Two gallants

On a Sunday evening in August, a young man named Corley has told another, Lenehan, of a plan he has hatched with a housekeeper engaged in prostitution on the side. Corley goes off with the young woman, while Lenehan walks idly around Dublin until 10:30, stopping only to eat a dinner of peas and ginger beer at a pub. Finally, exactly according to plan, Lenehan observes from a distance but does not interrupt as the woman enters via the basement the elegant house where she works and emerges from the front door. Minutes later, Corley shows Lenehan what she has stolen from inside: a gold coin.

Dubliners

After the race

After an automobile race outside Dublin, a 26-year-old Irishman named Jimmy, the son of a wealthy former butcher, accompanies the French team back into the city. Jimmy was educated at a Catholic preparatory school in England, then Trinity College in Dublin, and finally at Cambridge University (though he was never a serious student). Back in Dublin, Jimmy and one of the drivers (Villona) change their clothes at his parents’ house, and then join the others (Ségouin and Rivière) as well as a young Englishman (Routh) for dinner at the hotel of a team member. Afterward, accompanied by an American (Farley), Jimmy, the French racing team, and the Englishman take a train to nearby Kingstown. There they board the American’s yacht. Aboard the yacht they dance, eat, drink, and play cards, at which Jimmy loses a great deal of money.

Dubliners

Eveline

Eveline Hill, a 19-year-old woman who works in a Dublin shop, sits inside her family’s house recalling childhood, including some happy memories as well as her father’s drunken brutality to her and her siblings. Eveline thinks about people she has known who have either left Ireland (a priest who has traveled to Melbourne, for example) or died (her mother and her brother Ernest), and of her own plans to leave the country with a man named Frank. She recalls meeting Frank, an Irish sailor now living in Argentina, and dating him while he visited Dublin on vacation. Eveline also thinks about her father’s disapproval of Frank, and of her promise “to keep the home together as long as she could” before her mother grew deranged and died. Later, gripped by fear of the unknown and probably guilt as well, Eveline finds herself unable to board the ferry to England, where she and Frank are scheduled to meet a ship bound for South America. He leaves without her.

Dubliners

Araby

young boy who is similar in age and temperament to those in “The Sisters” and “An Encounter” develops a crush on Mangan’s sister, a girl who lives across the street. One evening she asks him if he plans to go to a bazaar (a fair organized, probably by a church, to raise money for charity) called Araby. The girl will be away on a retreat when the bazaar is held and therefore unable to attend. The boy promises that if he goes he will bring her something from Araby.

The boy requests and receives permission to attend the bazaar on Saturday night. When Saturday night comes, however, his uncle returns home late, possibly having visited a pub after work. After much anguished waiting, the boy receives money for the bazaar, but by the time he arrives at Araby, it is too late. The event is shutting down for the night, and he does not have enough money to buy something nice for Mangan’s sister anyway. The boy cries in frustration.

Dubliners

An encounter

As in “The Sisters,” an unnamed storyteller (possibly the same narrator featured in that story) recalls a transformative boyhood experience. Here, the boy schemes with his friends Leo Dillon and Mahony to play hooky from their exclusive private school one day in June and walk across Dublin, and then ride a ferry boat across the River Liffey to the Pigeon House. When Dillon fails to show up, the narrator and Mahony leave without him.

After crossing the Liffey, the boys chase a stray cat across a field and encounter a stranger there. The man quizzes the narrator and Mahony on the books they’ve read, and then asks them if they have girlfriends. After a while, the man crosses the field and does something that the boys find “queer”—probably masturbating. Then he returns. When Mahony leaves to pursue the cat further, the strange man talks obsessively to the protagonist (main character) about the need for boys who misbehave to be whipped. When the stranger is done talking, the boy leaves, seeking Mahony.

Dubliners

The sisters

It is 1895 in Dublin, Ireland when an unnamed boy comes down to supper one evening. Family friend Old Cotter is telling the boy’s aunt and uncle that the boy’s mentor, Father James Flynn, has passed away after a third stroke. The two men share the opinion that spending time with Father Flynn was unhealthy for the boy, who should have been playing “with young lads of his own age.” In bed later, the boy tries to understand why Old Cotter and his uncle would not want him to associate with Father Flynn; then he imagines or dreams about the priest trying to confess something to him.

The following morning, the boy visits Father Flynn’s house and finds a card displayed outside announcing the man’s death, but he does not knock on the door. He feels less sad than he would have expected; in fact, the boy experiences “a sensation of freedom” as a result of his mentor’s death. That evening, the boy’s aunt takes him on a formal visit to the house of mourning. He sees the body of Father Flynn lying in an open casket, after which the boy’s aunt and the priest’s two sisters converse cryptically about the deceased, implying that he was mentally unstable for some time before dying and that he may have been involved in some scandal or other.

Dubliners

James Joyce

Excess and Destruction

One overriding moral message in the novel is that living recklessly and excessively leads to personal decline and destruction. The consequences extend beyond the individual and affect others, as well, such as when Abe's excessive drinking causes the imprisonment of one innocent man and the death of another. Dick's excessive drinking also has dire consequences, such as alienating his friends, ruining his career, and getting him beaten and imprisoned. His obsessive interest in youth and beauty contributes to the destruction of his marriage, paints him as a sexual pervert, and eventually entangles him in a lawsuit.

Fitzgerald wrote this novel during an era that clearly indicated how living excessively and recklessly has serious and destructive consequences. The Jazz Age was, in essence, a period of excess. Following World War I, the social climate reached an energetic peak during the Roaring Twenties. With a new emphasis on individualism and the pursuit of pleasure and enjoyment, this period was filled with raucous gaiety that, in the end, had serious negative consequences. The excesses of drink and pleasure that cause the destruction of characters in Tender is the Night reflect Fitzgerald's sensitivity to the excesses of the Jazz Age prior to the Great Depression.

Tender is the Night
F. Scott Fitzgerald

Jay Gatsby (James Gatz)

Gatsby is, of course, both the novel's title character and its protagonist. Gatsby is a mysterious, fantastically wealthy young man. Every Saturday, his garish Gothic mansion in West Egg serves as the site of extravagant parties. Later in the novel, we learn that his real name is James Gatz; he was born in North Dakota to an impoverished farming family. While serving in the Army in World War I, Gatsby met Daisy Fay (now Daisy Buchanan) and fell passionately in love with her. He worked briefly for a millionaire, and became acquainted with the people and customs of high society. This, coupled with his love of Daisy, inspired Gatsby to devote his life to the acquisition of wealth.

