Victorian Novel Final

Pg. 474 - "Yes, yes, marvelous!" Golenishtchev and Anna assented. In spite of the excited condition in which he was, the sentence about technique had sent a pang to Mihailov's heart, and looking angrily at Vronsky he suddenly scowled. He had often heard this word technique, and was utterly unable to understand what was understood by it. He knew that by this term was understood a mechanical facility for painting or drawing, entirely apart from its subject. He had noticed often that even in actual praise technique was opposed to essential quality, as though one could paint well something that was bad. He knew that a great deal of attention and care was necessary in taking off the coverings, to avoid injuring the creation itself, and to take off all the coverings; but there was no art of painting—no technique of any sort—about it. If to a little child or to his cook were revealed what he saw, it or she would have been able to peel the wrappings off what was seen. And the most experienced and adroit painter could not by mere mechanical facility paint anything if the lines of the subject were not revealed to him first. Besides, he saw that if it came to talking about technique, it was impossible to praise him for it. In all he had painted and repainted he saw faults that hurt his eyes, coming from want of care in taking off the wrappings—faults he could not correct now without spoiling the whole. And in almost all the figures and faces he saw, too, remnants of the wrappings not perfectly removed that spoiled the picture.

Anna Karenina Context: Significance: Idea of art unwrapping meaning. o marred as an unwrapping - vision arrives at truth through unwrapping

Pg. 99 - Still in the same anxious frame of mind, as she had been all that day, Anna took pleasure in arranging herself for the journey with great care. With her little deft hands she opened and shut her little red bag, took out a cushion, laid it on her knees, and carefully wrapping up her feet, settled herself comfortably. An invalid lady had already lain down to sleep. Two other ladies began talking to Anna, and a stout elderly lady tucked up her feet, and made observations about the heating of the train. Anna answered a few words, but not foreseeing any entertainment from the conversation, she asked Annushka to get a lamp, hooked it onto the arm of her seat, and took from her bag a paper knife and an English novel. At first her reading made no progress. The fuss and bustle were disturbing; then when the train had started, she could not help listening to the noises; then the snow beating on the left window and sticking to the pane, and the sight of the muffled guard passing by, covered with snow on one side, and the conversations about the terrible snowstorm raging outside, distracted her attention. Farther on, it was continually the same again and again: the same shaking and rattling, the same snow on the window, the same rapid transitions from steaming heat to cold, and back again to heat, the same passing glimpses of the same figures in the twilight, and the same voices, and Anna began to read and to understand what she read. Annushka was already dozing, the red bag on her lap, clutched by her broad hands, in gloves, of which one was torn. Anna Arkadyevna read and understood, but it was distasteful to her to read, that is, to follow the reflection of other people's lives. She had too great a desire to live herself. If she read that the heroine of the novel was nursing a sick man, she longed to move with noiseless steps about the room of a sick man; if she read of a member of Parliament making a speech, she longed to be delivering the speech; if she read of how Lady Mary had ridden after the hounds, and had provoked her sister-in-law, and had surprised everyone by her boldness, she too wished to be doing the same. But there was no chance of doing anything; and twisting the smooth paper knife in her little hands, she forced herself to read.

Anna Karenina Context: Anna on her train ride back to St. Petersburg after fixing Stepan and Dolly's marriage. Significance: Reading by candlelight evokes Plato's allegory of the cave. What does it mean if she's living in the shadows? In canto 5 of The Divine Comedy, there is a couple that blames their adultery on having reading a book about adultery (Francesca and Paolo reading about Lancelot and Guinevere) . Pushes forth the idea that reading contaminates. In our translation, it says "she wanted" instead of longed. By repeating that she "wanted" all of these things, the phrasing emphasizes how her desires go unfulfilled. In Russian, it would read "it was wanting to herself," which emphasizes how her desires aren't choice; it diminishes her agency o reading as violent—paper needs to be cut o candlelight—semi light semi darkness - shadows—allusion to Plato's analogy - believing shadows are reality o not reading French novel—deals with adultery o English novel—marriage—scenario she's blocked from participating in o how is reading informing reality if conducted through allegory of the cave o motif of reading o medieval romance—sir Arthur, guineviere commits adultery with lancelot o dante encounters paolo and francesca (caught in the act)—commited adultery because reading lancelot of the lake—book gave them the idea (book/reading is contaminating) o European tradition in reading being contaminating and Russian tradition which rejects the novel of adultery as being unrussian - Russian women can pierve through falseness and make correct choice

Pg. 135 - "Anna is quite changed since her stay in Moscow. There's something strange about her," said her friend. "The great change is that she brought back with her the shadow of Alexey Vronsky," said the ambassador's wife. "Well, what of it? There's a fable of Grimm's about a man without a shadow, a man who's lost his shadow. And that's his punishment for something. I never could understand how it was a punishment. But a woman must dislike being without a shadow." "Yes, but women with a shadow usually come to a bad end," said Anna's friend. "Bad luck to your tongue!" said Princess Myakaya suddenly. "Madame Karenina's a splendid woman. I don't like her husband, but I like her very much." "Why don't you like her husband? He's such a remarkable man," said the ambassador's wife. "My husband says there are few statesmen like him in Europe." "And my husband tells me just the same, but I don't believe it," said Princess Myakaya. "If our husbands didn't talk to us, we should see the facts as they are. Alexey Alexandrovitch, to my thinking, is simply a fool. I say it in a whisper ... but doesn't it really make everything clear? Before, when I was told to consider him clever, I kept looking for his ability, and thought myself a fool for not seeing it; but directly I said, he's a fool, though only in a whisper, everything's explained, isn't it?" "How spiteful you are today!" "Not a bit. I'd no other way out of it. One of the two had to be a fool. And, well, you know one can't say that of oneself." "'No one is satisfied with his fortune, and everyone is satisfied with his wit.'" The attaché repeated the French saying. "That's just it, just it," Princess Myakaya turned to him. "But the point is that I won't abandon Anna to your mercies. She's so nice, so charming. How can she help it if they're all in love with her, and follow her about like shadows?" "Oh, I had no idea of blaming her for it," Anna's friend said in self-defense. "If no one follows us about like a shadow, that's no proof that we've any right to blame her."

Anna Karenina Context: Anna's friends discuss how Anna has changed since returning from Moscow. Significance: Shadow has been a metaphor for intro-psychic struggle and as a struggle between good and evil. How does these stories affect our reading of Anna and adultery? o anna's experience—vronsky or her feelings about him=shadow o Jungian archetypes—shadows ♣ unconscious forces in us that get expressed universally ♣ loss/problem of shadow—psychological conflict of struggle between good and evil ♣ loss of psychic integration—cosmic struggle-not just her struggle ♣ pose having shadow as a problem ♣ to talk about someone's shadow is to talk about the problem of the shadow—what would anna's psychic integration look like

Pg. 101- Moments of doubt were continually coming upon her, when she was uncertain whether the train were going forwards or backwards, or were standing still altogether; whether it were Annushka at her side or a stranger. "What's that on the arm of the chair, a fur cloak or some beast? And what am I myself? Myself or some other woman?" She was afraid of giving way to this delirium. But something drew her towards it, and she could yield to it or resist it at will. She got up to rouse herself, and slipped off her plaid and the cape of her warm dress. For a moment she regained her self-possession, and realized that the thin peasant who had come in wearing a long overcoat, with buttons missing from it, was the stoveheater, that he was looking at the thermometer, that it was the wind and snow bursting in after him at the door; but then everything grew blurred again.... That peasant with the long waist seemed to be gnawing something on the wall, the old lady began stretching her legs the whole length of the carriage, and filling it with a black cloud;

Anna Karenina Context: Anna's train ride back to St. Petersburg. Significance: Evokes Baba Yaga, slavic sorceress associated with death, as an intertext. o baba yaga—lives in forest in small hut (like coffin), eats people by stuffing them in her oven, guardian of world of death o hallucination

Pg. 637 - "The doctor told me after my illness..." "Impossible!" said Dolly, opening her eyes wide. For her this was one of those discoveries the consequences and deductions from which are so immense that all that one feels for the first instant is that it is impossible to take it all in, and that one will have to reflect a great, great deal upon it. This discovery, suddenly throwing light on all those families of one or two children, which had hitherto been so incomprehensible to her, aroused so many ideas, reflections, and contradictory emotions, that she had nothing to say, and simply gazed with wide-open eyes of wonder at Anna. This was the very thing she had been dreaming of, but now learning that it was possible, she was horrified. She felt that it was too simple a solution of too complicated a problem. "N'est-ce pas immoral?" was all she said, after a brief pause. "Why so? Think, I have a choice between two alternatives: either to be with child, that is an invalid, or to be the friend and companion of my husband—practically my husband," Anna said in a tone intentionally superficial and frivolous. "Yes, yes," said Darya Alexandrovna, hearing the very arguments she had used to herself, and not finding the same force in them as before. "For you, for other people," said Anna, as though divining her thoughts, "there may be reason to hesitate; but for me.... You must consider, I am not his wife; he loves me as long as he loves me. And how am I to keep his love? Not like this!" She moved her white hands in a curve before her waist with extraordinary rapidity, as happens during moments of excitement; ideas and memories rushed into Darya Alexandrovna's head. "I," she thought, "did not keep my attraction for Stiva; he left me for others, and the first woman for whom he betrayed me did not keep him by being always pretty and lively. He deserted her and took another. And can Anna attract and keep Count Vronsky in that way? If that is what he looks for, he will find dresses and manners still more attractive and charming. And however white and beautiful her bare arms are, however beautiful her full figure and her eager face under her black curls, he will find something better still, just as my disgusting, pitiful, and charming husband does." Dolly made no answer, she merely sighed. Anna noticed this sigh, indicating dissent, and she went on. In her armory she had other arguments so strong that no answer could be made to them. "Do you say that it's not right? But you must consider," she went on; "you forget my position. How can I desire children? I'm not speaking of the suffering, I'm not afraid of that. Think only, what are my children to be? Ill-fated children, who will have to bear a stranger's name. For the very fact of their birth they will be forced to be ashamed of their mother, their father, their birth." "But that is just why a divorce is necessary." But Anna did not hear her. She longed to give utterance to all the arguments with which she had so many times convinced herself. "What is reason given me for, if I am not to use it to avoid bringing unhappy beings into the world!" She looked at Dolly, but without waiting for a reply she went on: "I should always feel I had wronged these unhappy children," she said. "If they are not, at any rate they are not unhappy; while if they are unhappy, I alone should be to blame for it." These were the very arguments Darya Alexandrovna had used in her own reflections; but she heard them without understanding them. "How can one wrong creatures that don't exist?" she thought. And all at once the idea struck her: could it possibly, under any circumstances, have been better for her favorite Grisha if he had never existed? And this seemed to her so wild, so strange, that she shook her head to drive away this tangle of whirling, mad ideas.

Anna Karenina Context: Dolly and Anna discuss birth control when Dolly visits Anna. Significance: How does this scene affect our view of Dolly as a hero? Additionally, this scene presents an alternative to typical role of marriage and children for women. Her naivete indicates that she's sheltered. o why do ellipses take up space of discovery (also used when anna and vronsky's relationship is consummated) o dolly imagines not having so many children and maybe her marriage would be better and she'd be more beautiful and if she had had that choice of contraception she wouldn't have used it though o wouldn't have known about it---sheltered and innocent

Pg. 410 - With a sense of weariness and uncleanness from the night spent in the train, in the early fog of Petersburg Alexey Alexandrovitch drove through the deserted Nevsky and stared straight before him, not thinking of what was awaiting him. He could not think about it, because in picturing what would happen, he could not drive away the reflection that her death would at once remove all the difficulty of his position. Bakers, closed shops, night-cabmen, porters sweeping the pavements flashed past his eyes, and he watched it all, trying to smother the thought of what was awaiting him, and what he dared not hope for, and yet was hoping for. He drove up to the steps. A sledge and a carriage with the coachman asleep stood at the entrance. As he went into the entry, Alexey Alexandrovitch, as it were, got out his resolution from the remotest corner of his brain, and mastered it thoroughly. Its meaning ran: "If it's a trick, then calm contempt and departure. If truth, do what is proper." The porter opened the door before Alexey Alexandrovitch rang. The porter, Kapitonitch, looked queer in an old coat, without a tie, and in slippers. "How is your mistress?" "A successful confinement yesterday." Alexey Alexandrovitch stopped short and turned white. He felt distinctly now how intensely he had longed for her death. "And how is she?" Korney in his morning apron ran downstairs. "Very ill," he answered. "There was a consultation yesterday, and the doctor's here now." "Take my things," said Alexey Alexandrovitch, and feeling some relief at the news that there was still hope of her death, he went into the hall.

