Robinson Crusoe By Daniel Defoe

The novel concludes six months later. Dorian and Lord Henry dine, and talk turns serious — Dorian talks of Basil, and Lord Henry reflects on a sermon he heard the previous Sunday while walking in the park. Lord Henry also inquires about the secret of Dorian's youth, which Dorian dismisses. Dorian then asks Lord Henry never to give the yellow book to anyone else. That evening, while Dorian examines the portrait, he decides to destroy it with the knife used to murder Basil. Soon after, Dorian's servants and a police officer find an old, ugly man lying dead on the ground in front of a portrait of a young and innocent Dorian.

 

 

 

 

 

 

Heart of Darkness Joseph Conrad

Heart of Darkness centers around Marlow, an introspective sailor, and his journey up the Congo River to meet Kurtz, reputed to be an idealistic man of great abilities. Marlow takes a job as a riverboat captain with the Company, a Belgian concern organized to trade in the Congo. As he travels to Africa and then up the Congo, Marlow encounters widespread inefficiency and brutality in the Company’s stations. The native inhabitants of the region have been forced into the Company’s service, and they suffer terribly from overwork and ill treatment at the hands of the Company’s agents. The cruelty and squalor of imperial enterprise contrasts sharply with the impassive and majestic jungle that surrounds the white man’s settlements, making them appear to be tiny islands amidst a vast darkness.

Marlow arrives at the Central Station, run by the general manager, an unwholesome, conspiratorial character. He finds that his steamship has been sunk and spends several months waiting for parts to repair it. His interest in Kurtz grows during this period. The manager and his favorite, the brickmaker, seem to fear Kurtz as a threat to their position. Kurtz is rumored to be ill, making the delays in repairing the ship all the more costly. Marlow eventually gets the parts he needs to repair his ship, and he and the manager set out with a few agents (whom Marlow calls pilgrims because of their strange habit of carrying long, wooden staves wherever they go) and a crew of cannibals on a long, difficult voyage up the river. The dense jungle and the oppressive silence make everyone aboard a little jumpy, and the occasional glimpse of a native village or the sound of drums works the pilgrims into a frenzy.

Marlow and his crew come across a hut with stacked firewood, together with a note saying that the wood is for them but that they should approach cautiously. Shortly after the steamer has taken on the firewood, it is surrounded by a dense fog. When the fog clears, the ship is attacked by an unseen band of natives, who fire arrows from the safety of the forest. The African helmsman is killed before Marlow frightens the natives away with the ship’s steam whistle. Not long after, Marlow and his companions arrive at Kurtz’s Inner Station, expecting to find him dead, but a half-crazed Russian trader, who meets them as they come ashore, assures them that everything is fine and informs them that he is the one who left the wood. The Russian claims that Kurtz has enlarged his mind and cannot be subjected to the same moral judgments as normal people. Apparently, Kurtz has established himself as a god with the natives and has gone on brutal raids in the surrounding territory in search of ivory. The collection of severed heads adorning the fence posts around the station attests to his “methods.” The pilgrims bring Kurtz out of the station-house on a stretcher, and a large group of native warriors pours out of the forest and surrounds them. Kurtz speaks to them, and the natives disappear into the woods.

The manager brings Kurtz, who is quite ill, aboard the steamer. A beautiful native woman, apparently Kurtz’s mistress, appears on the shore and stares out at the ship. The Russian implies that she is somehow involved with Kurtz and has caused trouble before through her influence over him. The Russian reveals to Marlow, after swearing him to secrecy, that Kurtz had ordered the attack on the steamer to make them believe he was dead in order that they might turn back and leave him to his plans. The Russian then leaves by canoe, fearing the displeasure of the manager. Kurtz disappears in the night, and Marlow goes out in search of him, finding him crawling on all fours toward the native camp. Marlow stops him and convinces him to return to the ship. They set off down the river the next morning, but Kurtz’s health is failing fast.