The Great Gatsby

When You Are Old

When you are old and grey and full of sleep,
And nodding by the fire, take down this book,
And slowly read, and dream of the soft look
Your eyes had once, and of their shadows deep;
How many loved your moments of glad grace,
And loved your beauty with love false or true,
But one man loved the pilgrim Soul in you,
And loved the sorrows of your changing face;
And bending down beside the glowing bars,
Murmur, a little sadly, how Love fled
And paced upon the mountains overhead

And hid his face amid a crowd of stars.

Stability vs. Freedom

The psychological struggle between the need for stability and the desire for freedom is perhaps the central concern of Breakfast at Tiffany's. The conflict structures the relationship between the narrator and Holly, who are opposing forces. While the narrator is happy to have his first home, Holly is consumed by her need to constantly escape from places, people and things. Even Holly's identity is in a constant state of flux. Holly assumes the name "Holiday Golightly", which encapsulates her strategy of avoiding stability by making a holiday out of life, and abandoning relationships and responsibilities when they threaten to jeopardize her freedom. For Holly, the distinction between stability and freedom is articulated by two of the novella's major symbols: animals (including Holly's cat) and Tiffany's (in which Holly feels properly "at home"). Holly despises the caging of animals, and refuses to name her cat. As a "wild thing", she feels he doesn't "belong" to her. Her fantasy that one day she will have, "breakfast at Tiffany's," an absurdity since Tiffany's does not serve food, indicates her choice to avoid stability by casting it in the unattainable ideals of fantasy.

By casting the two main characters on opposite sides of the stability/freedom divide, Capote suggests that each has something to learn from the other. The mutual influence of the two friends is demonstrated by their Christmas gift exchange, in which Holly gives the narrator a bird cage and the narrator gives her a medal of St. Christopher. Each gift illustrates a median between stability and freedom: Holly's gift is a cage, but it will never imprison a bird, and the narrator's gift is a medal of the patron saint of travel, but it comes from Tiffany's, Holly's personal symbol of home. By the conclusion of Breakfast at Tiffany's, it is clear that this influence has, at least in part, been realized: Holly confesses her sense of "belonging" with her cat, and the narrator reveals that, since the conclusion of their friendship, he has enjoyed lengthy trips around the world.

While Holly and the narrator represent different psychological impulses toward stability and freedom, Breakfast at Tiffany's suggests that both characters' pathologies stem from the sense of social exclusion common to people whose lifestyles do not conform to American convention. Indeed, both characters are consumed with a sense that they do not belong or are not "at home" in the larger world. The narrator feels a constant outsider, his nose pressed against a glass, and Holly is convinced that she is a "wild thing", unsuited to a proper place in society. Thus, Holly and the narrator are similar insofar as for both of them, "home" has become a charged object of fantasy and longing.

Breakfast at Tiffany's
Truman Capote

Sonnet XXII

My glass shall not persuade me I am old,
So long as youth and thou are of one date;
But when in thee time's furrows I behold,
Then look I death my days should expiate.

For all that beauty that doth cover thee,
Is but the seemly raiment of my heart,
Which in thy breast doth live, as thine in me:
How can I then be elder than thou art?

O! therefore love, be of thyself so wary
As I, not for myself, but for thee will;
Bearing thy heart, which I will keep so chary
As tender nurse her babe from faring ill.

Presume not on thy heart when mine is slain,
Thou gav'st me thine not to give back again.

I would I were a careless child,
Still dwelling in my Highland cave,
Or roaming through the dusky wild,
Or bounding o'er the dark blue wave;
The cumbrous pomp of Saxon pride
Accords not with the freeborn soul,
Which loves the mountain's craggy side,
And seeks the rocks where billows roll.

Fortune! take back these cultured lands,
Take back this name of splendid sound!
I hate the touch of servile hands,
I hate the slaves that cringe around.
Place me among the rocks I love,
Which sound to Ocean's wildest roar;
I ask but this - again to rove
Through scenes my youth hath known before.
Few are my years, and yet I feel
The world was ne'er designed for me:
Ah! why do dark'ning shades conceal
The hour when man must cease to be?
Once I beheld a splendid dream,
A visionary scene of bliss:
Truth! - wherefore did thy hated beam
Awake me to a world like this?

I loves - but those I love are gone;
Had friends - my early friends are fled:
How cheerless feels the heart alone,
When all its former hopes are dead!
Though gay companions o'er the bowl
Dispel awhile the sense of ill'
Though pleasure stirs the maddening soul,
The heart - the heart - is lonely still.

How dull! to hear the voice of those
Whom rank or chance, whom wealth or power,
Have made, though neither friends nor foes,
Associates of the festive hour.
Give me again a faithful few,
In years and feelings still the same,
And I will fly the midnight crew,
Where boist'rous joy is but a name.

And woman, lovely woman! thou,
My hope, my comforter, my all!
How cold must be my bosom now,
When e'en thy smiles begin to pall!
Without a sigh would I resign
This busy scene of splendid woe,
To make that calm contentment mine,
Which virtue know, or seems to know.

Fain would I fly the haunts of men -
I seek to shun, not hate mankind;
My breast requires the sullen glen,
Whose gloom may suit a darken'd mind.
Oh! that to me the wings were given
Which bear the turtle to her nest!
Then would I cleave the vault of heaven,
To flee away, and be at rest.

Remember thee! remember thee!
Till Lethe quench life's burning stream
Remorse and shame shall cling to thee,
And haunt thee like a feverish dream!

Remember thee! Aye, doubt it not.
Thy husband too shall think of thee:
By neither shalt thou be forgot,
Thou false to him, thou fiend to me

Ophelia

Ophelia
Sir John Everett Millais

Origins

A possible historical source for Ophelia is Katherine Hamlet, a young woman who fell into the Avon river and died in December 1579. Though it was eventually concluded that she had overbalanced while carrying some heavy pails, rumours that she was suffering from a broken heart were considered plausible enough for an inquest to be conducted into whether her death was a suicide. It is possible that Shakespeare - sixteen at the time of the death - recalled the romantic tragedy in his creation of the character of Ophelia. The name "Ophelia" itself was either uncommon or nonexistent; the only known prior text to use the name (as "Ofalia") is Jacopo Sannazaro's Arcadia.

Wikipedia

A dream within a dream

Take this kiss upon the brow!
And, in parting from you now,
Thus much let me avow-
You are not wrong, who deem
That my days have been a dream;
Yet if hope has flown away
In a night, or in a day,
In a vision, or in none,
Is it therefore the less gone?
All that we see or seem
Is but a dream within a dream.

I stand amid the roar
Of a surf-tormented shore,
And I hold within my hand
Grains of the golden sand-
How few! yet how they creep
Through my fingers to the deep,
While I weep- while I weep!
O God! can I not grasp
Them with a tighter clasp?
O God! can I not save
One from the pitiless wave?
Is all that we see or seem
But a dream within a dream?