Anna Karenina Context: Karenin going to visit Anna after receiving a telegram depicting her failing health. Significance: This scene humanizes him as he can't purely good intentions. Also, it's ironic because it seems like he has no intentions of forgiveness, yet he later forgives her. ♣ why do these thoughts occur to him in this moment/space? deserted commercial aerofaire ♣ honesty - really hoping she's about to die/is dead ♣ human realism, common ♣ seems like he has no intention of forgiving her ("observe propriety")—cold, not kind - but then his forgiveness doesn't seem surprising

Pg. 696- Looking at himself in the glass (mirror), Levin noticed that he was red in the face (flushed), but he felt certain he was not drunk, and he followed Stepan Arkadyevitch up the carpeted stairs. At the top Stepan Arkadyevitch inquired of the footman, who bowed to him as to an intimate friend, who was with Anna Arkadyevna, and received the answer that it was M. Vorkuev.

Anna Karenina Context: Levin is with Stepan seeing Anna and Vronsky. Significance: Earlier, dolly avoids looking in mirror. Levin's looking in the mirror may reflect indulging in vanity. It's a moment of self-reflection where he might realize that he's susceptible to adultery as well despite being super condemning of "fallen" women on page 40. o knows she is a "fallen woman" who he is appalled by looks in the mirror o dolly rejected narcissism by not letting herself look in the mirror (whether she's still good enough to have an affair" o doubt o self-reflection o gesture of fallibility (super judgmental at the beginning and now there's a pause—who am I to judge) o marks confusion in his choices—unclear now-humility and now own shame (easy to judge in the beginning)

Pg. 478-Mihailov meanwhile, although Anna's portrait greatly fascinated him, was even more glad than they were when the sittings were over, and he had no longer to listen to Golenishtchev's disquisitions upon art, and could forget about Vronsky's painting. He knew that Vronsky could not be prevented from amusing himself with painting; he knew that he and all dilettanti had a perfect right to paint what they liked, but it was distasteful to him. A man could not be prevented from making himself a big wax doll, and kissing it. But if the man were to come with the doll and sit before a man in love, and begin caressing his doll as the lover caressed the woman he loved, it would be distasteful to the lover. Just such a distasteful sensation was what Mihailov felt at the sight of Vronsky's painting: he felt it both ludicrous and irritating, both pitiable and offensive.

Anna Karenina Context: M sees Vronsky's portrait. Significance: M's reaction allows us to see how V's painting fails to capture reality because it adheres so much to convention.

Pg. 564 - "Varvara Andreevna, when I was very young, I set before myself the ideal of the woman I loved and should be happy to call my wife. I have lived through a long life, and now for the first time I have met what I sought—in you. I love you, and offer you my hand." Sergey Ivanovitch was saying this to himself while he was ten paces from Varvara. Kneeling down, with her hands over the mushrooms to guard them from Grisha, she was calling little Masha. "Come here, little ones! There are so many!" she was saying in her sweet, deep voice. Seeing Sergey Ivanovitch approaching, she did not get up and did not change her position, but everything told him that she felt his presence and was glad of it. "Well, did you find some?" she asked from under the white kerchief, turning her handsome, gently smiling face to him. "Not one," said Sergey Ivanovitch. "Did you?" She did not answer, busy with the children who thronged about her. "That one too, near the twig," she pointed out to little Masha a little fungus, split in half across its rosy cap by the dry grass from under which it thrust itself. Varenka got up while Masha picked the fungus, breaking it into two white halves. "This brings back my childhood," she added, moving apart from the children beside Sergey Ivanovitch. They walked on for some steps in silence. Varenka saw that he wanted to speak; she guessed of what, and felt faint with joy and panic. They had walked so far away that no one could hear them now, but still he did not begin to speak. It would have been better for Varenka to be silent. After a silence it would have been easier for them to say what they wanted to say than after talking about mushrooms. But against her own will, as it were accidentally, Varenka said: "So you found nothing? In the middle of the wood there are always fewer, though." Sergey Ivanovitch sighed and made no answer. He was annoyed that she had spoken about the mushrooms. He wanted to bring her back to the first words she had uttered about her childhood; but after a pause of some length, as though against his own will, he made an observation in response to her last words. "I have heard that the white edible funguses are found principally at the edge of the wood, though I can't tell them apart." Some minutes more passed, they moved still further away from the children, and were quite alone. Varenka's heart throbbed so that she heard it beating, and felt that she was turning red and pale and red again. To be the wife of a man like Koznishev, after her position with Madame Stahl, was to her imagination the height of happiness. Besides, she was almost certain that she was in love with him. And this moment it would have to be decided. She felt frightened. She dreaded both his speaking and his not speaking. Now or never it must be said—that Sergey Ivanovitch felt too. Everything in the expression, the flushed cheeks and the downcast eyes of Varenka betrayed a painful suspense. Sergey Ivanovitch saw it and felt sorry for her. He felt even that to say nothing now would be a slight to her. Rapidly in his own mind he ran over all the arguments in support of his decision. He even said over to himself the words in which he meant to put his offer, but instead of those words, some utterly unexpected reflection that occurred to him made him ask: "What is the difference between the 'birch' mushroom and the 'white' mushroom?" Varenka's lips quivered with emotion as she answered: "In the top part there is scarcely any difference, it's in the stalk." And as soon as these words were uttered, both he and she felt that it was over, that what was to have been said would not be said; and their emotion, which had up to then been continually growing more intense, began to subside. "The birch mushroom's stalk suggests a dark man's chin after two days without shaving," said Sergey Ivanovitch, speaking quite calmly now. "Yes, that's true," answered Varenka smiling, and unconsciously the direction of their walk changed. They began to turn towards the children. Varenka felt both sore and ashamed; at the same time she had a sense of relief.\

Anna Karenina Context: Sergei contemplates proposing to Varenka. Significance: proposes that there may be another option for women beyond marriage and adultery. o only time full name is used o possibility of proposal ended o varenka maybe embodies third way (as opposed to marriage and adultery)—possbility that marriage is not cosmic inevitability

Pg. 419 - He forgave his wife and pitied her for her sufferings and her remorse. He forgave Vronsky, and pitied him, especially after reports reached him of his despairing action. He felt more for his son than before. And he blamed himself now for having taken too little interest in him. But for the little newborn baby he felt a quite peculiar sentiment, not of pity, only, but of tenderness. At first, from a feeling of compassion alone, he had been interested in the delicate little creature, who was not his child, and who was cast on one side during her mother's illness, and would certainly have died if he had not troubled about her, and he did not himself observe how fond he became of her. He would go into the nursery several times a day, and sit there for a long while, so that the nurses, who were at first afraid of him, got quite used to his presence. Sometimes for half an hour at a stretch he would sit silently gazing at the saffron-red, downy, wrinkled face of the sleeping baby, watching the movements of the frowning brows, and the fat little hands, with clenched fingers, that rubbed the little eyes and nose. At such moments particularly, Alexey Alexandrovitch had a sense of perfect peace and inward harmony, and saw nothing extraordinary in his position, nothing that ought to be changed.

Anna Karenina Context: Stepan's emotional reaction after Anna gives birth to her daughter. Significance: Karenin is literally the only character who saves another person, yet it's so understated. WHy? Perhaps a critique at social conventions because he's the only one who loves this baby, yet he can't keep her. This is an ideal representation of Christian forgiveness. ♣ the only character who saves another is Karenin (saves neglected baby)—yet it is barely noticeable (tiny comment, not a dramatic scene) ♣ understatement of relation to anna's and vronsky's child ♣ why is his Christianity unsustainable? ♣ emotional response and intention and intellectual response ♣ false morality—loving parent is the cuckolded husband—ironic and heroic ♣ tender male love ♣ conventions and norms keep this baby from only loving parent—false social conventions prevent love ♣ we expect revulsion, but text through his pov dwells on cuteness and lovableness of baby—also framed by anna and Karenin's inability to look at and confront each other ♣ representation of idea Christian love and what love is -emotional, selfless, spontaneous, generosity for world, formed from transgression (karenin's tragedy—by the end he punishes transgression and invokes false religion of non-forgiveness); this is genuine • complexity of character (a lot of his portrayal is through anna's pov) • he doesn't perceive anna/he isn't socially perceptive—enhances beauty of his love • physical, adulterous (different kinds of love)

Pg. 61- Vronsky followed the guard to the carriage, and at the door of the compartment he stopped short to make room for a lady who was getting out. With the insight of a man of the world, from one glance at this lady's appearance Vronsky classified her as belonging to the best society. He begged pardon, and was getting into the carriage, but felt he must glance at her once more; not that she was very beautiful, not on account of the elegance and modest grace which were apparent in her whole figure, but because in the expression of her charming face, as she passed close by him, there was something peculiarly caressing and soft. As he looked round, she too turned her head. Her shining gray eyes, that looked dark from the thick lashes, rested with friendly attention on his face, as though she were recognizing him, and then promptly turned away to the passing crowd, as though seeking someone. In that brief look Vronsky had time to notice the suppressed eagerness which played over her face, and flitted between the brilliant eyes and the faint smile that curved her red lips. It was as though her nature were so brimming over with something that against her will it showed itself now in the flash of her eyes, and now in her smile. Deliberately she shrouded the light in her eyes, but it shone against her will in the faintly perceptible smile.

Anna Karenina Context: Vronsky's mother and Anna arrive in Moscow. First time we meet Anna. Significance: In comparison to first draft on handout, this version focuses much more on Anna's soul rather than simply a bodily description. Both Anna and Stepan are categorized by this overflow of emotion, which creates a double standard because it is received differently in each of them. We compared them in class to tronies, which forcus more on expression. Expresses a tension between private self and public self. Helps us understand that there is more than just a physical attraction among them. o chapter presents anna through realism that reflects larger destiny that novel will tell o restrained animation like a surplus that she has to repress o physical and personality—physique can portray personality o restrains self but true nature comes through o what's happening is expression of the private in the public setting—things are dismissed - tension between selves—involves both o through V's pov—understand attraction in not purely sensual way—not only about wanting to sleep together o railway platform=stage o "framed" and performing a role

Pg. 199 -"O my sweet!" he said inwardly to Frou-Frou, as he listened for what was happening behind. "He's cleared it!" he thought, catching the thud of Gladiator's hoofs behind him. There remained only the last ditch, filled with water and five feet wide. Vronsky did not even look at it, but anxious to get in a long way first began sawing away at the reins, lifting the mare's head and letting it go in time with her paces. He felt that the mare was at her very last reserve of strength; not her neck and shoulders merely were wet, but the sweat was standing in drops on her mane, her head, her sharp ears, and her breath came in short, sharp gasps. But he knew that she had strength left more than enough for the remaining five hundred yards. It was only from feeling himself nearer the ground and from the peculiar smoothness of his motion that Vronsky knew how greatly the mare had quickened her pace. She flew over the ditch as though not noticing it. She flew over it like a bird; but at the same instant Vronsky, to his horror, felt that he had failed to keep up with the mare's pace, that he had, he did not know how, made a fearful, unpardonable mistake, in recovering his seat in the saddle. All at once his position had shifted and he knew that something awful had happened. He could not yet make out what had happened, when the white legs of a chestnut horse flashed by close to him, and Mahotin passed at a swift gallop. Vronsky was touching the ground with one foot, and his mare was sinking on that foot. He just had time to free his leg when she fell on one side, gasping painfully, and, making vain efforts to rise with her delicate, soaking neck, she fluttered on the ground at his feet like a shot bird. The clumsy movement made by Vronsky had broken her back. But that he only knew much later. At that moment he knew only that Mahotin had flown swiftly by, while he stood staggering alone on the muddy, motionless ground, and Frou-Frou lay gasping before him, bending her head back and gazing at him with her exquisite eyes. Still unable to realize what had happened, Vronsky tugged at his mare's reins. Again she struggled all over like a fish, and her shoulders setting the saddle heaving, she rose on her front legs but unable to lift her back, she quivered all over and again fell on her side. With a face hideous with passion, his lower jaw trembling, and his cheeks white, Vronsky kicked her with his heel in the stomach and again fell to tugging at the rein. She did not stir, but thrusting her nose into the ground, she simply gazed at her master with her speaking eyes. "A—a—a!" groaned Vronsky, clutching at his head. "Ah! what have I done!" he cried. "The race lost! And my fault! shameful, unpardonable! And the poor darling, ruined mare! Ah! what have I done!" A crowd of men, a doctor and his assistant, the officers of his regiment, ran up to him. To his misery he felt that he was whole and unhurt. The mare had broken her back, and it was decided to shoot her. Vronsky could not answer questions, could not speak to anyone. He turned, and without picking up his cap that had fallen off, walked away from the race course, not knowing where he was going. He felt utterly wretched. For the first time in his life he knew the bitterest sort of misfortune, misfortune beyond remedy, and caused by his own fault. Yashvin overtook him with his cap, and led him home, and half an hour later Vronsky had regained his self-possession. But the memory of that race remained for long in his heart, the cruelest and bitterest memory of his life.

