hot, humid weather begins to affect Aschenbach's health, and he decides to leave early and move to a cooler location. On the morning of his planned departure, he sees Tadzio again, and a powerful feeling of regret sweeps over him. When he reaches the railway station and discovers his trunk has been misdirected, he pretends to be angry, but is really overjoyed; he decides to remain in Venice and wait for his lost luggage. He happily returns to the hotel and thinks no more of leaving. Over the next days and weeks, Aschenbach's interest in the beautiful boy develops into an obsession. So, he watches him constantly and, secretly follows him around Venice. One evening, the boy directs a charming smile at him, looking, Aschenbach thinks, like Narcissus smiling at his own reflection. Disconcerted, Aschenbach rushes outside, and in the empty garden whispers aloud, "I love you!" Aschenbach next takes a trip into the city of Venice, where he sees a few discreetly worded notices from the Health Department warning of an unspecified contagion and advising people to avoid eating shellfish. He smells an unfamiliar strong odour everywhere, later realising it is disinfectant. However, the authorities adamantly deny that the contagion is serious and tourists continue to wander round the city, oblivious. Aschenbach at first ignores the danger because it somehow pleases him to think that the city's disease is akin to his own hidden, corrupting passion for the boy. During this period, a third red-haired and disreputable-looking man crosses Aschenbach's path; this one belongs to a troupe of street singers who entertain at the hotel one night. Aschenbach listens entranced to songs that, in his former life, he would have despised - all the while stealing glances at Tadzio, who is leaning on a nearby parapet in a classically beautiful pose. The boy eventually returns Aschenbach's glances, and, though the moment is brief, it instills in the writer a sense that the attraction may be mutual. Next, Aschenbach rallies his self-respect and decides to discover the reason for the health notices posted in the city. After being repeatedly assured that the sirocco is the only health risk, he finds a British travel agent who reluctantly admits that there is a serious cholera epidemic in Venice. Aschenbach considers warning Tadzio's mother of the danger; however, he decides not to, knowing that if he does, Tadzio will leave the hotel and be lost to him. One night, a dream filled with orgiastic Dionysian imagery reveals to him the sexual nature of his feelings for Tadzio. Afterwards, he begins staring at the boy so openly and following him so persistently that Aschenbach feels the boy's guardians have finally noticed, and they take to warning Tadzio whenever he approaches too near the strange, solitary man. But Aschenbach's feelings, though passionately intense, remain unvoiced; he never touches Tadzio, or even speaks to him; and while there is some indication that Tadzio is aware of his admiration, the two exchange nothing more than the occasional surreptitious glance. Aschenbach begins to fret about his aging face and body. In an attempt to look more attractive, he visits the hotel's barber shop almost daily, where the barber eventually persuades him to have his hair dyed and his face painted to look more youthful. The result is a fairly close approximation to the old man on the ship who had so appalled Aschenbach. Freshly dyed and rouged, he again shadows Tadzio through Venice in the oppressive heat. He loses sight of the boy in the heart of the city; then, exhausted and thirsty, he buys and eats some over-ripe strawberries and rests in an abandoned square, contemplating the Platonic ideal of beauty amidst the ruins of his own once-formidable dignity. A few days later, Aschenbach goes to the lobby in his hotel, feeling ill and weak, and discovers that the Polish family plan to leave after lunch. He goes down to the beach to his usual deck chair. Tadzio is there, unsupervised for once, and accompanied by an older boy, Jasiu. A fight breaks out between the two boys, and Tadzio is quickly bested; afterward, he angrily leaves his companion and wades over to Aschenbach's part of the beach, where he stands for a moment looking out to sea; then turns halfway around to look at his admirer. To Aschenbach, it is as if the boy is beckoning to him: he tries to rise and follow, only to collapse sideways into his chair. His body is discovered a few minutes later.