The Lost Generation

Disillusionment!

Members of the Lost Generation were often disillusioned and tried desperately to live normal lives regardless of the tragic effects of the Great World War. Many wives were left without husbands, children without fathers, and mothers without sons. However, they were forced to continue living as normal through the 1920's.

Lost Generation

--Coined by Gertrude Stein, who said, "You are all a Lost Generation."

The "Lost Generation" was lost in that the values that its members were being taught didn't fit the reality of life after the brutal and horrifying World War I. The group of writers who moved to Paris believed that America was intolerant, materialistic, and unspiritual. They helped to establish many of the styles and themes that are still used in literature today.

The "Lost Generation"-

1) Group of disillusioned American authors who lived in Paris in the 1920's and 1930's (younger literary modernists)

2) Generation of young people in the United States shortly after World War I

3) Two "Lost Generation" presidents were Harry S. Truman and Dwight D. Eisenhower


Characteristics of "Lost Generation" Authors

~youthful idealism

~sought the meaning of life

~drank a lot

~often love affairs

~many of the finest literary masterpieces were written during this period

~rejected modern American materialism

~lived in Paris

~gained prominence in twentieth century literature and created a mold for many future writers

Examples of Prominent Authors

Ernest Hemingway- led in the adaptation of the technique of naturalism in literature; wrote The Sun Also Rises, a naturalistic novel that included post-war disillusionment

F. Scott Fitzgerald- portrayed the spirit of the "Jazz Age"; wrote The Great Gatsby, which also was an expression of disillusionment

John Dos Passos- questioned the meaning of modern life; his novel Manhattan Transfer portrays the hopelessness of live in American cities

Common "Lost Generation" Members

The common people of the "Lost Generation" (born from 1883 to 1900)grew up in a time when mass immigration was occuring and America was changing drastically. Upon the return of the soldiers from WWI, the American lifestyle was altered. Many became disillusioned and they became known as the "bad kids" and "flaming youth." Doughboys, flappers, gangsters, and stars were all common during the "Roaring Twenties." However, the twenties came to a close with a bang when the Stock Market crashed, ending the spirit of the 1920's.

Source: The Lost Generation and 1920s Pop Culture

Ernest Hemingway The Nobel Prize in Literature 1954

Ernest Hemingway (1899-1961), born in Oak Park, Illinois, started his career as a writer in a newspaper office in Kansas City at the age of seventeen. After the United States entered the First World War, he joined a volunteer ambulance unit in the Italian army. Serving at the front, he was wounded, was decorated by the Italian Government, and spent considerable time in hospitals. After his return to the United States, he became a reporter for Canadian and American newspapers and was soon sent back to Europe to cover such events as the Greek Revolution.

During the twenties, Hemingway became a member of the group of expatriate Americans in Paris, which he described in his first important work, The Sun Also Rises (1926). Equally successful was A Farewell to Arms (1929), the study of an American ambulance officer's disillusionment in the war and his role as a deserter. Hemingway used his experiences as a reporter during the civil war in Spain as the background for his most ambitious novel, For Whom the Bell Tolls (1940). Among his later works, the most outstanding is the short novel, The Old Man and the Sea (1952), the story of an old fisherman's journey, his long and lonely struggle with a fish and the sea, and his victory in defeat.

Hemingway - himself a great sportsman - liked to portray soldiers, hunters, bullfighters - tough, at times primitive people whose courage and honesty are set against the brutal ways of modern society, and who in this confrontation lose hope and faith. His straightforward prose, his spare dialogue, and his predilection for understatement are particularly effective in his short stories, some of which are collected in Men Without Women (1927) and The Fifth Column and the First Forty-Nine Stories (1938). Hemingway died in Idaho in 1961.

From Nobel Lectures, Literature 1901-1967, Editor Horst Frenz, Elsevier Publishing Company, Amsterdam, 1969

This autobiography/biography was written at the time of the award and first published in the book series Les Prix Nobel. It was later edited and republished in Nobel Lectures.

Nobelprize.org

The "Lost Generation"

Ernest and Hadley Hemingway at a cafe with Lady Duff Twysden and others, Pamplona, Spain, 1925. The Lost Generation is a term used to refer to the generation of writers active immediately after World War I, especially expatriate writers whose work is characterized by a mood of futility and despair.

Ernest Hemingway Photograph Collection, John F. Kennedy Presidential Library and Museum

The coining of the phrase is sometimes attributed to Gertrude Stein* and was then popularized by Ernest Hemingway in the epigraph to his novel The Sun Also Rises and his memoir A Moveable Feast. In the latter, he explained, "I tried to balance Miss Stein's quotation from the garage owner with one from Ecclesiastes." (A few lines after, recalling the risks and losses of the war, he adds, "I thought of Miss Stein and Sherwood Anderson and egotism and mental laziness versus discipline and I thought who is calling who a lost generation?")

It also refers to the time period from the end of World War I to the beginning of the Great Depression. More generally, the term is used for the generation of young people coming of age in the United States during and shortly after World War I. For this reason, the generation is sometimes known as the World War I Generation. In Europe, they are most often known as the Generation of 1914, for the year World War I began. In France, the country in which many expatriates settled, they are sometimes called the Génération du Feu, the Generation of Fire. Broadly, the term is often used to refer to the younger literary modernists.

In Britain the term "Lost generation" was originally used for those who died in combat in World War I, and often implicitly referred to upper-class casualties who were perceived to have died disproportionately, robbing the country of a future elite. Many felt "that 'the flower of youth' and the 'best of the nation' had been destroyed", for example such notable casualties as the poets Isaac Rosenberg, Rupert Brooke and Wilfred Owen, or physicist Henry Moseley.

Figures identified with the American "Lost Generation" include authors and poets Hemingway, F. Scott Fitzgerald, Ezra Pound, Sherwood Anderson, Waldo Peirce, and John Dos Passos.

* As described by Hemingway in the chapter "Une Generation Perdue," of A Moveable Feast, the term was coined by the owner of the Paris garage where Gertrude Stein took her Model T Ford, and was picked up and translated by her.
---

Like many other cities in Europe, Paris was devastated by the Great War. As has been widely acknowledged, the war was one of the world’s first highly mechanised conflicts. After decades of excitement and futurist dreams on both sides of the Atlantic—typified by the Great Exhibitions in London, Paris, and Chicago from 1851—the War reflected the dark, disturbing underside of technological invention. Some of the artists and authors who remained in Paris after the cessation of hostilities had served in this unprecedented clash of civilisations; others had reported on the events and the terrible political and humanitarian upheavals afterwards.