Anna Karenina Context: Vronsky's participation in the steeple race shortly after Anna reveals that she's pregnant. Significance: Is Vronsky to blame from what happened to Frou-Frou? And, if so, to Anna? o steeple chase scene—happens twice (vronsky's pov and then karenin's pov) o speed as a negative o british race between church steeples—import o vronsky training with beloved, strong horse (frou frou—originally named tania -which would be same name as anna originally—difficult to read scene) o trolop's can you forgive me—rides horse to death -adulterer as abuser of horses (metaphor for abusing women)

Pg. 477- From the fifth sitting the portrait impressed everyone, especially Vronsky, not only by its resemblance, but by its characteristic beauty. It was strange how Mihailov could have discovered just her characteristic beauty. "One needs to know and love her as I have loved her to discover the very sweetest expression of her soul," Vronsky thought, though it was only from this portrait that he had himself learned this sweetest expression of her soul. But the expression was so true that he, and others too, fancied they had long known it.

Anna Karenina Context:Vronsky watches M's portrait develop. Significance: Idea that art unwraps a truth and makes people realize something that they already know. Experience of art as unmediated institution.

"Vengeance is mine; I will repay, saith the Lord." - Romans 12:19

Anna Karenina context: epigraph o aphoristic, authoritative—lack of quotes enhances authority o absolutist o phrase stands alone o can't be paraphrased, impersonal o omniscient narrator is still colored by cultural conduct (middlemarch) - in this it's different o refuting Kant's idea of retributive justice (human justice is about deterrence not revenge) o quotes schoevenhower quoting someone else quoting new testament quoting old testament o vengeance is god's work—enjoy the punishment though nah not our job it's wrong o citational history—origin of vengeance—does it indeed come from god? • stiva wakes up from dream about opera about revenge on seducer - speaks to epigraph

Pg. 60 - Sometimes in the afternoon outside the window of her room, the head of a man appeared, a swarthy head with black whiskers, smiling slowly, with a broad, gentle smile that showed his white teeth. A waltz immediately began and on the organ, in a little drawing room, dancers the size of a finger, women in pink turbans, Tyrolians in jackets, monkeys in frock coats, gentlemen in knee-breeches, turned and turned between the sofas, the consoles, multiplied in the bits of looking glass held together at their corners by a piece of gold paper. The man turned his handle, looking to the right and left, and up at the windows. Now and again, while he shot out a long squirt of brown saliva against the milestone, with his knee raised his instrument, whose hard straps tired his shoulder; and now, doleful and drawling, or gay and hurried, the music escaped from the box, droning through a curtain of pink taffeta under a brass claw in arabesque. They were airs played in other places at the theatres, sung in drawing rooms, danced to at night under lighted lustres, echoes of the world that reached even to Emma. Endless sarabands ran through her head, and, like an Indian dancing girl on the flowers of a carpet, her thoughts leapt with the notes, swung from dream to dream, from sadness to sadness. When the man had caught some coppers in his cap, he drew down an old cover of blue cloth, hitched his organ on to his back, and went off with a heavy tread. She watched him going. But it was above all the meal-times that were unbearable to her, in this small room on the ground floor, with its smoking stove, its creaking door, the walls that sweated, the damp flags; all the bitterness in life seemed served up on her plate, and with smoke of the boiled beef there rose from her secret soul whiffs of sickliness. Charles was a slow eater; she played with a few nuts, or, leaning on her elbow, amused herself with drawing lines along the oilcloth table cover with the point of her knife

Madame Bovary Context: Emma details the routine of her life and her dissatisfaction with Charles who has no ambition. She talked about giving up sewing and piano because she doesn't understand the point. Significance: The barrel organ was a cheap way of getting music into the providences because you didn't need a whole orchestra. By the time music got out to the providences, however, the music they heard had been current in Paris a few years ago. Her experience of the actual ball is distorted by this street organ. imitation --popular many years ago

Pg. 140 - one stuffed himself on his own account. Sweat stood on every brow, and a whitish steam, like the vapour of a stream on an autumn morning, floated above the table between the hanging lamps. Rodolphe, leaning against the calico of the tent was thinking so earnestly of Emma that he heard nothing. Behind him on the grass the servants were piling up the dirty plates, his neighbours were talking; he did not answer them; they filled his glass, and there was silence in his thoughts in spite of the growing noise. He was dreaming of what she had said, of the line of her lips; her face, as in a magic mirror, shone on the plates of the shakos, the folds of her gown fell along the walls, and days of love unrolled to all infinity before him in the vistas of the future.

Madame Bovary Context: A description of the feast at the "show." After old woman receives her award. Significance: The previous quote makes the feast seem boring, so Homais' lyrical description of is ironic.

Pg. 53 - Often when Charles was out she took from the cupboard, between the folds of the linen where she had left it, the green silk cigar case. She looked at it, opened it, and even smelt the odour of the lining—a mixture of verbena and tobacco. Whose was it? The Viscount's? Perhaps it was a present from his mistress. It had been embroidered on some rosewood frame, a pretty little thing, hidden from all eyes, that had occupied many hours, and over which had fallen the soft curls of the pensive worker. A breath of love had passed over the stitches on the canvas; each prick of the needle had fixed there a hope or a memory, and all those interwoven threads of silk were but the continuity of the same silent passion. And then one morning the Viscount had taken it away with him. Of what had they spoken when it lay upon the wide-mantelled chimneys between flower-vases and Pompadour clocks? She was at Tostes; he was at Paris now, far away! What was this Paris like? What a vague name! She repeated it in a low voice, for the mere pleasure of it; it rang in her ears like a great cathedral bell; it shone before her eyes, even on the labels of her pomade-pots.

Madame Bovary Context: After Emma details how she "filled" the time with remembering the ball. Significance: Cigar is a tangible object, but she repurposes it. She looks at the embroidery and begins to fantasize. borrowed cliches to create something new --takes meaning beyond designated use--repurposes real thing

Pg. 181- When he came home in the middle of the night, he did not dare to wake her. The porcelain night-light threw a round trembling gleam upon the ceiling, and the drawn curtains of the little cot formed as it were a white hut standing out in the shade, and by the bedside Charles looked at them. He seemed to hear the light breathing of his child. She would grow big now; every season would bring rapid progress. He already saw her coming from school as the day drew in, laughing, with ink-stains on her jacket, and carrying her basket on her arm. Then she would have to be sent to the boarding-school; that would cost much; how was it to be done? Then he reflected. He thought of hiring a small farm in the neighbourhood, that he would superintend every morning on his way to his patients. He would save up what he brought in; he would put it in the savings-bank. Then he would buy shares somewhere, no matter where; besides, his practice would increase; he counted upon that, for he wanted Berthe to be well-educated, to be accomplished, to learn to play the piano. Ah! how pretty she would be later on when she was fifteen, when, resembling her mother, she would, like her, wear large straw hats in the summer-time; from a distance they would be taken for two sisters. He pictured her to himself working in the evening by their side beneath the light of the lamp; she would embroider him slippers; she would look after the house; she would fill all the home with her charm and her gaiety. At last, they would think of her marriage; they would find her some good young fellow with a steady business; he would make her happy; this would last for ever. Emma was not asleep; she pretended to be; and while he dozed off by her side she awakened to other dreams. To the gallop of four horses she was carried away for a week towards a new land, whence they would return no more. They went on and on, their arms entwined, without a word. Often from the top of a mountain there suddenly glimpsed some splendid city with domes, and bridges, and ships, forests of citron trees, and cathedrals of white marble, on whose pointed steeples were storks' nests. They went at a walking-pace because of the great flag-stones, and on the ground there were bouquets of flowers, offered you by women dressed in red bodices. They heard the chiming of bells, the neighing of mules, together with the murmur of guitars and the noise of fountains, whose rising spray refreshed heaps of fruit arranged like a pyramid at the foot of pale statues that smiled beneath playing waters. And then, one night they came to a fishing village, where brown nets were drying in the wind along the cliffs and in front of the huts. It was there that they would stay; they would live in a low, flat-roofed house, shaded by a palm-tree, in the heart of a gulf, by the sea. They would row in gondolas, swing in hammocks, and their existence would be easy and large as their silk gowns, warm and star-spangled as the nights they would contemplate. However, in the immensity of this future that she conjured up, nothing special stood forth; the days, all magnificent, resembled each other like waves; and it swayed in the horizon, infinite, harmonised, azure, and bathed in sunshine. But the child began to cough in her cot or Bovary snored more loudly, and Emma did not fall asleep till morning, when the dawn whitened the windows, and when little Justin was already in the square taking down the shutters of the chemist's shop.

Madame Bovary Context: After Senior Madame Bovary finds Emma's behaviour peculiar. Significance: Charles' daydream is realistic, Emma's is escapism. Charles=realist novel, Emma =romantic novel.

Pg. 27- The table was laid under the cart-shed. On it were four sirloins, six chicken fricassees, stewed veal, three legs of mutton, and in the middle a fine roast suckling pig, flanked by four chitterlings with sorrel. At the corners were decanters of brandy. Sweet bottled-cider frothed round the corks, and all the glasses had been filled to the brim with wine beforehand. Large dishes of yellow cream, that trembled with the least shake of the table, had designed on their smooth surface the initials of the newly wedded pair in nonpareil arabesques. A confectioner of Yvetot had been intrusted with the tarts and sweets. As he had only just set up on the place, he had taken a lot of trouble, and at dessert he himself brought in a set dish that evoked loud cries of wonderment. To begin with, at its base there was a square of blue cardboard, representing a temple with porticoes, colonnades, and stucco statuettes all round, and in the niches constellations of gilt paper stars; then on the second stage was a dungeon of Savoy cake, surrounded by many fortifications in candied angelica, almonds, raisins, and quarters of oranges; and finally, on the upper platform a green field with rocks set in lakes of jam, nutshell boats, and a small Cupid balancing himself in a chocolate swing whose two uprights ended in real roses for balls at the top.

Madame Bovary Context: After wedding ceremony, people head to reception. This is description of the cake. Significance: Savoy cake isn't meant to be eaten, so the cake doesn't really make sense. The decorative dimensions overwhelm its function, which might anticipate the problem of ornamentation. Perhaps having a lot of layers signals confusion in the marriage or the potential layers of marriage.

Pg. 142- Two days later, in the "Final de Rouen," there was a long article on the show. Homais had composed it with verve the very next morning. "Why these festoons, these flowers, these garlands? Whither hurries this crowd like the waves of a furious sea under the torrents of a tropical sun pouring its heat upon our heads?" Then he spoke of the condition of the peasants. Certainly the Government was doing much, but not enough. "Courage!" he cried to it; "a thousand reforms are indispensable; let us accomplish them!" Then touching on the entry of the councillor, he did not forget "the martial air of our militia;" nor "our most merry village maidens;" nor the "bald-headed old men like patriarchs who were there, and of whom some, the remnants of our phalanxes, still felt their hearts beat at the manly sound of the drums." He cited himself among the first of the members of the jury, and he even called attention in a note to the fact that Monsieur Homais, chemist, had sent a memoir on cider to the agricultural society. When he came to the distribution of the prizes, he painted the joy of the prize-winners in dithyrambic strophes. "The father embraced the son, the brother the brother, the husband his consort. More than one showed his humble medal with pride; and no doubt when he got home to his good housewife, he hung it up weeping on the modest walls of his cot. "About six o'clock a banquet prepared in the meadow of Monsieur Leigeard brought together the principal personages of the fete. The greatest cordiality reigned here. Divers toasts were proposed: Monsieur Lieuvain, the King; Monsieur Tuvache, the Prefect; Monsieur Derozerays, Agriculture; Monsieur Homais, Industry and the Fine Arts, those twin sisters; Monsieur Leplichey, Progress. In the evening some brilliant fireworks on a sudden illumined the air. One would have called it a veritable kaleidoscope, a real operatic scene; and for a moment our little locality might have thought itself transported into the midst of a dream of the 'Thousand and One Nights.' Let us state that no untoward event disturbed this family meeting." And he added "Only the absence of the clergy was remarked. No doubt the priests understand progress in another fashion. Just as you please, messieurs the followers of Loyola!"