Marlow listens to Kurtz talk while he pilots the ship, and Kurtz entrusts Marlow with a packet of personal documents, including an eloquent pamphlet on civilizing the savages which ends with a scrawled message that says, “Exterminate all the brutes!” The steamer breaks down, and they have to stop for repairs. Kurtz dies, uttering his last words—“The horror! The horror!”—in the presence of the confused Marlow. Marlow falls ill soon after and barely survives. Eventually he returns to Europe and goes to see Kurtz’s Intended (his fiancée). She is still in mourning, even though it has been over a year since Kurtz’s death, and she praises him as a paragon of virtue and achievement. She asks what his last words were, but Marlow cannot bring himself to shatter her illusions with the truth. Instead, he tells her that Kurtz’s last word was her name.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

A Portrait of the Artist as a Young Man By James Joyce

The novel begins with Stephen Dedalus' first memories, when he was about three years old. The fragmented lines are from a childhood story and a nursery song, and are linked with family associations, sensory perceptions, and pieces of conversation. In this opening scene, Joyce is presenting to us the genesis of a future artist's perception and interpretation of the world.

Moving from Stephen's infancy to his early days at Clongowes Wood College, a Jesuit boarding school for boys, Joyce focuses on three key incidents which significantly affect Stephen's personality. First, Stephen is pushed into an open cesspool by a bullying classmate, and, subsequently, he develops a fever which confines him to the school infirmary; here, he begins to discern that he is "different," that he is an outsider.

Later, when he is probably six years old, Stephen returns home to celebrate Christmas dinner with his family and is invited, for the first time, to sit with the adults at the dinner table. This extraordinarily happy occasion is marred by a heated political argument between Stephen's old nurse, Dante Riordan, and a dinner guest, Mr. Casey, leaving Stephen confused about the issues of religion and politics in the adult world.

On returning to school, Stephen accidentally breaks his glasses and is unable to complete his classwork. He is unjustly humiliated and punished by the cruel prefect of studies, but after receiving encouragement from a friend, Stephen bravely (if fearfully) goes to the rector of the school and obtains justice. The success of this meeting instills in him a healthy self-confidence and ennobles him, for a moment, in the eyes of his classmates.

After a brief summer vacation at his home in Blackrock, Stephen learns that his father's financial reversals make it impossible to return to Clongowes Wood; instead, he is enrolled in a less prestigious Jesuit day school, Belvedere College. Here, he develops a distinguished reputation as an award-winning essay writer and a fine actor in his school play. Despite these accomplishments, however, Stephen feels increasingly alienated from his schoolmates because of his growing religious skepticism and his deep interest in literature and writing. This feeling of isolation is intensified during a trip with his father to Cork, where he learns more about his father's weaknesses.

Stephen becomes increasingly repelled by the dead-end realities of Dublin life. Frustrated by his loss of faith in the Catholic Church, in his family situation, and in his cultural bonds, Stephen seeks to "appease the fierce longings of his heart." After wandering through the city's brothel district, he finds momentary solace with a Dublin prostitute. He is fourteen years old, and this is his first sexual experience.

After a period of "sinful living," Stephen attends an intense three-day spiritual retreat. During that time, he is overwhelmed by guilt and remorse; he believes that Father Arnall is speaking directly to him. Panicking, he seeks out a kindly old Capuchin priest, pledges moral reform, and rededicates himself to a life of purity and devotion. He fills his days with fervent prayers and takes part in as many religious services as he can.

Noticing Stephen's exceedingly pious behavior, the director of the school arranges a meeting to encourage Stephen to consider entering the priesthood. At first, Stephen is flattered, fascinated by the possibilities of the clerical life, but increasingly he is tormented by carnal desires. He finally realizes that his "inherent sinful nature" makes it necessary for him to reject a religious vocation.

Having made this discovery about himself, Stephen decides to enroll in the university, where he hopes to shape his destiny as an artist. This decision is immediately followed by a climactic "epiphany": he sees a girl wading in the sea; to Stephen, she embodies the attraction, the promise, and the abandon which he wishes to experience in life. It is at this moment that Stephen understands that he can only hope to gain this experience through a life of artistic expression.

Shortly thereafter, Stephen begins a new life as a young man in search of his own values and his own credo. In comparison with the other college students, Stephen often seems anti-social and more concerned with pursuing his own interests than supporting the causes of others. Even Stephen himself realizes that unlike most of his friends, he is unusually introspective. He is not the typical devil-may-care university student; he rejects the typical blind patriotic blather, and although he continues to respect the Catholic faith, he no longer believes that its tenets should govern his life. Through conversations with friends and a dean of studies, Stephen eventually develops his own aesthetic theory of art, based on the philosophies of Aristotle and Aquinas. Simultaneously, he concludes that if he is ever going to find his artistic soul, he must sever all bonds of faith, family, and country. He must leave Dublin and go abroad to "forge" his soul's "uncreated conscience."