If the War highlighted alarming aspects of twentieth-century innovation, Paris also somehow clung to its reputation as the capital of bohemian culture. The city had long been famous for its philosophical intrigues and artistic inspiration, its avant-garde tastes and flamboyant personalities. The inter-war period saw the rise of Montparnasse as the hub of the city’s artistic community, its bars and cafés resounding to the pulse of “hot” jazz music and intellectual debate.

All this colour and creativity was so different from the austere materialism of American cities (mainly New York and Chicago), as depicted by “Naturalist” writers like Theodore Dreiser, Frank Norris, and Upton Sinclair (all of whom would make their way to Europe in due course). As the publication of Joyce’s Ulysses suggested in 1922, the Parisian cultural scene was more permissive of literature which confronted established mores and codes of behaviour. Culturally as well as morally, Paris in the 1920s remained one of the most exciting, sophisticated cities in the world. Capital of the avant-garde in all its forms, the city played host to any number of intersecting artistic cliques including Modernists and Cubists, Dadaists and Futurists, Expressionists and Surrealists. These were the years of Picasso and Modigliani, Braque and Duchamp, Stravinski and Satie, Diaghilev and Cocteau. Radical developments in the visual and performing arts were mirrored in the Continental literature of the time, from the surrealist shock tactics of André Bréton and Guillaume Apollinaire, to the textual experimentation of Joyce and Beckett. It was into this vibrant, inspiring foment of idea and innovation that the self-imposed exiles of America’s “Lost Generation” flung themselves. Young radicals like Ernest Hemingway, Hart Crane, and Ezra Pound, and, a little later on, Henry Miller and Anais Nin, published some of their most powerful and controversial works in the city.

On the face of it the sobriquet of “Lost Generation” seems an odd collective description for a group of writers and artists who were among the brightest flowering of American literary talent yet to emerge on the international stage. In fact, it was Gertrude Stein—the scene’s abiding spirit and prominent literary hostess—who coined the phrase in conversation with Ernest Hemingway (“you are all a lost generation”). However, it was undoubtedly the latter’s use of the phrase as the epigraph to The Sun Also Rises (New York: Scribner’s, 1926; 12711.c.22), his epochal novel of wild years spent in Paris and Spain, that popularised the expression and made clear its apocalyptic overtones. The phrase—and Hemingway’s book—depicted this generation as characterised by doomed youth, hedonism, uncompromising creativity, and wounded—both literally and metaphorically—by the experience of war. To varying degrees, these virtues and vices were to be found in the life-story of nearly every member of the Lost Generation. Aside from their wild lifestyles, though, what is most striking is the astonishing range, depth, and influence of work produced by this community of American expatriates in Paris.

This outburst of creativity was supported by an explosion of small-scale entrepreneurialism in the creative arts. Much of the literature produced by the American Modernists was published by small presses also run by expatriates, including Shakespeare & Company, Contact Editions, Black Sun Press, Three Mountains Press, Plain Editions, and Obelisk Press. A list of the canonical works of inter-war American literature produced in Paris, following the landmark publication of Joyce’s Ulysses by Shakespeare & Co. (owned by Princeton expatriate Sylvia Beach 1 ) in 1922, provides a key to the literary future of the United States:

• H.D (Hilda Doolittle), Palimpsest (Paris: Contact Editions, 1922; 12651.i.54)
• William Carlos Williams, The Great American Novel (Paris: Three Mountains Press, 1923; Cup.510.fac.4)
• Ezra Pound, Indiscretions (Paris: Three Mountains Press, 1923; Cup.510.fac.1 [mislaid])
• Ernest Hemingway, in our time (Paris: Three Mountains Press, 1924; Cup.510.fac.6)
• Robert McAlmon, Village: as it happened through a fifteen year period (Paris: Contact Editions, 1924; Cup.410.f.1246)
• Djuna Barnes, Ladies Almanac (Paris: Contact Editions, 1926; X.519/20735)
• Gertrude Stein, The Making of Americans (Paris: Contact Press, 1925; X.520/32188)
• Hart Crane, The Bridge, A Poem (Paris: Black Sun Press, 1930; Cup.510.fa.15)
• Archibald MacLeish, New Found Land, Fourteen Poems (Paris: Black Sun Press, 1930; Cup.400.c.22)
• Ezra Pound, Imaginary Letters (Paris: Black Sun Press, 1930; Cup.510.fa.16)
• ________. A Draft of XXX Cantos (Paris: Hours Press, 1930; Cup.510.fac.14)
• Nathanael West, The Dream Life of Basso Snell (Paris: Contact Editions, 1931; Cup.410g.725)
• William Faulkner, Sanctuary (Paris: Black Sun Press, 1932)
• Ernest Hemingway, The Torrents of Spring (Paris: Black Sun Press, 1932)
• Dorothy Parker, Laments for the Living (Paris: Black Sun Press, 1932)
  Katherine Anne Porter, Hacienda (Harrison of Paris, 1934)
• Henry Miller, Tropic of Cancer (Paris: Obelisk Press, 1935; Cup.804.bb.5)
• Henry Miller, Black Spring (Paris: Obelisk, 1936; Cup.804.p.6; Durrell 124)
• Anais Nin, House of Incest (Paris: Obelisk, 1936; 12623.k.28)
• Henry Miller, Tropic of Capricorn (Paris: Obelisk, 1939; Cup.804.bb.8)
• Anais Nin, Winter of Artifice (Paris: Obelisk, 1939; 12631.r.6)

Notes

1. James Joyce, Ulysses (Paris: Shakespeare & Company, 1922; C.116.g.17). Supporting the manuscript holdings of the many authors who surrounded her, the British Library also holds a substantial collection of correspondence and other manuscript material related to Sylvia Beach and her proprietorship of the Shakespeare & Company bookshop in Paris. According to André Chamson, Beach’s library and bookstore did “more to link England, the United States, Ireland, and France than four great ambassadors combined”; Chamson, quoted in Hugh Ford, Published in Paris: American and British Writers, Printers, and Publishers in Paris, 1920-1939 (1975; X.981/10131).

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American Literature in Europe 1850-1950

Life with Zelda

While at Camp Sheridan, Fitzgerald met Zelda Sayre (1900-1948), the "top girl," in Fitzgerald's words, of Montgomery, Alabama, youth society. The two were engaged in 1919 and Fitzgerald moved into an apartment at 200 Claremont Avenue in New York City to try to lay a foundation for his life with Zelda. Working at an advertising firm and writing short stories, Fitzgerald was unable to convince Zelda that he would be able to support her. She broke off the engagement and Fitzgerald returned to his parents' house in St. Paul to revise The Romantic Egotist. Recast as This Side of Paradise, it was accepted by Scribner's in the fall of 1919, and Zelda and Scott resumed their engagement. It was published on March 26, 1920, and became one of the most popular books of the year, defining the flapper generation. The next week, Scott and Zelda were married in New York's St. Patrick's Cathedral. Their daughter and only child, Frances Scott "Scottie" Fitzgerald, was born on October 26, 1921.