Madame Bovary Context: At "show." Significance: The previous quote makes the feast seem boring, so Homais' lyrical description of is ironic (vehicle for falsehood of representation). juxtapose 2 descriptions --chapter trains us to read ironically --we can recognize falsehood --sense of humor --perspective

Pg. 139 - Then there came forward on the platform a little old woman with timid bearing, who seemed to shrink within her poor clothes. On her feet she wore heavy wooden clogs, and from her hips hung a large blue apron. Her pale face framed in a borderless cap was more wrinkled than a withered russet apple. And from the sleeves of her red jacket looked out two large hands with knotty joints, the dust of barns, the potash of washing the grease of wools had so encrusted, roughened, hardened these that they seemed dirty, although they had been rinsed in clear water; and by dint of long service they remained half open, as if to bear humble witness for themselves of so much suffering endured. Something of monastic rigidity dignified her face. Nothing of sadness or of emotion weakened that pale look. In her constant living with animals she had caught their dumbness and their calm. It was the first time that she found herself in the midst of so large a company, and inwardly scared by the flags, the drums, the gentlemen in frock-coats, and the order of the councillor, she stood motionless, not knowing whether to advance or run away, nor why the crowd was pushing her and the jury were smiling at her. Thus stood before these radiant bourgeois this half-century of servitude. "Approach, venerable Catherine Nicaise Elizabeth Leroux!" said the councillor, who had taken the list of prize-winners from the president; and, looking at the piece of paper and the old woman by turns, he repeated in a fatherly tone—"Approach! approach!" "Are you deaf?" said Tuvache, fidgeting in his armchair; and he began shouting in her ear, "Fifty-four years of service. A silver medal! Twenty-five francs! For you!"

Madame Bovary Context: At the "show" (almost like a festival). Emma is with Rodolphe. More? Significance: So many names suggest that one name is not sufficient. The fact that she served 54 years shows her life as a specific thing as awards are normally round numbers. It suggests that there is a lag between public recognition and personal experience. The hard "C" sound of "crusted, cracked, and calloused" (our version) reminds you of the difficulty of her life. Why isn't there an "and" between these adjectives? It suggests that her suffering is ongoing. (list is incomplete; blurs words together, no break) Ironic because the alliteration makes it sound appealing although it's describing how she's not pretty. wordless animal --tight, untagged dialogue on previous page --public recognition of human experience vs actual experience --lyrices labor in a way passage dictates against --aesthetic techniques representative of physical hardship --naturalises environment detnermines who she is --bodily details

Pg. 70 - He wore a blue frock-coat falling in a straight line round his thin body, and his leather cap, with its lappets knotted over the top of his head with string, showed under the turned-up peak a bald forehead, flattened by the constant wearing of a helmet. He wore a black cloth waistcoat, a hair collar, grey trousers, and, all the year round, well-blacked boots, that had two parallel swellings due to the sticking out of his big-toes. Not a hair stood out from the regular line of fair whiskers, which, encircling his jaws, framed, after the fashion of a garden border, his long, wan face, whose eyes were small and the nose hooked. Clever at all games of cards, a good hunter, and writing a fine hand, he had at home a lathe, and amused himself by turning napkin rings, with which he filled up his house, with the jealousy of an artist and the egotism of a bourgeois.

Madame Bovary Context: Big description of Yonville-l'Abbaye as a small, rural town. Homais and Mme Lefrançois discuss the dinner they're about to have and what they need to do to prepare for their guests. Contrast of Léon and Binet. Significance: Binet is making a napkin ring (significance?). This scene makes fun of him for being bougie. useless, empty circle --lots of spinning --decorative, domestic, ar

Pg. 21 - One day he got there about three o'clock. Everybody was in the fields. He went into the kitchen, but did not at once catch sight of Emma; the outside shutters were closed. Through the chinks of the wood the sun sent across the flooring long fine rays that were broken at the corners of the furniture and trembled along the ceiling. Some flies on the table were crawling up the glasses that had been used, and buzzing as they drowned themselves in the dregs of the cider. The daylight that came in by the chimney made velvet of the soot at the back of the fireplace, and touched with blue the cold cinders. Between the window and the hearth Emma was sewing; she wore no fichu; he could see small drops of perspiration on her bare shoulders.

Madame Bovary Context: Charles goes back to Les Bertaux after Père Roualt tells Charles they can be companions to during this time of hardship (his first wife's death). Significance: The paragraph opens in a way that makes it seem like Charles' point of view is going to focalize it, but it doesn't go down that way as we're given details that Charles can't even see. Consequently, the meaning of the details is unclear. It seems to be a movement toward aestheticism.

Pg. 41 - She began by looking round her to see if nothing had changed since last she had been there. She found again in the same places the foxgloves and wallflowers, the beds of nettles growing round the big stones, and the patches of lichen along the three windows, whose shutters, always closed, were rotting away on their rusty iron bars. Her thoughts, aimless at first, wandered at random, like her greyhound, who ran round and round in the fields, yelping after the yellow butterflies, chasing the shrew-mice, or nibbling the poppies on the edge of a cornfield.

Madame Bovary Context: Charles' mother has just left from her visit and Anna just reflected on Charles' actions as being too routine. Significance: Second sentence should read (in french) "she would find." The imperfect implies boredom with routines of daily life.

Pg. 327 - Since Bovary's death three doctors have followed one another at Yonville without any success, so severely did Homais attack them. He has an enormous practice; the authorities treat him with consideration, and public opinion protects him. He has just received the cross of the Legion of Honour.

Madame Bovary Context: Concluding lines of novel. Significance: Why end with Homais? Perhaps a movement toward realism. Life is unjust; Homais is undeserving social climber, so he gets the Legion of Honor and the last word of novel. Also moving into the present tense (from imperfect) suggests that life goes on after death.

Pg. 36 - When her mother died she cried much the first few days. She had a funeral picture made with the hair of the deceased, and, in a letter sent to the Bertaux full of sad reflections on life, she asked to be buried later on in the same grave. The goodman thought she must be ill, and came to see her. Emma was secretly pleased that she had reached at a first attempt the rare ideal of pale lives, never attained by mediocre hearts. She let herself glide along with Lamartine meanderings, listened to harps on lakes, to all the songs of dying swans, to the falling of the leaves, the pure virgins ascending to heaven, and the voice of the Eternal discoursing down the valleys. She wearied of it, would not confess it, continued from habit, and at last was surprised to feel herself soothed, and with no more sadness at heart than wrinkles on her brow.

Madame Bovary Context: Description of Emma's reaction to her mother's death at the convent. Significance: Book is quoting Emma who is quoting Romantic Literature, wchich makes the POV of this sentence confusing. We can hear narrator, but we also get a sense that its Emma thought's borrowed from someone else. Also, free and direct discourse. -vain --good emotion, bad intention --ambiguity--both narrator and emma's voices & quoting romantic literature--borrowing of words--complex --free indirect discourse

Pg. 32 - He could not keep from constantly touching her comb, her ring, her fichu; sometimes he gave her great sounding kisses with all his mouth on her cheeks, or else little kisses in a row all along her bare arm from the tip of her fingers up to her shoulder, and she put him away half-smiling, half-vexed, as you do a child who hangs about you.

Madame Bovary Context: Emma and Charles have just gotten married and arrived in Tostes. Significance: In our translation, it states " he couldn't stop continually touching her." This passage is an example of how 19th century literature aspired to be in the imperfect tense and was moving away from a definitive past tense. The imperfect makes things seem less historical and more habitual; imperfect indicates the language of daily life. This ongoingness is also indicated by the semi colons in our translation. --changelessness of past anticipates future change --culminating image after "and"--comments on items set out by semicolons

Pg. 32- Before marriage she thought herself in love; but the happiness that should have followed this love not having come, she must, she thought, have been mistaken. And Emma tried to find out what one meant exactly in life by the words felicity, passion, rapture, that had seemed to her so beautiful in books.

Madame Bovary Context: Emma and Charles have just gotten married. Significance: this is where novel first shifts focus to Emma. She loves literature, but literature doesn't prepare her for reality. She expects reality to reflect novels, when novels should reflect life. --desire predicated on models we are trying to imitate --intro of bovaryism--self fashioning of self after other's desires from literature --female reader misinterprets novel's applicability to reality--expect world to imitate was is read but opposite

Pg. 305 - "The blind man!" she cried. And Emma began to laugh, an atrocious, frantic, despairing laugh, thinking she saw the hideous face of the poor wretch that stood out against the eternal night like a menace. "The wind is strong this summer day, Her petticoat has flown away." She fell back upon the mattress in a convulsion. They all drew near. She was dead.

Madame Bovary Context: Emma dies. Significance: Her last words are "the blind man." She first encountered the blind man on the way to see Léon, so he becomes a sign of her transgression. His ugliness is an external representation of what's happening to her. Her bodily death is similar to his his bodily life. Again, the idea that immortal soul is reduced to bodily functions. In French version, the line is "elle n'éxistait pas." What is the effect of saying that she no longer exists? Seems un-Chrisitian becasue she should theoretically exist as a spirit. --borrow from l'heureux--happiness --human soul reduced to grotesque bodily life --she is a beggar of societ --soundtrack of her death--further creulty --even death can't be how she'd want it/her own --represents her transgression--reminder of affair --absence of adj--death is death --pays debt with life but still falls on chalres --debt is way of the world (french novels) --connection between adutlery and death --erasure, secular, no soul --she is in love with ideas --in debt--dependent, inextricably linked to networks of circulation (gendering of debt)

Pg. 177 - He had so often heard these things said that they did not strike him as original. Emma was like all his mistresses; and the charm of novelty, gradually falling away like a garment, laid bare the eternal monotony of passion, that has always the same forms and the same language. He did not distinguish, this man of so much experience, the difference of sentiment beneath the sameness of expression. Because lips libertine and venal had murmured such words to him, he believed but little in the candour of hers; exaggerated speeches hiding mediocre affections must be discounted; as if the fullness of the soul did not sometimes overflow in the emptiest metaphors, since no one can ever give the exact measure of his needs, nor of his conceptions, nor of his sorrows; and since human speech is like a cracked tin kettle, on which we hammer out tunes to make bears dance when we long to move the stars.

Madame Bovary Context: Emma has just paid off some of her her debt to Lheureux, hoping he'll forget about the rest. Significance: In our version, it says "decrepit" metaphors, but, in French, it's "empty metaphors." The first time the "we" narrator returns. He clearly doesn't understand Emma's love for him. It draws attention to the insufficiency of language: just because we use the same words doesn't mean we have the same feeling. Image of the "cracked cauldron" indicates that words should synthesize, but, since, the cauldron is cracked, speech is insufficient. --in french "most empty" --omniscient narrator defends emma for one of the 1st times --human speech supposed to create nourshing meaning--broken, insufficient --we returns from beginning --dancing bears--unnatural, cheap, animals, silly , circus vs. lofty idea --she feels more intensely but uses same language--he can't see past that

Pg. 304- Her chest soon began panting rapidly; the whole of her tongue protruded from her mouth; her eyes, as they rolled, grew paler, like the two globes of a lamp that is going out, so that one might have thought her already dead but for the fearful labouring of her ribs, shaken by violent breathing, as if the soul were struggling to free itself. Felicite knelt down before the crucifix, and the druggist himself slightly bent his knees, while Monsieur Canivet looked out vaguely at the Place. Bournisien had again begun to pray, his face bowed against the edge of the bed, his long black cassock trailing behind him in the room. Charles was on the other side, on his knees, his arms outstretched towards Emma. He had taken her hands and pressed them, shuddering at every beat of her heart, as at the shaking of a falling ruin. As the death-rattle became stronger the priest prayed faster; his prayers mingled with the stifled sobs of Bovary, and sometimes all seemed lost in the muffled murmur of the Latin syllables that tolled like a passing bell.