 

 

 

 

 

 

 

 

 

 

"Rip Van Winkle" Irving

The story of Rip Van Winkle is set in the years before and after the American Revolutionary War. In a pleasant village, at the foot of New York's Catskill Mountains, lives the kindly Rip Van Winkle, a colonial British-American villager of Dutch descent. Rip is an amiable man who enjoys solitary activities in the wilderness, but is also loved by all in town—especially the children to whom he tells stories and give toys. However, a tendency to avoid all gainful labor, for which his nagging wife (Dame Van Winkle) chastises him, allows his home and farm to fall into disarray due to his lazy neglect.

One autumn day, Rip is escaping his wife's nagging, wandering up the mountains with his dog, Wolf. Hearing his name being shouted, Rip discovers that the speaker is a man dressed in antiquated Dutch clothing, carrying a keg up the mountain, who requires Rip's help. Without exchanging words, the two hike up to an amphitheatre-like hollow in which Rip discovers the source of previously-heard thunderous noises: there is a group of other ornately-dressed, silent, bearded men who are playing nine-pins. Although there is no conversation and Rip does not ask the men who they are or how they know his name, he discreetly begins to drink some of their liquor, and soon falls asleep.

He awakes in unusual circumstances: It seems to be morning, his gun is rotted and rusty, his beard has grown a foot long, and Wolf is nowhere to be found. Rip returns to his village where he finds that he recognizes no one. Asking around, he discovers that his wife has died and that his close friends have died in a war or gone somewhere else. He immediately gets into trouble when he proclaims himself a loyal subject of King George III, not knowing that the American Revolution has taken place; George III's portrait on the town inn has been replaced by that of George Washington. Rip is also disturbed to find another man is being called Rip Van Winkle (though this is in fact his son, who has now grown up).

The men he met in the mountains, Rip learns, are rumored to be the ghosts of Hendrick (Henry) Hudson's crew. Rip is told that he has apparently been away from the village for twenty years. An old local recognizes Rip and Rip's now-adult daughter takes him in. Rip resumes his habitual idleness, and his tale is solemnly taken to heart by the Dutch settlers, with other hen-pecked husbands, after hearing his story, wishing they could share in Rip's good luck, and have the luxury of sleeping through the hardships of war.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Scarlet LetterBy Nathaniel Hawthorne

In June 1642, in the Puritan town of Boston, a crowd gathers to witness an official punishment. A young woman, Hester Prynne, has been found guilty of adultery and must wear a scarlet A on her dress as a sign of shame. Furthermore, she must stand on the scaffold for three hours, exposed to public humiliation. As Hester approaches the scaffold, many of the women in the crowd are angered by her beauty and quiet dignity. When demanded and cajoled to name the father of her child, Hester refuses.

As Hester looks out over the crowd, she notices a small, misshapen man and recognizes him as her long-lost husband, who has been presumed lost at sea. When the husband sees Hester's shame, he asks a man in the crowd about her and is told the story of his wife's adultery. He angrily exclaims that the child's father, the partner in the adulterous act, should also be punished and vows to find the man. He chooses a new name — Roger Chillingworth — to aid him in his plan.

Reverend John Wilson and the minister of her church, Arthur Dimmesdale, question Hester, but she refuses to name her lover. After she returns to her prison cell, the jailer brings in Roger Chillingworth, a physician, to calm Hester and her child with his roots and herbs. Dismissing the jailer, Chillingworth first treats Pearl, Hester's baby, and then demands to know the name of the child's father. When Hester refuses, he insists that she never reveal that he is her husband. If she ever does so, he warns her, he will destroy the child's father. Hester agrees to Chillingworth's terms even though she suspects she will regret it.

Following her release from prison, Hester settles in a cottage at the edge of town and earns a meager living with her needlework. She lives a quiet, somber life with her daughter, Pearl. She is troubled by her daughter's unusual character. As an infant, Pearl is fascinated by the scarlet A. As she grows older, Pearl becomes capricious and unruly. Her conduct starts rumors, and, not surprisingly, the church members suggest Pearl be taken away from Hester.