Although Fitzgerald's passion lay in writing novels, they never sold well enough to support the opulent lifestyle that he and Zelda adopted as New York celebrities. To support this lifestyle, he turned to writing short stories for such magazines as the Saturday Evening Post, Collier's Magazine, and Esquire magazine, and sold movie rights of his stories and novels to Hollywood studios. He was constantly in financial trouble and often required loans from his literary agent, Harold Ober, and his editor at Scribner's, Maxwell Perkins.

The 1920s proved the most influential decade of Fitzgerald's development. His second novel, The Beautiful and Damned, published in 1922, represents an impressive development over the comparatively immature This Side of Paradise. The Great Gatsby, which many consider his masterpiece, was published in 1925. Fitzgerald made several famous excursions to Europe, notably Paris and the French Riviera during the 20s, and became friends with many members of the American expatriate community in Paris, notably Ernest Hemingway.

Fitzgerald began working on his fourth novel during the late 1920s but was sidetracked by financial difficulties that necessitated his writing commercial short stories, and the schizophrenia that struck Zelda Sayre Fitzgerald in 1930. Her emotional health remained fragile for the rest of her life. In 1932, she was hospitalized in Baltimore, Maryland, and Scott rented the "La Paix" estate in the suburb of Towson to work on his book, which had become the story of the rise and fall of Dick Diver, a promising young psychoanalyst and his wife, Nicole, who is also one of his patients. It was published in 1934 as Tender Is the Night. Critics regard it as one of Fitzgerald's finest works.

Knowledgerush

Saxo's version of Hamlet

Hamlet and Horatio in the Cemetery

Eugene Delacroix

According to Saxo, Hamlet's history is briefly as follows. In the days of Rørik Slyngebond, king of Denmark, Gervendill was governor of Jutland, and was succeeded by his sons Horvendill and Feng. Horvendill, on his return from a Viking expedition in which he had slain Koll, king of Norway, married Gerutha, Rorik's daughter, who bore him a son Amleth. But Feng, out of jealousy, murdered Horvendill, and persuaded Gerutha to become his wife, on the plea that he had committed the crime for no other reason than to avenge her of a husband by whom she had been hated. Amleth, afraid of sharing his father's fate, pretended to be imbecile, but the suspicion of Feng put him to various tests which are related in detail. Among other things they sought to entangle him with a young girl, his foster-sister, but his cunning saved him. When, however, Amleth slew the eavesdropper hidden (like Polonius in Shakespeare's play), in his mother's room, and destroyed all trace of the deed, Feng was assured that the young man's madness was feigned. Accordingly he dispatched him to Britain in company with two attendants, who bore a letter enjoining the king of the country to put him to death. Amleth surmised the purport of their instructions, and secretly altered the message on their wooden tablets to the effect that the king should put the attendants to death and give Amleth his daughter in marriage.

After marrying the princess, Amleth returned at the end of a year to Denmark. Of the wealth he had accumulated he took with him only certain hollow sticks filled with gold. He arrived in time for a funeral feast, held to celebrate his supposed death. During the feast he plied the courtiers with wine, and executed his vengeance during their drunken sleep by fastening down over them the woolen hangings of the hall with pegs he had sharpened during his feigned madness, and then setting fire to the palace. Feng he slew with his own sword. After a long harangue to the people he was proclaimed king. Returning to Britain for his wife he found that his father-in-law and Feng had been pledged each to avenge the other's death. The English king, unwilling personally to carry out his pledge, sent Amleth as proxy wooer for the hand of a terrible Scottish queen Hermuthruda, who had put all former wooers to death but fell in love with Amleth. On his return to Britain his first wife, whose love proved stronger than her resentment, told him of her father's intended revenge. In the battle which followed Amleth won the day by setting up the dead men of the day before with stakes, and thus terrifying the enemy. He then returned with his two wives to Jutland, where he had to encounter the enmity of Wiglek, Rorik's successor. He was slain in a battle against Wiglek, and Hermuthruda, although she had promised to die with him, married the victor.

Wikipedia

Chronicon Lethrense and Annales lundenses

Prose Edda

Hrólfs saga kraka

Ambale's Saga

There are also striking similarities between the story of Amleth in Saxo and the other northern versions, and that of Kei Chosro in the Shahnameh (Book of the King) of the Persian poet Firdausi. Further resemblances exist in the Ambale's Saga with the tales of Bellerophon, of Heracles, and of Servius Tullius. That Oriental tales through Byzantine and Arabian channels did find their way to the west is well known, and there is nothing very surprising in their being attached to a local hero.

The tale of Hamlet's adventures in Britain forms an episode so distinct that it was at one time referred to a separate hero. The traitorous letter, the purport of which is changed by Hermuthruda, occurs in the popular Dit de l'empereur Constant, and in Arabian and Indian tales. Hermuthruda's cruelty to her wooers is common in northern and German mythology, and close parallels are afforded by Þryð, the terrible bride of Offa, who figures in Beowulf, by Brunhilda in the Nibelungenlied, and by Sigrid the Haughty in the Heimskringla.

Ophelia

Ophelia
Arthur Hughes

Polonius’s daughter, a beautiful young woman with whom Hamlet has been in love. Ophelia is a sweet and innocent young girl, who obeys her father and her brother, Laertes. Dependent on men to tell her how to behave, she gives in to Polonius’s schemes to spy on Hamlet. Even in her lapse into madness and death, she remains maidenly, singing songs about flowers and finally drowning in the river amid the flower garlands she had gathered.

Summary: Act IV, scene v

Gertrude and Horatio discuss Ophelia. Gertrude does not wish to see the bereaved girl, but Horatio says that Ophelia should be pitied, explaining that her grief has made her disordered and incoherent. Ophelia enters. Adorned with flowers and singing strange songs, she seems to have gone mad. Claudius enters and hears Ophelia’s ravings, such as, “They say the owl was a baker’s daughter” (IV.v.42). He says that Ophelia’s grief stems from her father’s death, and that the people have been suspicious and disturbed by the death as well: “muddied, / Thick and unwholesome in their thoughts and whispers / For good Polonius’ death” (IV.v.77–79). He also mentions that Laertes has secretly sailed back from France.