Madame Bovary Context: Emma in the process of dying after last rites. Significance: The anatomical language emphasizes Emma's materiality. This scene may be powerful because of it's realness; it's not a romanticized portrayal of death. The scene unfolds as a tableau? We read this scene from a clinical distance. Sometimes the description is just mean and mocks her with the representation of death. -involuntary movement of body -calls attention to our own egoism -has to die because of adultery -commits suicide because debt not love (owes money because reckless affairs) -mundanity of bourgeoisie life --is she getting punished for adulter --sadistic --alludes to our desire for meaning an dinterpretation --imparfait-pictorial--why is death a tableau-- live painting-representation of reality --institutions precede the individual --this is a novel -- don't be like emma

Pg. 248 - On the hillside a poor devil wandered about with his stick in the midst of the diligences. A mass of rags covered his shoulders, and an old staved-in beaver, turned out like a basin, hid his face; but when he took it off he discovered in the place of eyelids empty and bloody orbits. The flesh hung in red shreds, and there flowed from it liquids that congealed into green scale down to the nose, whose black nostrils sniffed convulsively. To speak to you he threw back his head with an idiotic laugh; then his bluish eyeballs, rolling constantly, at the temples beat against the edge of the open wound. He sang a little song as he followed the carriages—

Madame Bovary Context: Emma passes the blind man on her way to see Léon. Significance: sets up the quote on page 305's significance. --dirty joke

Pg. 30 - The brick front was just in a line with the street, or rather the road. Behind the door hung a cloak with a small collar, a bridle, and a black leather cap, and on the floor, in a corner, were a pair of leggings, still covered with dry mud. On the right was the one apartment, that was both dining and sitting room. A canary yellow paper, relieved at the top by a garland of pale flowers, was puckered everywhere over the badly stretched canvas; white calico curtains with a red border hung crossways at the length of the window; and on the narrow mantelpiece a clock with a head of Hippocrates shone resplendent between two plate candlesticks under oval shades. On the other side of the passage was Charles's consulting room, a little room about six paces wide, with a table, three chairs, and an office chair. Volumes of the "Dictionary of Medical Science," uncut, but the binding rather the worse for the successive sales through which they had gone, occupied almost along the six shelves of a deal bookcase.The smell of melted butter penetrated through the walls when he saw patients, just as in the kitchen one could hear the people coughing in the consulting room and recounting their histories.

Madame Bovary Context: Just after Charles and Emma have gotten married; they've just arrived in Tostes. Significance: The dictionary being uncut means that it is unread, which indicates that he's probably not booksmart or a good doctor. The fact that the books are used indicate that Charles is poor. The fact that one can smell the kitchen smells in other areas of the house indicate that it is small and not well ordered as the professional and domestic spaces overlap.

Pg. 4 - But, whether he had not noticed the trick, or did not dare to attempt it, the "new fellow," was still holding his cap on his knees even after prayers were over. It was one of those head-gears of composite order, in which we can find traces of the bearskin, shako, billycock hat, sealskin cap, and cotton night-cap; one of those poor things, in fine, whose dumb ugliness has depths of expression, like an imbecile's face. Oval, stiffened with whalebone, it began with three round knobs; then came in succession lozenges of velvet and rabbit-skin separated by a red band; after that a sort of bag that ended in a cardboard polygon covered with complicated braiding, from which hung, at the end of a long thin cord, small twisted gold threads in the manner of a tassel. The cap was new; its peak shone.

Madame Bovary Context: Narrator describes Charles first day at the prep school. Significance: This scene introduces the image of layering that will be seen with both wedding cake and funeral caskets. The cap is a parody of all the symbolic readings possible. The phrase "It was one of those" is a gesture toward a universal understanding.

Pg. 3 - We were in class when the head-master came in, followed by a "new fellow," not wearing the school uniform, and a school servant carrying a large desk. Those who had been asleep woke up, and every one rose as if just surprised at his work

Madame Bovary Context: Opening of the novel. Significance: It's a confusing opening; why "we?" We're never told, but, presumably, it's Charles' classmates. WHy not Emma?

Pg. 8 -It would now be impossible for any of us to remember anything about him. He was a youth of even temperament, who played in playtime, worked in school-hours, was attentive in class, slept well in the dormitory, and ate well in the refectory. He had in loco parentis* a wholesale ironmonger in the Rue Ganterie, who took him out once a month on Sundays after his shop was shut, sent him for a walk on the quay to look at the boats, and then brought him back to college at seven o'clock before supper. Every Thursday evening he wrote a long letter to his mother with red ink and three wafers; then he went over his history note-books, or read an old volume of "Anarchasis" that was knocking about the study. When he went for walks he talked to the servant, who, like himself, came from the country.

Madame Bovary Context: Presumably Charles' classmate is detailing that they wouldn't remember Charles after a scene is described detailing Charles' past education and his parents sending him to Rouen. Significance: This line is considered a major turning point for novel as it is irreverent of a main character. It undermines a sense of the fictional world as noble. --significant shift--comedic repudiating 1 sided pov, realism in fictional world, free indirect discours

Pg. 303 - The priest rose to take the crucifix; then she stretched forward her neck as one who is athirst, and glueing her lips to the body of the Man-God, she pressed upon it with all her expiring strength the fullest kiss of love that she had ever given. Then he recited the Misereatur and the Indulgentiam, dipped his right thumb in the oil, and began to give extreme unction. First upon the eyes, that had so coveted all worldly pomp; then upon the nostrils, that had been greedy of the warm breeze and amorous odours; then upon the mouth, that had uttered lies, that had curled with pride and cried out in lewdness; then upon the hands that had delighted in sensual touches; and finally upon the soles of the feet, so swift of yore, when she was running to satisfy her desires, and that would now walk no more. The cure wiped his fingers, threw the bit of cotton dipped in oil into the fire, and came and sat down by the dying woman, to tell her that she must now blend her sufferings with those of Jesus Christ and abandon herself to the divine mercy. Finishing his exhortations, he tried to place in her hand a blessed candle, symbol of the celestial glory with which she was soon to be surrounded. Emma, too weak, could not close her fingers, and the taper, but for Monsieur Bournisien would have fallen to the ground. However, she was not quite so pale, and her face had an expression of serenity as if the sacrament had cured her.

Madame Bovary Context: Priest gives Anna Last Rites while she's in the process of dying. Significance: Although the lack of personal pronouns might be a result of grammar, it does give a sense of death and last rites as universal and not personal. The sacrament itself seems to overtake the actual process of dying. The ritual exists because of the immortality of the soul, but Emma is described quite materially. --her love of words has left her incomplete --ritual represses uniqueness, suicide--ironic --last chance v/c immortality of soul emphaiszes emma's material perception of soul

Pg. 326- The other went on talking agriculture, cattle, pasturage, filling out with banal phrases all the gaps where an allusion might slip in. Charles was not listening to him; Rodolphe noticed it, and he followed the succession of memories that crossed his face. This gradually grew redder; the nostrils throbbed fast, the lips quivered. There was at last a moment when Charles, full of a sombre fury, fixed his eyes on Rodolphe, who, in something of fear, stopped talking. But soon the same look of weary lassitude came back to his face. "I don't blame you," he said. Rodolphe was dumb. And Charles, his head in his hands, went on in a broken voice, and with the resigned accent of infinite sorrow— "No, I don't blame you now." He even added a fine phrase, the only one he ever made— "It is the fault of fatality!"

Madame Bovary Context: Rodolphe and Charles' meeting after Emma's death. Significance: "Fate is to blame" = Rodolphe wrote this is her letter where he breaks up with Emma. Some people read Charles' throwing this phrase back at Rodolphe indicates that he's getting the last word. It's perhaps a defense of Emma. --cliche of fatalite -- charles throws it back

Pg. 194- Not that this inward amazement of Dorothea's was anything very exceptional: many souls in their young nudity are tumbled out among incongruities and left to "find their feet" among them, while their elders go about their business. Nor can I suppose that when Mrs. Casaubon is discovered in a fit of weeping six weeks after her wedding, the situation will be regarded as tragic. Some discouragement, some faintness of heart at the new real future which replaces the imaginary, is not unusual, and we do not expect people to be deeply moved by what is not unusual. That element of tragedy which lies in the very fact of frequency, has not yet wrought itself into the coarse emotion of mankind; and perhaps our frames could hardly bear much of it. If we had a keen vision and feeling of all ordinary human life, it would be like hearing the grass grow and the squirrel's heart beat, and we should die of that roar which lies on the other side of silence. As it is, the quickest of us walk about well wadded with stupidity.

Middlemarch Context: Dorothea weeps during her fifth week in Rome. Significance: It's humanly impossible to imagine all point of views; it would be like watching grass grow. A commentary on how we prioritize our pain over others; does something being common make it less painful? Use of we: who is "we"?

Pg. 371 - And now, since her conversation with Will, many fresh images had gathered round that Aunt Julia who was Will's grandmother; the presence of that delicate miniature, so like a living face that she knew, helping to concentrate her feelings. What a wrong, to cut off the girl from the family protection and inheritance only because she had chosen a man who was poor! Dorothea, early troubling her elders with questions about the facts around her, had wrought herself into some independent clearness as to the historical, political reasons why eldest sons had superior rights, and why land should be entailed: those reasons, impressing her with a certain awe, might be weightier than she knew, but here was a question of ties which left them uninfringed. Here was a daughter whose child—even according to the ordinary aping of aristocratic institutions by people who are no more aristocratic than retired grocers, and who have no more land to "keep together" than a lawn and a paddock—would have a prior claim. Was inheritance a question of liking or of responsibility? All the energy of Dorothea's nature went on the side of responsibility—the fulfilment of claims founded on our own deeds, such as marriage and parentage.

Middlemarch Context: Casaubon has just sent Ladislaw a letter asking him to take permanent residence in Middlemarch, which leads to Dorothea thinking about how Will has been cheated out of inheritances. Significance: Dorothea defines inheritance with regard to repsonsibility, and responsibility by "our own deeds." Some responsibilities are irrevocable. Because Lydgate chose Rosamond, he has an irrevocable responsibility. This conception of inheritance is kind of conservative, but also kind of progressive. -rejection of primogeniture (rejects that julia was disinherited) --even tools of representation (metaphors) to understand world are insufficient/imperfect (and sometimes wrong) --difficult to really know things --how does one achieve moral clarity--things are relative, metaphors are problematic, epistemological relativism, (microscope is no better than telescope) --responsibility is a matter of consent and it's irrevocable and based on choices

Pg. 838 - Her finely touched spirit had still its fine issues, though they were not widely visible. Her full nature, like that river of which Cyrus broke the strength, spent itself in channels which had no great name on the earth. But the effect of her being on those around her was incalculably diffusive: for the growing good of the world is partly dependent on unhistoric acts; and that things are not so ill with you and me as they might have been, is half owing to the number who lived faithfully a hidden life, and rest in unvisited tombs.

Middlemarch Context: Conclusion of the novel. Significance: Her vocational and romantic development come together happily, and Lydgate's are mutually exclusive.

Pg. 219- "I fear you are a heretic about art generally. How is that? I should have expected you to be very sensitive to the beautiful everywhere." "I suppose I am dull about many things," said Dorothea, simply. "I should like to make life beautiful—I mean everybody's life. And then all this immense expense of art, that seems somehow to lie outside life and make it no better for the world, pains one. It spoils my enjoyment of anything when I am made to think that most people are shut out from it." "I call that the fanaticism of sympathy," said Will, impetuously. "You might say the same of landscape, of poetry, of all refinement. If you carried it out you ought to be miserable in your own goodness, and turn evil that you might have no advantage over others. The best piety is to enjoy—when you can. You are doing the most then to save the earth's character as an agreeable planet. And enjoyment radiates. It is of no use to try and take care of all the world; that is being taken care of when you feel delight—in art or in anything else. Would you turn all the youth of the world into a tragic chorus, wailing and moralizing over misery? I suspect that you have some false belief in the virtues of misery, and want to make your life a martyrdom." Will had gone further than he intended, and checked himself. But Dorothea's thought was not taking just the same direction as his own, and she answered without any special emotion— "Indeed you mistake me. I am not a sad, melancholy creature. I am never unhappy long together. I am angry and naughty—not like Celia: I have a great outburst, and then all seems glorious again. I cannot help believing in glorious things in a blind sort of way. I should be quite willing to enjoy the art here, but there is so much that I don't know the reason of—so much that seems to me a consecration of ugliness rather than beauty. The painting and sculpture may be wonderful, but the feeling is often low and brutal, and sometimes even ridiculous. Here and there I see what takes me at once as noble—something that I might compare with the Alban Mountains or the sunset from the Pincian Hill; but that makes it the greater pity that there is so little of the best kind among all that mass of things over which men have toiled so." "Of course there is always a great deal of poor work: the rarer things want that soil to grow in." "Oh dear," said Dorothea, taking up that thought into the chief current of her anxiety; "I see it must be very difficult to do anything good. I have often felt since I have been in Rome that most of our lives would look much uglier and more bungling than the pictures, if they could be put on the wall." Dorothea parted her lips again as if she were going to say more, but changed her mind and paused. "You are too young—it is an anachronism for you to have such thoughts," said Will, energetically, with a quick shake of the head habitual to him. "You talk as if you had never known any youth. It is monstrous—as if you had had a vision of Hades in your childhood, like the boy in the legend. You have been brought up in some of those horrible notions that choose the sweetest women to devour—like Minotaurs. And now you will go and be shut up in that stone prison at Lowick: you will be buried alive. It makes me savage to think of it! I would rather never have seen you than think of you with such a prospect."