Hester, hearing the rumors that she may lose Pearl, goes to speak to Governor Bellingham. With him are Reverends Wilson and Dimmesdale. When Wilson questions Pearl about her catechism, she refuses to answer, even though she knows the correct response, thus jeopardizing her guardianship. Hester appeals to Reverend Dimmesdale in desperation, and the minister persuades the governor to let Pearl remain in Hester's care.

Because Reverend Dimmesdale's health has begun to fail, the townspeople are happy to have Chillingworth, a newly arrived physician, take up lodgings with their beloved minister. Being in such close contact with Dimmesdale, Chillingworth begins to suspect that the minister's illness is the result of some unconfessed guilt. He applies psychological pressure to the minister because he suspects Dimmesdale to be Pearl's father. One evening, pulling the sleeping Dimmesdale's vestment aside, Chillingworth sees something startling on the sleeping minister's pale chest: a scarlet A.

Tormented by his guilty conscience, Dimmesdale goes to the square where Hester was punished years earlier. Climbing the scaffold, he sees Hester and Pearl and calls to them to join him. He admits his guilt to them but cannot find the courage to do so publicly. Suddenly Dimmesdale sees a meteor forming what appears to be a gigantic A in the sky; simultaneously, Pearl points toward the shadowy figure of Roger Chillingworth. Hester, shocked by Dimmesdale's deterioration, decides to obtain a release from her vow of silence to her husband. In her discussion of this with Chillingworth, she tells him his obsession with revenge must be stopped in order to save his own soul.

Several days later, Hester meets Dimmesdale in the forest, where she removes the scarlet letter from her dress and identifies her husband and his desire for revenge. In this conversation, she convinces Dimmesdale to leave Boston in secret on a ship to Europe where they can start life anew. Renewed by this plan, the minister seems to gain new energy. Pearl, however, refuses to acknowledge either of them until Hester replaces her symbol of shame on her dress.

Returning to town, Dimmesdale loses heart in their plan: He has become a changed man and knows he is dying. Meanwhile, Hester is informed by the captain of the ship on which she arranged passage that Roger Chillingworth will also be a passenger.

On Election Day, Dimmesdale gives what is declared to be one of his most inspired sermons. But as the procession leaves the church, Dimmesdale stumbles and almost falls. Seeing Hester and Pearl in the crowd watching the parade, he climbs upon the scaffold and confesses his sin, dying in Hester's arms. Later, witnesses swear that they saw a stigmata in the form of a scarlet A upon his chest. Chillingworth, losing his revenge, dies shortly thereafter and leaves Pearl a great deal of money, enabling her to go to Europe with her mother and make a wealthy marriage.

Several years later, Hester returns to Boston, resumes wearing the scarlet letter, and becomes a person to whom other women turn for solace. When she dies, she is buried near the grave of Dimmesdale, and they share a simple slate tombstone with the inscription "On a field, sable, the letter A gules."

 

 

 

 

 

 

Moby-Dick By Herman Melville

"Call me Ishmael," the narrator begins, in one of the most recognizable opening lines in American literature. This observant young man from Manhattan has been to sea four times in the merchant service but yearns for a whaling adventure. On a cold, gloomy night in December, he arrives at the Spouter-Inn in New Bedford, Massachusetts, and agrees to share a bed with a stranger. Both men are alarmed when the bunkmate, a heavily tattooed Polynesian harpooner named Queequeg, returns late and discovers Ishmael beneath his covers. But the two soon become good friends and decide to sail together from the historical port of Nantucket.

In Nantucket, they sign on with the Pequod, Queequeg the more attractive employee due to his excellence with the harpoon. Ishmael, lacking any further ambition, will be a common sailor. The ship's captain, Ahab, is nowhere to be seen; nevertheless, they hear of him. He is a "grand, ungodly, god-like man" (Chapter 16), according to one of the owners, a man of few words but deep meaning, who has been in colleges as well as among the cannibals. A raggedy prophet of doom named Elijah catches the two friends on the dock and hints at trouble with Ahab. The mystery grows on Christmas morning when Ishmael spots dark figures in the mist, apparently boarding the Pequod shortly before it sets sail.