A loud noise echoes from somewhere in the castle. Claudius calls for his guards, and a gentleman enters to warn the king that Laertes has come with a mob of commoners. The mob calls Laertes “lord,” according to the gentlemen, and the people whisper that “Laertes shall be king” (IV.v.102–106). A furious Laertes storms into the hall, fuming in his desire to avenge his father’s death. Claudius attempts to soothe him by frankly acknowledging that Polonius is dead. Gertrude nervously adds that Claudius is innocent in it. When Ophelia reenters, obviously insane, Laertes plunges again into rage. Claudius claims that he is not responsible for Polonius’s death and says that Laertes’ desire for revenge is a credit to him, so long as he seeks revenge upon the proper person. Claudius convinces Laertes to hear his version of events, which he says will answer all his questions. Laertes agrees, and Claudius seconds his desire to achieve justice in the aftermath of Polonius’s death: “Where th’ offence is, let the great axe fall” (IV.v.213).

Sparknotes

The great Gatsby

Nick Carraway, a young man from Minnesota, moves to New York in the summer of 1922 to learn about the bond business. He rents a house in the West Egg district of Long Island, a wealthy but unfashionable area populated by the new rich, a group who have made their fortunes too recently to have established social connections and who are prone to garish displays of wealth. Nick's next-door neighbor in West Egg is a mysterious man named Jay Gatsby, who lives in a gigantic Gothic mansion and throws extravagant parties every Saturday night.

Nick is unlike the other inhabitants of West Egg—he was educated at Yale and has social connections in East Egg, a fashionable area of Long Island home to the established upper class. Nick drives out to East Egg one evening for dinner with his cousin, Daisy Buchanan, and her husband, Tom, an erstwhile classmate of Nick's at Yale. Daisy and Tom introduce Nick to Jordan Baker, a beautiful, cynical young woman with whom Nick begins a romantic relationship. Nick also learns a bit about Daisy and Tom's marriage: Jordan tells him that Tom has a lover, Myrtle Wilson, who lives in the valley of ashes, a gray industrial dumping ground between West Egg and New York City. Not long after this revelation, Nick travels to New York City with Tom and Myrtle. At a vulgar, gaudy party in the apartment that Tom keeps for the affair, Myrtle begins to taunt Tom about Daisy, and Tom responds by breaking her nose.

As the summer progresses, Nick eventually garners an invitation to one of Gatsby's legendary parties. He encounters Jordan Baker at the party, and they meet Gatsby himself, a surprisingly young man who affects an English accent, has a remarkable smile, and calls everyone “old sport.” Gatsby asks to speak to Jordan alone, and, through Jordan, Nick later learns more about his mysterious neighbor. Gatsby tells Jordan that he knew Daisy in Louisville in 1917 and is deeply in love with her. He spends many nights staring at the green light at the end of her dock, across the bay from his mansion. Gatsby's extravagant lifestyle and wild parties are simply an attempt to impress Daisy. Gatsby now wants Nick to arrange a reunion between himself and Daisy, but he is afraid that Daisy will refuse to see him if she knows that he still loves her. Nick invites Daisy to have tea at his house, without telling her that Gatsby will also be there. After an initially awkward reunion, Gatsby and Daisy reestablish their connection. Their love rekindled, they begin an affair.

After a short time, Tom grows increasingly suspicious of his wife's relationship with Gatsby. At a luncheon at the Buchanans' house, Gatsby stares at Daisy with such undisguised passion that Tom realizes Gatsby is in love with her. Though Tom is himself involved in an extramarital affair, he is deeply outraged by the thought that his wife could be unfaithful to him. He forces the group to drive into New York City, where he confronts Gatsby in a suite at the Plaza Hotel. Tom asserts that he and Daisy have a history that Gatsby could never understand, and he announces to his wife that Gatsby is a criminal—his fortune comes from bootlegging alcohol and other illegal activities. Daisy realizes that her allegiance is to Tom, and Tom contemptuously sends her back to East Egg with Gatsby, attempting to prove that Gatsby cannot hurt him.

When Nick, Jordan, and Tom drive through the valley of ashes, however, they discover that Gatsby's car has struck and killed Myrtle, Tom's lover. They rush back to Long Island, where Nick learns from Gatsby that Daisy was driving the car when it struck Myrtle, but that Gatsby intends to take the blame. The next day, Tom tells Myrtle's husband, George, that Gatsby was the driver of the car. George, who has leapt to the conclusion that the driver of the car that killed Myrtle must have been her lover, finds Gatsby in the pool at his mansion and shoots him dead. He then fatally shoots himself.

Nick stages a small funeral for Gatsby, ends his relationship with Jordan, and moves back to the Midwest to escape the disgust he feels for the people surrounding Gatsby's life and for the emptiness and moral decay of life among the wealthy on the East Coast. Nick reflects that just as Gatsby's dream of Daisy was corrupted by money and dishonesty, the American dream of happiness and individualism has disintegrated into the mere pursuit of wealth. Though Gatsby's power to transform his dreams into reality is what makes him “great,” Nick reflects that the era of dreaming—both Gatsby's dream and the American dream—is over.

Tales of the Jazz Age

Centre Section of the triptych Grosstadt, 1927-8, by Otto Dix (1891-1969). It is an evocation of the Gershwin (1898-1937) period - the Jazz Age. This age and the kind of music (Jazz) were condemned by the Nazis as decadent and racially degenerate.

The curious case of Benjamin Button

"This story was inspired by a remark of Mark Twain's to the effect that it was a pity that the best part of life came at the beginning and the worst part at the end. By trying the experiment upon only one man in a perfectly normal world I have scarcely given his idea a fair trial. Several weeks after completing it, I discovered an almost identical plot in Samuel Butler's "Note-books.


The story was published in "Collier's" last summer and provoked this startling letter from an anonymous admirer in Cincinnati:

"Sir--

I have read the story Benjamin Button in Colliers and I wish to say that as a short story writer you would make a good lunatic I have seen many peices of cheese in my life but of all the peices of cheese I have ever seen you are the biggest peice. I hate to waste a peice of stationary on you but I will."

Source: The Project Gutenberg EBook of Tales of the Jazz Age

Truman Capote (1924-1984) - original name Truman Streckfus Persons

Truman Capote, head-and-shoulder portrait, facing front, holding head in hands
Higgins, Roger, photographer

American novelist, short story writer, and playwright. Capote gained international fame with his "nonfiction novel" IN COLD BLOOD (1966), an account of a real life crime in which an entire family was murdered by two sociopaths. The Louisiana-Mississippi-Alabama area provided the setting for much of Capote's fiction.

"Until one morning in mid-November of 1959, few Americans - in fact, few Kansans - had ever heard of Holcomb. Like the waters of river, like the motorists on the highway, and like the yellow trains streaking down the Santa Fe tracks, drama, in the shape of exceptional happenings, had never stopped there." (from In Cold Blood)

Truman Capote was born in New Orleans, as the son of a salesman and a 16-year-old beauty queen, Lillie Mae Faulk. His father, Archulus "Arch" Persons, worked as a clerk for a steamboat company. Persons never stuck at any job for long, and was always leaving home in search for new opportunities. The unhappy marriage gradually disintegrated. When Capote was four, his parents eventually divorced.