Middlemarch Context: Dorothea and Will discussing benefits of art (in Rome?)? Significance: Like the gems scenario, we see Dorothea needing to ascribe some moral value to things in order to justify enjoying them. Using the labryinth image, Ladislaw critiques this female self-renunciation.

Pg. 788 - It had taken long for her to come to that question, and there was light piercing into the room. She opened her curtains, and looked out towards the bit of road that lay in view, with fields beyond outside the entrance-gates. On the road there was a man with a bundle on his back and a woman carrying her baby; in the field she could see figures moving—perhaps the shepherd with his dog. Far off in the bending sky was the pearly light; and she felt the largeness of the world and the manifold wakings of men to labor and endurance. She was a part of that involuntary, palpitating life, and could neither look out on it from her luxurious shelter as a mere spectator, nor hide her eyes in selfish complaining.

Middlemarch Context: Dorothea has just discovered her love for Ladislaw; considering perspectives other than her own. Significance: It's as if she's looking at a landscape, which is ironic because she dislikes them. Perhaps she's realizing that she needs to join landscapes and revises her earlier rejection of them. Maybe idea of being part of life is made concrete through the marriage plot? Lydgate sees her as virgin mary instead of young girl --revises initial rejection

Pg. 787- She began now to live through that yesterday morning deliberately again, forcing herself to dwell on every detail and its possible meaning. Was she alone in that scene? Was it her event only? She forced herself to think of it as bound up with another woman's life—a woman towards whom she had set out with a longing to carry some clearness and comfort into her beclouded youth. In her first outleap of jealous indignation and disgust, when quitting the hateful room, she had flung away all the mercy with which she had undertaken that visit. She had enveloped both Will and Rosamond in her burning scorn, and it seemed to her as if Rosamond were burned out of her sight forever. But that base prompting which makes a women more cruel to a rival than to a faithless lover, could have no strength of recurrence in Dorothea when the dominant spirit of justice within her had once overcome the tumult and had once shown her the truer measure of things. All the active thought with which she had before been representing to herself the trials of Lydgate's lot, and this young marriage union which, like her own, seemed to have its hidden as well as evident troubles—all this vivid sympathetic experience returned to her now as a power: it asserted itself as acquired knowledge asserts itself and will not let us see as we saw in the day of our ignorance. She said to her own irremediable grief, that it should make her more helpful, instead of driving her back from effort.

Middlemarch Context: Dorothea has just discovered her love for Ladislaw; reconsiders scene where she see Ladislaw and Rosamond together. Significance: "Was she alone in that scene?" = crux of novel. It's only through considering other POVs that people can make moral conclusions. --empathy --might have been wrong --others' feelings are involved

Pg. 786- In that hour she repeated what the merciful eyes of solitude have looked on for ages in the spiritual struggles of man—she besought hardness and coldness and aching weariness to bring her relief from the mysterious incorporeal might of her anguish: she lay on the bare floor and let the night grow cold around her; while her grand woman's frame was shaken by sobs as if she had been a despairing child. There were two images—two living forms that tore her heart in two, as if it had been the heart of a mother who seems to see her child divided by the sword, and presses one bleeding half to her breast while her gaze goes forth in agony towards the half which is carried away by the lying woman that has never known the mother's pang. Here, with the nearness of an answering smile, here within the vibrating bond of mutual speech, was the bright creature whom she had trusted—who had come to her like the spirit of morning visiting the dim vault where she sat as the bride of a worn-out life; and now, with a full consciousness which had never awakened before, she stretched out her arms towards him and cried with bitter cries that their nearness was a parting vision: she discovered her passion to herself in the unshrinking utterance of despair.

Middlemarch Context: Dorothea returns home and discovers that she actually does love Ladislaw. Significance: Revises King Solomon story (2 women claim to be mother--real mother would sacrifice self so child wouldn't be split in half); gains self-knowledge through revision.

Pg. 194 - However, Dorothea was crying, and if she had been required to state the cause, she could only have done so in some such general words as I have already used: to have been driven to be more particular would have been like trying to give a history of the lights and shadows, for that new real future which was replacing the imaginary drew its material from the endless minutiae by which her view of Mr. Casaubon and her wifely relation, now that she was married to him, was gradually changing with the secret motion of a watch-hand from what it had been in her maiden dream. It was too early yet for her fully to recognize or at least admit the change, still more for her to have readjusted that devotedness which was so necessary a part of her mental life that she was almost sure sooner or later to recover it. Permanent rebellion, the disorder of a life without some loving reverent resolve, was not possible to her; but she was now in an interval when the very force of her nature heightened its confusion. In this way, the early months of marriage often are times of critical tumult—whether that of a shrimp-pool or of deeper waters—which afterwards subsides into cheerful peace.

Middlemarch Context: Dorothea's breakdown during fifth week in Rome. Significance: Maturation as a disillusionment of reality. Reality is not as good as expectation, and it happens at the point of marriage. Marriage happens in the "minutiae"; it isn't one big event, but happens over time in mundane, daily events. The clock-hand metaphor indicates that change happens over time. Maturation: movement from imaginary to reality. --narrator advocates for indiscriminate sympathy but sometimes wishes to be discriminating --problem of sympathy --community between novel & readers --maturation as a slow gradual accumulation of details (minutiae of daily life) --reality replaces ideal/illusions/imaginary --hidden because slow so we don't notice until the change is big

Pg. 202 - She did not really see the streak of sunlight on the floor more than she saw the statues: she was inwardly seeing the light of years to come in her own home and over the English fields and elms and hedge-bordered highroads; and feeling that the way in which they might be filled with joyful devotedness was not so clear to her as it had been. But in Dorothea's mind there was a current into which all thought and feeling were apt sooner or later to flow—the reaching forward of the whole consciousness towards the fullest truth, the least partial good. There was clearly something better than anger and despondency.

Middlemarch Context: Dorothea's perspective of being at the Vatican Museum. Significance: First moment where we see Dorothea isn't happy in her marriage.

Pg. 9 - And how should Dorothea not marry?—a girl so handsome and with such prospects? Nothing could hinder it but her love of extremes, and her insistence on regulating life according to notions which might cause a wary man to hesitate before he made her an offer, or even might lead her at last to refuse all offers. A young lady of some birth and fortune, who knelt suddenly down on a brick floor by the side of a sick laborer and prayed fervidly as if she thought herself living in the time of the Apostles—who had strange whims of fasting like a Papist, and of sitting up at night to read old theological books! Such a wife might awaken you some fine morning with a new scheme for the application of her income which would interfere with political economy and the keeping of saddle-horses: a man would naturally think twice before he risked himself in such fellowship. Women were expected to have weak opinions; but the great safeguard of society and of domestic life was, that opinions were not acted on. Sane people did what their neighbors did, so that if any lunatics were at large, one might know and avoid them. The rural opinion about the new young ladies, even among the cottagers, was generally in favor of Celia, as being so amiable and innocent-looking, while Miss Brooke's large eyes seemed, like her religion, too unusual and striking. Poor Dorothea! compared with her, the innocent-looking Celia was knowing and worldly-wise; so much subtler is a human mind than the outside tissues which make a sort of blazonry or clock-face for it. Yet those who approached Dorothea, though prejudiced against her by this alarming hearsay, found that she had a charm unaccountably reconcilable with it. Most men thought her bewitching when she was on horseback. She loved the fresh air and the various aspects of the country, and when her eyes and cheeks glowed with mingled pleasure she looked very little like a devotee. Riding was an indulgence which she allowed herself in spite of conscientious qualms; she felt that she enjoyed it in a pagan sensuous way, and always looked forward to renouncing it.

Middlemarch Context: In opening chapter of novel, narrator discusses how if Dorothea has a son, he'll inherit Mr. Brooke's estate. Significance: Assumed reader is male (how?). Dorothea wants word to do, and religious language is what she has to do that with. When Dorothea says she looks forward to giving up horseback riding, a reader becomes skeptical of her self-renunciation.

Pg. 278- One morning, some weeks after her arrival at Lowick, Dorothea—but why always Dorothea? Was her point of view the only possible one with regard to this marriage? I protest against all our interest, all our effort at understanding being given to the young skins that look blooming in spite of trouble; for these too will get faded, and will know the older and more eating griefs which we are helping to neglect. In spite of the blinking eyes and white moles objectionable to Celia, and the want of muscular curve which was morally painful to Sir James, Mr. Casaubon had an intense consciousness within him, and was spiritually a-hungered like the rest of us. He had done nothing exceptional in marrying—nothing but what society sanctions, and considers an occasion for wreaths and bouquets. It had occurred to him that he must not any longer defer his intention of matrimony, and he had reflected that in taking a wife, a man of good position should expect and carefully choose a blooming young lady—the younger the better, because more educable and submissive—of a rank equal to his own, of religious principles, virtuous disposition, and good understanding. On such a young lady he would make handsome settlements, and he would neglect no arrangement for her happiness: in return, he should receive family pleasures and leave behind him that copy of himself which seemed so urgently required of a man—to the sonneteers of the sixteenth century. Times had altered since then, and no sonneteer had insisted on Mr. Casaubon's leaving a copy of himself; moreover, he had not yet succeeded in issuing copies of his mythological key; but he had always intended to acquit himself by marriage, and the sense that he was fast leaving the years behind him, that the world was getting dimmer and that he felt lonely, was a reason to him for losing no more time in overtaking domestic delights before they too were left behind by the years.

Middlemarch Context: Just after Dorothea finds out about Celia and Sir John's engagement. Significance: Narrative break (disruption of omniscient narrator). There are points of view outside of main characters, and this suggests that all POVs, even small ones, are important --other lives experience world just as intensely as main characters--other povs

Pg. 79- "Oh, come, this is a nice bit, now. I did a little in this way myself at one time, you know. Look here, now; this is what I call a nice thing, done with what we used to call brio." Mr. Brooke held out towards the two girls a large colored sketch of stony ground and trees, with a pool. "I am no judge of these things," said Dorothea, not coldly, but with an eager deprecation of the appeal to her. "You know, uncle, I never see the beauty of those pictures which you say are so much praised. They are a language I do not understand. I suppose there is some relation between pictures and nature which I am too ignorant to feel—just as you see what a Greek sentence stands for which means nothing to me." Dorothea looked up at Mr. Casaubon, who bowed his head towards her, while Mr. Brooke said, smiling nonchalantly—

Middlemarch Context: Just after Dorothea first meets Ladislaw and Mr. Brooke shows her a picture of a landscape after confirming that Ladislaw is an artist. Significance: Irony because Dorothea expresses confusion over landscapes, and the novel is a depiction of a literary landscape. Also, she's probably being snarky here because she's learns the things that she wants to learn about. --objects to how it represents the world

Pg. 190 - "Bah! that is because you are dilettantish and amateurish. If you were an artist, you would think of Mistress Second-Cousin as antique form animated by Christian sentiment—a sort of Christian Antigone—sensuous force controlled by spiritual passion."

Middlemarch Context: Ladislaw and friend see Dorothea in Vatican museum on her honeymoon. Significance: Cleopatra is hypersexualized, which emphasizes how note sexual Dorothea is portrayed (although the quote from 190 suggests she can be both a cleo and Christian). Ariadne was of use to to Theseus, which is all Dorothea wants to be to Casaubon. Both Cleopatra and Ariadne are figures of female power. Statues predate Dorothea's existence, which raises questions about how institutions shape us.

Pg. 188 - Quickness was ready at the call, and the two figures passed lightly along by the Meleager, towards the hall where the reclining Ariadne, then called the Cleopatra, lies in the marble voluptuousness of her beauty, the drapery folding around her with a petal-like ease and tenderness. They were just in time to see another figure standing against a pedestal near the reclining marble: a breathing blooming girl, whose form, not shamed by the Ariadne, was clad in Quakerish gray drapery; her long cloak, fastened at the neck, was thrown backward from her arms, and one beautiful ungloved hand pillowed her cheek, pushing somewhat backward the white beaver bonnet which made a sort of halo to her face around the simply braided dark-brown hair. She was not looking at the sculpture, probably not thinking of it: her large eyes were fixed dreamily on a streak of sunlight which fell across the floor. But she became conscious of the two strangers who suddenly paused as if to contemplate the Cleopatra, and, without looking at them, immediately turned away to join a maid-servant and courier who were loitering along the hall at a little distance off.

Middlemarch Context: Ladislaw and friend see Dorothea in Vatican museum on her honeymoon. Significance: Cleopatra is hypersexualized, which emphasizes how note sexual Dorothea is portrayed (although the quote from 190 suggests she can be both a cleo and Christian). Ariadne was of use to to Theseus, which is all Dorothea wants to be to Casaubon. Both Cleopatra and Ariadne are figures of female power. Statues predate Dorothea's existence, which raises questions about how institutions shape us. -imitations disrupt her uniqueness -she wants social participation-power

Pg. 269 - But he made some enemies, other than medical, by his success with Miss Vincy. One evening he came into the drawing-room rather late, when several other visitors were there. The card-table had drawn off the elders, and Mr. Ned Plymdale (one of the good matches in Middlemarch, though not one of its leading minds) was in tete-a-tete with Rosamond. He had brought the last "Keepsake," the gorgeous watered-silk publication which marked modern progress at that time; and he considered himself very fortunate that he could be the first to look over it with her, dwelling on the ladies and gentlemen with shiny copper-plate cheeks and copper-plate smiles, and pointing to comic verses as capital and sentimental stories as interesting. Rosamond was gracious, and Mr. Ned was satisfied that he had the very best thing in art and literature as a medium for "paying addresses"—the very thing to please a nice girl. He had also reasons, deep rather than ostensible, for being satisfied with his own appearance. To superficial observers his chin had too vanishing an aspect, looking as if it were being gradually reabsorbed. And it did indeed cause him some difficulty about the fit of his satin stocks, for which chins were at that time useful.

Middlemarch Context: Lydgate and Rosamond are officially flirting. Significance: Narrative is disdainful of commercial literary object. Keepsake = associates Rosamond with artificial. Keepsake has excerpts =simplistic because it doesn't have whole poem. --critiques this/making fun --rosamond associated to excerpt (simplistic)--degraded form of literary consumerism

Pg. 264- An eminent philosopher among my friends, who can dignify even your ugly furniture by lifting it into the serene light of science, has shown me this pregnant little fact. Your pier-glass or extensive surface of polished steel made to be rubbed by a housemaid, will be minutely and multitudinously scratched in all directions; but place now against it a lighted candle as a centre of illumination, and lo! the scratches will seem to arrange themselves in a fine series of concentric circles round that little sun. It is demonstrable that the scratches are going everywhere impartially and it is only your candle which produces the flattering illusion of a concentric arrangement, its light falling with an exclusive optical selection. These things are a parable. The scratches are events, and the candle is the egoism of any person now absent—of Miss Vincy, for example. Rosamond had a Providence of her own who had kindly made her more charming than other girls, and who seemed to have arranged Fred's illness and Mr. Wrench's mistake in order to bring her and Lydgate within effective proximity. It would have been to contravene these arrangements if Rosamond had consented to go away to Stone Court or elsewhere, as her parents wished her to do, especially since Mr. Lydgate thought the precaution needless. Therefore, while Miss Morgan and the children were sent away to a farmhouse the morning after Fred's illness had declared itself, Rosamond refused to leave papa and mamma.

Middlemarch Context: Lydgate has just been installed as a medical attendant to care for Fred Vincy. Significance: Just because something looks like it makes sense doesn't mean that that's the case in reality. There is an egoism in thinking that one can find one single unifying unit. Only thing that creates order of the disorderly units is a subjective viewpoint. --pierglass--single unifying theory--inherent egoism --metaphors can mislead--illuminate illusions --seems orderly but not

Pg. 299- Rosamond became very unhappy. The uneasiness first stirred by her aunt's questions grew and grew till at the end of ten days that she had not seen Lydgate, it grew into terror at the blank that might possibly come—into foreboding of that ready, fatal sponge which so cheaply wipes out the hopes of mortals. The world would have a new dreariness for her, as a wilderness that a magician's spells had turned for a little while into a garden. She felt that she was beginning to know the pang of disappointed love, and that no other man could be the occasion of such delightful aerial building as she had been enjoying for the last six months. Poor Rosamond lost her appetite and felt as forlorn as Ariadne—as a charming stage Ariadne left behind with all her boxes full of costumes and no hope of a coach.

Middlemarch Context: Lydgate's narrative describes that he has just resolved to only go to the Vincy's on business; it also details that he thinks that Rosamond has only taken his presence as lightly as he has intended. Significance: "Stage Ariadne" = repetition of ideal, but, by virtue of being a repetition, she's a degradation of ideal. --authenticity of experience vs who she is

Pg. 393- It is true that an observer, under that softening influence of the fine arts which makes other people's hardships picturesque, might have been delighted with this homestead called Freeman's End: the old house had dormer-windows in the dark red roof, two of the chimneys were choked with ivy, the large porch was blocked up with bundles of sticks, and half the windows were closed with gray worm-eaten shutters about which the jasmine-boughs grew in wild luxuriance; the mouldering garden wall with hollyhocks peeping over it was a perfect study of highly mingled subdued color, and there was an aged goat (kept doubtless on interesting superstitious grounds) lying against the open back-kitchen door. The mossy thatch of the cow-shed, the broken gray barn-doors, the pauper laborers in ragged breeches who had nearly finished unloading a wagon of corn into the barn ready for early thrashing; the scanty dairy of cows being tethered for milking and leaving one half of the shed in brown emptiness; the very pigs and white ducks seeming to wander about the uneven neglected yard as if in low spirits from feeding on a too meagre quality of rinsings,—all these objects under the quiet light of a sky marbled with high clouds would have made a sort of picture which we have all paused over as a "charming bit," touching other sensibilities than those which are stirred by the depression of the agricultural interest, with the sad lack of farming capital, as seen constantly in the newspapers of that time. But these troublesome associations were just now strongly present to Mr. Brooke, and spoiled the scene for him. Mr. Dagley himself made a figure in the landscape, carrying a pitchfork and wearing his milking-hat—a very old beaver flattened in front. His coat and breeches were the best he had, and he would not have been wearing them on this weekday occasion if he had not been to market and returned later than usual, having given himself the rare treat of dining at the public table of the Blue Bull. How he came to fall into this extravagance would perhaps be matter of wonderment to himself on the morrow; but before dinner something in the state of the country, a slight pause in the harvest before the Far Dips were cut, the stories about the new King and the numerous handbills on the walls, had seemed to warrant a little recklessness. It was a maxim about Middlemarch, and regarded as self-evident, that good meat should have good drink, which last Dagley interpreted as plenty of table ale well followed up by rum-and-water. These liquors have so far truth in them that they were not false enough to make poor Dagley seem merry: they only made his discontent less tongue-tied than usual. He had also taken too much in the shape of muddy political talk, a stimulant dangerously disturbing to his farming conservatism, which consisted in holding that whatever is, is bad, and any change is likely to be worse. He was flushed, and his eyes had a decidedly quarrelsome stare as he stood still grasping his pitchfork, while the landlord approached with his easy shuffling walk, one hand in his trouser-pocket and the other swinging round a thin walking-stick.

Middlemarch Context: Mr. Brooke has to visit his tenants because of a poaching problem . Significance: Negative portrayal of the landscape as falsifying. Pictures only show "truth" when combined with newspapers. --landscape turns rural, decaying --suffering of rural life into an aesthetic object for those who are not affected

Pg. 615 - It was not that he was in danger of legal punishment or of beggary: he was in danger only of seeing disclosed to the judgment of his neighbors and the mournful perception of his wife certain facts of his past life which would render him an object of scorn and an opprobrium of the religion with which he had diligently associated himself. The terror of being judged sharpens the memory: it sends an inevitable glare over that long-unvisited past which has been habitually recalled only in general phrases. Even without memory, the life is bound into one by a zone of dependence in growth and decay; but intense memory forces a man to own his blameworthy past. With memory set smarting like a reopened wound, a man's past is not simply a dead history, an outworn preparation of the present: it is not a repented error shaken loose from the life: it is a still quivering part of himself, bringing shudders and bitter flavors and the tinglings of a merited shame.

Middlemarch Context: Mr. Bulstrode discusses his fear of Raffles return. Significance: It is the "fear of being judged" that makes memories sharper; the fear of what neighbors might think (internalize it). You can't get rid of past and it's impossible to forget your "sketchy past." His concern with neighbors relates to Chrisitianity and need to "love your neighbors." Bodily images make memory not just an abstract thing; memory is physically painful (corporeal metaphor) --how memory is being represented & moral clarity --not tied to neighbors except by space --what they think vs internalization of what they might think --truth and possibility of achieving moral clarity --neighbors as a moral force --metaphors--unembodied = memory

Pg. 710 - Early in the morning—about six—Mr. Bulstrode rose and spent some time in prayer. Does any one suppose that private prayer is necessarily candid—necessarily goes to the roots of action? Private prayer is inaudible speech, and speech is representative: who can represent himself just as he is, even in his own reflections? Bulstrode had not yet unravelled in his thought the confused promptings of the last four-and-twenty hours.

Middlemarch Context: Mr. Bulstrode's internal struggles while waiting to find out about Raffles state of health. Significance: Questions of self-representation in our own thoughts; we can lie to ourselves. --not unravelled yet--impossibility of knowing truth even in honest moment (private prayer) b/c problem of misrepresentation --prayer is problematic too b/c cast thoughts into language --pg 371 significance because metaphors insufficient too-- can't really know things

Pg. 537 - Mrs. Cadwallader said, privately, "You will certainly go mad in that house alone, my dear. You will see visions. We have all got to exert ourselves a little to keep sane, and call things by the same names as other people call them by. To be sure, for younger sons and women who have no money, it is a sort of provision to go mad: they are taken care of then. But you must not run into that. I dare say you are a little bored here with our good dowager; but think what a bore you might become yourself to your fellow-creatures if you were always playing tragedy queen and taking things sublimely. Sitting alone in that library at Lowick you may fancy yourself ruling the weather; you must get a few people round you who wouldn't believe you if you told them. That is a good lowering medicine."

Middlemarch Context: Mrs. Cadawallader gives Dorothea advice after hearing that she plans on going to run lowick by herself. Significance: While individual can be right to exert themselves, sometimes the community is right. The novel is savy at navigating this tension. --consensus admire dorothea but community is right some times --tension of ideals --individualism and community

Pg. 59 - Now, why on earth should Mrs. Cadwallader have been at all busy about Miss Brooke's marriage; and why, when one match that she liked to think she had a hand in was frustrated, should she have straightway contrived the preliminaries of another? Was there any ingenious plot, any hide-and-seek course of action, which might be detected by a careful telescopic watch? Not at all: a telescope might have swept the parishes of Tipton and Freshitt, the whole area visited by Mrs. Cadwallader in her phaeton, without witnessing any interview that could excite suspicion, or any scene from which she did not return with the same unperturbed keenness of eye and the same high natural color. In fact, if that convenient vehicle had existed in the days of the Seven Sages, one of them would doubtless have remarked, that you can know little of women by following them about in their pony-phaetons. Even with a microscope directed on a water-drop we find ourselves making interpretations which turn out to be rather coarse; for whereas under a weak lens you may seem to see a creature exhibiting an active voracity into which other smaller creatures actively play as if they were so many animated tax-pennies, a stronger lens reveals to you certain tiniest hairlets which make vortices for these victims while the swallower waits passively at his receipt of custom. In this way, metaphorically speaking, a strong lens applied to Mrs. Cadwallader's match-making will show a play of minute causes producing what may be called thought and speech vortices to bring her the sort of food she needed.

Middlemarch Context: Mrs. Cadwallader explains that Sir James intended on courting on Dorothea but ended up attracting Celia. Significance: One metaphor leads to another w/o arriving at definitive explanation. Is this an endless chain of signification?--deconstructionist

Pg. 144- The page he opened on was under the head of Anatomy, and the first passage that drew his eyes was on the valves of the heart. He was not much acquainted with valves of any sort, but he knew that valvae were folding-doors, and through this crevice came a sudden light startling him with his first vivid notion of finely adjusted mechanism in the human frame. A liberal education had of course left him free to read the indecent passages in the school classics, but beyond a general sense of secrecy and obscenity in connection with his internal structure, had left his imagination quite unbiassed, so that for anything he knew his brains lay in small bags at his temples, and he had no more thought of representing to himself how his blood circulated than how paper served instead of gold. But the moment of vocation had come, and before he got down from his chair, the world was made new to him by a presentiment of endless processes filling the vast spaces planked out of his sight by that wordy ignorance which he had supposed to be knowledge. From that hour Lydgate felt the growth of an intellectual passion.