The young Truman was brought up in Monroeville, Alabama. He lived some years with his relatives, one of whom became the model for the loving, elderly spinster of the author's novels, stories, and plays. "Her face is remarkable - not unlike Lincoln's, craggy like that, and tinted by sun and wind," described Capote in A CHRISTMAS MEMORY (1966) his distant relative Sook, Nanny Rumbley Faulk. Sook was sixty-something, "small and sprightly, like a bantam hen..." Capote's mother, Lillie Mae, wrote letters and telephoned to her son, often crying that she had no money and no husband.

In his childhood Capote made friends with Harper Lee, who portrayed him as Dill in her world famous novel To Kill a Mockingbird. "Dill was a curiosity. He wore blue linen shorts that buttoned to his shirt, his hair was snow white and stuck to his head like duckfluff; he was a year my senior but I towered over him. As he told us the old tale his blue eyes would lighten and darken; his laugh was sudden and happy; he habitually pulled at a cowlick in the center of his forehead."

After Capote's mother married again, this time a well-to-do businessman, Capote moved to New York, and adopted his stepfather's surname. He attended the Trinity School and St. John's Academy in New York, and the public schools of Greenwich, Connecticut. At the age of seventeen, Capote ended his formal schooling. He found work at the New Yorker, where he attracted attention with his eccentric style of dress. "... I recall him sweeping through the corridors of the magazine in a black opera cape, his long golden hair falling to his shoulders: an apparition that put one in mind of Oscar Wilde in Nevada, in his velvets and lilies." (Brendan Gill in Here at The New Yorker, 1975)

Capote's early stories were published in quality magazines and in 1946 he won the O.Henry award. His first novel, OTHER VOICES, OTHER ROOMS (1948), depicted a boy, Joel Knox, growing up in the Deep South. Joel is "too pretty, too delicate and fair skinned". He seeks his father but falls into a relationship with a decadent transvestite. The book gained a wide success and created controversy because of its treatment of homosexuality. During this time Capote had already established his fame among the cultural circles as the thin voiced, promising young writer, who could brighten up parties with his sharp and clever remarks.

Next year Capote went to Europe, where he wrote fiction and non-fiction. Among his major works was a profile of Marlon Brando. Capote's travels accompanying a tour of Porgy and Bess in the Soviet Union produced THE MUSES ARE HEARD. These European years marked the beginning of Capote's work for the theatre and films. In 1949 appeared A TREE OF NIGHT, which gathered together short stories published in Harper's Bazaar, Mademoiselle, and other magazines. When the director John Huston was making The Asphalt Jungle (1950), Capote met Marilyn Monroe, who acted in the film. "With her tresses invisible, and her complexion cleared of all cosmetics, she looked twelve years old, a pubescent virgin who had just been admitted to an orphanage and is grieving her plight." (from Marilyn Monroe: Photographs 1945-1962 by Truman Capote)

In the 1950s Capote wrote THE HOUSE OF FLOWERS, a musical set in a West Indies bordello. Capote's lyrical style and melancholy marked his novel THE GRASS HARP (1951). In the story an orphaned boy and two old ladies observe life from a china tree. Eventually they come down from their temporary retreat, unlike Cosimo Piovasco di Rondò in Italo Calvino's novel The Baron in the Trees (1957). The book was adapted into screen in 1996, starring Piper Laurie, Sissy Spacek, and Walter Matthau. Capote's first important film work was collaboration with John Huston on Beat the Devil (1954).

Following return to the United States, Copote wrote BREAKFAST AT TIFFANY'S (1958). Its central character, Holly Golightly, is a young woman, who comes to New York seeking for happiness. She has a nameless cat and a brother named Fred. The narrator, an aspiring writer who has the same birthday as Capote (September 30), follows Holly's life, filled with colorful characters. "What I've found does the most good is just to get into a taxi and go to Tiffany's. It calms me down right away, the quietness and the proud look of it; nothing very bad could happen to you there..." The novel is constructed as a memory of events, that happened about 15 years earlier. Holly has left the country before the end of the war, and the narrator has not seen her since. Breakfast at Tiffany's was made into a successful film, directed by Blake Edwards and starring Audrey Hepburn. George Axelrod updated the story to the 1960s and later told: "Nothing really happened in the book. All we had was this glorious girl - a perfect part for Audrie Hepburn. What we had to do was devise a story, get a central romantic relationship, and make the hero a red-blooded heterosexual."

Increasing preoccupation with journalism formed the basis for the bestseller In Cold Blood, a pioneering work of documentary novel or "nonfiction novel". The work started from an article in The New York Times. It dealt with the murder of a wealthy family in Holcomb, Kansas. Sponsored by the magazine, Capote interviewed with Harper Lee local people to recreate the lives of both the murderers and their victims. During the process he became emotionally attached to both killers. However, this did not prevent him from telling the story with utmost objectivity.

The research work and writing took six years to finish. Capote used neither a tape recorder nor note pad, but emptied his interviews and impressions in notebooks at the end of the day. He also recorded last days of the death-obsessed criminals. (See Norman Mailer's journalistic works The Armies of the Nigh, Miami and the Siege of Chicago, Of Fire on the Moon.) Richard Brooks' screen adaptation of the book, with its black-and-white photography, avoided all sensationalism. The trial scene was re-enacted at the Finney County Court House in the Garden City, where the actual trial had taken place. Brooks also used the real jury who had convicted Perry Smith and Dick Hicock.

Among Capote's other works from the 1960s is the classic A Christmas Memory, a story about a seven-year-old boy, Buddy, his cousin, an eccentric old lady, and a tough little orange and white rat terrier called Queenie. Buddy and his cousin are each other's best friends, whose special relationship is symbolized by baking of fruitcakes, a kind of a Proustian Madeleine remembrance. The story gained a huge success as a television play. After the publication of In Cold Blood, Capote planned to write a Proustian novel to be called "Answered Prayers". This plan never materialized. Problems with drink and drugs, and disputes with other writers, such as Gore Vidal, exhausted Capote's creative energies.

In interviews, Capote negative anecdotes about the people he knew distanced him from his friends. "I had a big discussion with Saul Bellow about Richard Wright," Capote said in 1974. "I said, Richard Wright was a good friend of mine and do you know what Saul Bellow said? He said, "Huh! Well, Wright just became a victim of these heavyweight intellectuals. I used to see him carting around books on Wittgenstein. He was convinced he was an intellectual." I thought that was very sad and pathetic." (The Critical Response to Truman Capote by Joseph J. Waldmeir, 1999)

Answered Prayers remained unfinished, but three stories from the novel appeared in Esquire in the 1970s. The surviving portions were republished in 1986. Capote's autobiographical book presented such real-life as Colette, the Duchess of Windsor, Montgomery Clift, and Tallulah Bankhead, but its depiction of the smart set was characterized in The New York Times as "a socio-pornographic ''Ragtime'' rife with the low cackle of camp." MUSIC FOR CHAMELEONS (1981) was a collection of short pieces, stories, interviews, and conversations published in various magazines. Truman Capote died in Los Angeles, California, on August 26, 1984, of liver disease complicated by phlebitis and multiple drug intoxication. His life and work inspired Bennett Miller's film Capote (2005), based on the Gerald Clarke biography from 1988, and Have You Heard? (2006), based on George Plimpton's interviews.

Books and Writers

The Canterbury Tales, major characters

Host: The host is the manager of the Tabard Inn, the origination of the journey to Canterbury. He goes on the trip and is also somewhat the proprietor of the tales, for he suggests that each pilgrim tell two tales on the way to Canterbury and two on the way back. He mediates arguments between the pilgrims and interjects his comments throughout the different tales. It is the host who holds the group together during their journey.

Knight: As the first character mentioned in the prologue, the Knight is the epitome of nobility and honor on this pilgrimage. He is a strong and honorable fighter who was in the Crusades and fought for Christianity. He brings along his son, a Squire, to see Canterbury and tells the longest tale of Palamon, Arcite, and Emelye. It is a love triangle with a mixed ending, involving knights, battle, and chivalry.

Squire: The squire is repeatedly described as a lusty bachelor and has trouble competing the tale he begins. He is only twenty years old and does not possess the same vigor as his father. His incomplete tale is about gifts brought to court by a mysterious knight of Tartary.

Prioresse (Nun): The Prioress is an emotional and sentimental woman of God who lets her feelings and tears run loose for any and all small events of death. She is weak with her self-control. The prioress tries to give off a refined impression, while all the while she is crude. She tells a gruesome tale of Jews who murder a young boy for singing about his Christian faith.

Second Nonne (Nun): The Second Nun is simply the secretary of the first. Her short tale chronicles the history and life of Saint Cecilia.

Monk: The monk is described as masculine and robust and travels with the Prioress and her secretary. He tells an animal tale of a hen and her rooster husband who find out the truth behind dreams and prophesies.

Frere (Friar): As one of the few pilgrims given a name, Hubert, the friar is an immoral man constantly worried about making a profit rather than turning men away from sin and bringing them to heaven. His tale is an attack on the wickedness of summoners. The friar and the summoner have an ongoing battle in these tales that brings humor to the group.

Clerk: The Clerk is an impoverished, unemployed Oxford student who lacks a true profession. He is simply educated and has no skills to find a job. His tale is of a woman named Griselde who marries a man of grand status. The husband repeatedly tests her virtue and devotion to him through painful years of hardship.

Sergeant of the Law (Man of Law/Lawyer): The Man of Law appears to be much busier than he is in reality and claims to hold much respect. He is educated and holds to the letter of the law. His lengthy tale is of the young Roman Catholic, Constance, who endures years of pain and familial loss, but always remains true to her faith. She is a true Christian through her many exploits.

Franklin: The Franklin is the companion of the Man of Law and is a man of earthy pleasures. He delights especially in food, the culinary arts, and tells a tale of a woman who vows to follow through on her affair with another man if he can accomplish an impossible task to save her true love.

Haberdasshere, Carpenter, Webbe, Dyerf, Tapycer: These are five guildsman on the pilgrimage who never tell a single tale. They listen and enjoy the stories.

Shipman (Sailor): The shipman tells the story of a woman who becomes involved with a dishonest monk in order to aid her husband. The monk dupes the woman and her husband.

Doctour of Phisik (Physician): The Physician tells a tale about a father who murders his own daughters in an attempt to protect them from scandalous rapists.

Wife of Bath: The Wife of Bath is often thought of as a proto-feminist and is one of the most memorable of the pilgrims, for her prologue is longer than her tale. She has been married five times and uses her sexuality as manipulation with men to get what she wants. Her fifth young husband uses violence against her and made her deaf in one ear from a blow to the head. She is loud, opinionated, and uses the Bible to back up her supposed immoral actions. The Wife of Bath tells a story of a knight who must search for the answer to 'what women desire?'. The knight finds out that women simply wish to hold authority and control over their mates.

Parson: The Parson is a good man of the cloth who is devoted to God and his congregation. He is respected and blessed and tells a tale of sin existing in multiple faces. As one of the holy and moralistic men of the pilgrimage, the Parson represents the Church that is not completely dishonest.

Merchant: The Merchant is a wealthy pilgrim constantly talking of economics and profit. Concerned with making money, he is arrogant and vain and tells a humorous story about an unfortunate blind old man who marries a youthful woman who makes a cuckold of him in his presence.

Reeve: The Reeve is a thin man with a grand temper. He tells his story in retaliation to the miller's tale and it is about a Miller who is tricked by two Oxford students.

Miller: The Miller is very large in contrast to the Reeve. He is also rude to the other pilgrims, sharing a small quarrel with the Reeve on the journey. He tells a humorous tale of a student who manipulates an affair with the wife of a foolish Reeve.

Pardoner: The Pardoner is an immoral, slimy, and effeminate man who openly discusses his false actions of selling fake relics to others. He is honest to his task of fraud and openly tells a tale about three rioters who kill themselves out of avarice. As one of the self-loathing, yet memorable characters on the journey, the Pardoner returns to his fraudulent behavior at the conclusion of his allegorical tale, trying to sell fake relics to the other pilgrims.

Manciple: The Manciple was also educated in the field of the law and tells a tale about how appearances are often deceiving.

Summoner: The Summoner is another immoral pilgrim not true to his profession, for he does not truly summon impious people to church. He chooses whom to select and is often paid off by sinners. His tale is in reaction to the Friar's strong anti-summoner tale and is presented as a satirical parody.

Cook: The Cook is one of the vulgar pilgrims of the journey who becomes involved with violence and arguments along the way. He is a commoner who does not hide his class and behavior and tells a short, incomplete fabliau.

Canon and his Yeoman: The Canon and his Yeoman join the pilgrimage in the middle of its course and bring a sense of mystery to the group. They heard glorious tales of the stories told en route to Canterbury and craved to be a part of that excitement. The canon does not reveal his profession and leaves the group as his Yeoman gives clues. He does not want to be discovered by any soul, so the Canon's Yeoman remains with the pilgrimage and tells a tale about the fraud of a canon.

http://www.bookrags.com/notes/ct/CHR.html

Had I the heavens' embroidered cloths,

Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half-light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams.

William Butler Yeats