Middlemarch Context: Narrator's attempt to make a reader better acquainted with Lydgate. Significance: Lydgate's eureka moment with regard to vocation. He finds his vocation in heart, which indicates that he approached his vocation with love. Valves are like folding doors; it's also a metaphor for him entering his profession. Moment of discovery was like seeing light on other side of folding doors = spiritual discovery and that he's part of the lect. --love and work are mutually exclusive (one impairs the other)

Pg. 7 - Miss Brooke had that kind of beauty which seems to be thrown into relief by poor dress. Her hand and wrist were so finely formed that she could wear sleeves not less bare of style than those in which the Blessed Virgin appeared to Italian painters; and her profile as well as her stature and bearing seemed to gain the more dignity from her plain garments, which by the side of provincial fashion gave her the impressiveness of a fine quotation from the Bible,—or from one of our elder poets,—in a paragraph of to-day's newspaper. She was usually spoken of as being remarkably clever, but with the addition that her sister Celia had more common-sense. Nevertheless, Celia wore scarcely more trimmings; and it was only to close observers that her dress differed from her sister's, and had a shade of coquetry in its arrangements; for Miss Brooke's plain dressing was due to mixed conditions, in most of which her sister shared. The pride of being ladies had something to do with it: the Brooke connections, though not exactly aristocratic, were unquestionably "good:" if you inquired backward for a generation or two, you would not find any yard-measuring or parcel-tying forefathers—anything lower than an admiral or a clergyman; and there was even an ancestor discernible as a Puritan gentleman who served under Cromwell, but afterwards conformed, and managed to come out of all political troubles as the proprietor of a respectable family estate.

Middlemarch Context: Opening of first book of novel. Significance: Dorothea is compared to the blessed virgin, which is an iconographic representation of Dorothea that suggests she's part of a tradition that precedes her. "That" in "that kind" indicates that it's a kind of a beauty that people are familiar with. By stating that she has the impressiveness of a bible quote or poet, it makes these things seem mainstream, which may make Dorothea seem less special or peculiar. Additionally, scripture and poets help to establish authority. It might indicate a skepticism regarding religion as it isn'r portrayed super well in the novel. It also may indicate a sense of unbelonging as scripture belongs in a bible not a newspaper. --association of aesthetics & ethics (beauty and goodness)

Pg.104-The ride to Stone Court, which Fred and Rosamond took the next morning, lay through a pretty bit of midland landscape, almost all meadows and pastures, with hedgerows still allowed to grow in bushy beauty and to spread out coral fruit for the birds. Little details gave each field a particular physiognomy, dear to the eyes that have looked on them from childhood: the pool in the corner where the grasses were dank and trees leaned whisperingly; the great oak shadowing a bare place in mid-pasture; the high bank where the ash-trees grew; the sudden slope of the old marl-pit making a red background for the burdock; the huddled roofs and ricks of the homestead without a traceable way of approach; the gray gate and fences against the depths of the bordering wood; and the stray hovel, its old, old thatch full of mossy hills and valleys with wondrous modulations of light and shadow such as we travel far to see in later life, and see larger, but not more beautiful. These are the things that make the gamut of joy in landscape to midland-bred souls—the things they toddled among, or perhaps learned by heart standing between their father's knees while he drove leisurely.

Middlemarch Context: Rosamond and Fred on the way to Stonecourt. Beginning of the chapter after a chapter that depicts breakfast at the Vincy house and Rosamond pretends that she doesn't care if she rides with Fred to Stonecourt even though that's exactly where she wanted to go. Significance: Description of landscape. This passage seems to be more of an examination of how the psyche experiences landscape rather than the landscape itself; it's nostalgic for them. --valued even though not beautiful --cultivation vs natural world--plant as human boundary --childhood--pure/innocent space

Pg. 352 - "He touched her ear and a little bit of neck under it with his lips, and they sat quite still for many minutes which flowed by them like a small gurgling brook with the kisses of the sun upon it. Rosamond thought that no one could be more in love than she was; and Lydgate thought that after all his wild mistakes and absurd credulity, he had found perfect womanhood—felt as if already breathed upon by exquisite wedded affection such as would be bestowed by an accomplished creature who venerated his high musings and momentous labors and would never interfere with them; who would create order in the home and accounts with still magic, yet keep her fingers ready to touch the lute and transform life into romance at any moment; who was instructed to the true womanly limit and not a hair's-breadth beyond—docile, therefore, and ready to carry out behests which came from that limit. It was plainer now than ever that his notion of remaining much longer a bachelor had been a mistake: marriage would not be an obstruction but a furtherance. And happening the next day to accompany a patient to Brassing, he saw a dinner-service there which struck him as so exactly the right thing that he bought it at once. It saved time to do these things just when you thought of them, and Lydgate hated ugly crockery. The dinner-service in question was expensive, but that might be in the nature of dinner-services. Furnishing was necessarily expensive; but then it had to be done only once."

Middlemarch Context: Rosamond and Vincy have just agreed to up their wedding date. Significance: In terms of maturation, Lydgate is in idealistic stage. "Perfect womanhood" = naive. Lute is an instrument that hasn't been played since medieval times, so his account is not based in reality. Literally uses word "magic". When you parallel this relationship to Dorothea and Casaubon's, you see they're headed to failure.

Pg. 436 - Rosamond felt herself beginning to know a great deal of the world, especially in discovering what when she was in her unmarried girlhood had been inconceivable to her except as a dim tragedy in by-gone costumes—that women, even after marriage, might make conquests and enslave men. At that time young ladies in the country, even when educated at Mrs. Lemon's, read little French literature later than Racine, and public prints had not cast their present magnificent illumination over the scandals of life. Still, vanity, with a woman's whole mind and day to work in, can construct abundantly on slight hints, especially on such a hint as the possibility of indefinite conquests. How delightful to make captives from the throne of marriage with a husband as crown-prince by your side—himself in fact a subject—while the captives look up forever hopeless, losing their rest probably, and if their appetite too, so much the better! But Rosamond's romance turned at present chiefly on her crown-prince, and it was enough to enjoy his assured subjection. When he said, "Poor devil!" she asked, with playful curiosity—

Middlemarch Context: Rosamond questions Lydgate about his like of Ladislaw after indicating that they have been spending time alone together. Sig: Rosamond imagines novels of adultery, which would have been scandalous in her youth, but now she considers it.

Pg. 13- How very beautiful these gems are!" said Dorothea, under a new current of feeling, as sudden as the gleam. "It is strange how deeply colors seem to penetrate one, like scent. I suppose that is the reason why gems are used as spiritual emblems in the Revelation of St. John. They look like fragments of heaven. I think that emerald is more beautiful than any of them."

Middlemarch Context: Still opening chapter of novel. Celia and Dorothea grow through some of what they have inherited from mother. Significance: Dorothea justifies her like of the jewels in religious language. Why can't she simply think they're beautiful? Part of Dorothea's arc is learning to admit she has desires.

Pg. 141 - I at least have so much to do in unraveling certain human lots, and seeing how they were woven and interwoven, that all the light I can command must be concentrated on this particular web, and not dispersed over that tempting range of relevancies called the universe.

Middlemarch Context: narrator "we historians"--talking before giving background on lydgate Significance: Present novelistic plot as a web.

Pg. 117 - "Miss Vincy is a musician?" said Lydgate, following her with his eyes. (Every nerve and muscle in Rosamond was adjusted to the consciousness that she was being looked at. She was by nature an actress of parts that entered into her physique: she even acted her own character, and so well, that she did not know it to be precisely her own.)

Middlemarch Context:vincys go to stonecourt Significance: Parentheses= syntax reflects her artifice and artificial nature. Parentheses are theatrical themselves. -observation - artificiality is hidden theatrical metaphor -reenacting lydgate's mistake

"they were about love, lovers, loving, martyred maidens swooning in secluded lodges, postilions slain every other mile, horses ridden to death on every page, dark forests, aching hearts, promising, sobbing kisses and tears, little boats by moonlight, nightingales in the grove, gentlemen brave as lions, tender as lambs, viruous as a dream, always well dressed, and weepeing pins" (35)

bovary books emma read at school style vs. subject

"she sat for several minutes...fora litle grey dust trickled off the letter...tongs"

bovary letter from emma's dad crossed boundary, transgression of adultery creative possbility

"the splendid vision endured ...she wanted to become a saint. she bough rosaries, she wore amulets, she yearned to have in her room ... night" (198)

bovary --precedent of irony --context to perceive --makes sense that she understands sainthood as material desire if we didn't know about saints we wouldn't understand irony

""Yes," said he, when he returned to Emma, unfolding his large cotton handkerchief, one corner of which he put between his teeth, "farmers are much to be pitied." "Others, too," she replied. "Assuredly. Town-labourers, for example." "It is not they--" "Pardon! I've there known poor mothers of families, virtuous women, I assure you, real saints, who wanted even bread." "But those," replied Emma, and the corners of her mouth twitched as she spoke, "those, Monsieur le Cure, who have bread and have no--" "Fire in the winter," said the priest. "Oh, what does that matter?" "What! What does it matter? It seems to me that when one has firing and food--for, after all--" "My God! my God!" she sighed.

bovary (not same text) --priest thinks about material not spiritual--irony

Pg. 3- [Who that cares much to know the history of man, and how the mysterious mixture behaves under the varying experiments of Time, has not dwelt, at least briefly, on the life of Saint Theresa, has not smiled with some gentleness at the thought of the little girl walking forth one morning hand-in-hand with her still smaller brother, to go and seek martyrdom in the country of the Moors? Out they toddled from rugged Avila,] wide-eyed and helpless-looking as two fawns, but with human hearts, already beating to a national idea; until domestic reality met them in the shape of uncles, and turned them back from their great resolve. That child-pilgrimage was a fit beginning. Theresa's passionate, ideal nature demanded an epic life: what were many-volumed romances of chivalry and the social conquests of a brilliant girl to her? Her flame quickly burned up that light fuel; and, fed from within, soared after some illimitable satisfaction, some object which would never justify weariness, which would reconcile self-despair with the rapturous consciousness of life beyond self. She found her epos in the reform of a religious order. [That Spanish woman who lived three hundred years ago, was certainly not the last of her kind. Many Theresas have been born who found for themselves no epic life wherein there was a constant unfolding of far-resonant action; perhaps only a life of mistakes, the offspring of a certain spiritual grandeur ill-matched with the meanness of opportunity; perhaps a tragic failure which found no sacred poet and sank unwept into oblivion. With dim lights and tangled circumstance they tried to shape their thought and deed in noble agreement; but after all, to common eyes their struggles seemed mere inconsistency and formlessness; for these later-born Theresas were helped by no coherent social faith and order which could perform the function of knowledge for the ardently willing soul. Their ardor alternated between a vague ideal and the common yearning of womanhood; so that the one was disapproved as extravagance, and the other condemned as a lapse. Some have felt that these blundering lives are due to the inconvenient indefiniteness with which the Supreme Power has fashioned the natures of women: if there were one level of feminine incompetence as strict as the ability to count three and no more, the social lot of women might be treated with scientific certitude. Meanwhile the indefiniteness remains, and the limits of variation are really much wider than any one would imagine from the sameness of women's coiffure and the favorite love-stories in prose and verse. Here and there a cygnet is reared uneasily among the ducklings in the brown pond, and never finds the living stream in fellowship with its own oary-footed kind. Here and there is born a Saint Theresa, foundress of nothing, whose loving heart-beats and sobs after an unattained goodness tremble off and are dispersed among hindrances, instead of centering in some long-recognizable deed.

middlemarch Context: Prelude; opens novel. Significance: Opens with a rhetorical question, which has an assumed answer (which is?). --Epic heroism is impossible in modern world because we only see sameness and not differences. (ex: fever) Novel focuses on aspiration for achievement and not actual achievement, and this is heroism in a modern world. -operational myth of novel "some long-recognizable deed"--> 2 lines of value: contribution ot her/achievement; woman of 19th century could not do -- recognized for contribution to something other than history (touched people's lives)