The ship's officers direct the early voyage. The chief mate, Starbuck, is a sincere Quaker and fine leader. Second mate is Stubb, a prankster but an able seaman. Third mate is Flask, dull but competent. When Ahab finally appears on his quarter-deck one morning, he is an imposing, frightening figure whose haunted visage sends shivers over the narrator. A white scar, reportedly from a thunderbolt, runs down his face and, they say, the length of his body. He has a grim, determined look. One leg is missing and replaced by a prosthesis fashioned from a sperm whale's jaw.

Ahab finally gathers the crewmen together and, in a rousing speech, solicits their support in a single purpose for this voyage: hunting down and killing the White Whale — Moby Dick, a very large sperm whale with a snow-white head. Only Starbuck resists the charismatic, monomaniacal captain; the first mate argues repeatedly that the ship's purpose should be to gather whale oil and return home safely. Eventually, even Starbuck acquiesces.

The mystery of the dark figures is explained during the voyage's first chase, long before meeting Moby Dick. Ahab has secretly brought along his own boat crew, led by an ancient Asian named Fedallah, an inscrutable figure with an odd influence over Ahab. Later, while guarding a captured whale one night, Fedallah tells Ahab of a prophecy of his (Ahab's death).

Queequeg becomes deathly ill and orders a canoe-shaped coffin from the ship's carpenter. Just as everyone has given up hope, the island aborigine decides to live and soon recovers. The coffin serves as his sea chest and later is caulked and pitched to become the ship's life buoy. Queequeg heroically rescues two drowning men in the novel; his coffin will save a third.

There are numerous "gams" in the novel, social meetings of two ships on the open sea. Crews normally visit each other during a gam, captains on one vessel and chief mates on the other. Newspapers and mail are exchanged. The men talk of whale sightings or other news. For Ahab, however, there is but one relevant question to ask of another ship: "Hast seen the White Whale?" Some have. The captain of the Samuel Enderby lost an arm to the leviathan. The Rachel has also seen Moby Dick. As a result, one of its open boats is missing; the captain's son is aboard. The captain of the Rachel begs Ahab to aid in the search, but the Pequod's captain is resolute. He is very near the White Whale now and will not stop to help.

Ahab is the first to spot Moby Dick. For three days, the crew pursues the great whale, who repeatedly turns on the Pequod's boats, wreaking destruction and killing Fedallah, sinking the Pequod, and dragging Ahab into the sea and his death. Only Ishmael survives, clinging to Queequeg's coffin. He floats for a day and a night before the Rachel rescues him.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Leaves of Grass Walt Whitman

Leaves of Grass is a collection of poetry written over Walt Whitman's entire lifetime organized thematically into sections. Whitman revised and added to the book throughout his life, the final edition being published only months before his death in 1891. Whitman was intentional in not organizing the book in any chronological way. Instead, he was concerned with the journey of the poetry. He desired that the reader would see a self formed through the words and themes of the book.

The opening section, "Inscriptions," gives the reader an overview of the work and the purview of its author. Whitman names the subject of the work - "One's-self." This is not only Whitman's self, though he certainly identifies himself as the hero of the epic, but it is also the reader's self as well as a more encompassing democratic self. The subject, then, is Whitman, the reader, and the nation. The themes of "Inscriptions" are as varied as the themes of the entire book. He writes poems of a political, social, personal, and sexual nature, all ideas that he will elaborate on in later sections.

"Starting from Paumanok" is a kind of road map for the literary work ahead. Whitman understands the entire book as a journey and so he begins with his own beginnings of self-awareness and poetic inspiration as a boy on Long Island, New York. Whitman intends here to name those that will accompany him on his journey and he catalogs a vast list of people and places that will play a part in his travels. His poems are of these people and for these people. Whitman, however, is not just concerned with the physical but with the spiritual as well. His own soul is named as a character in the book and his poems, he says, are written with the soul in mind.

"Song of Myself" is a celebration of the individual. It is one of the book's original poems, appearing in the first 1855 edition although it did not take its final form until the 1881 edition. Whitman does not call on religious methods or traditional institutions to help create his self. Instead, Whitman becomes the quintessential modern man, created through nature and created through his own journey of self discovery. In "Song of Myself," Whitman is creating his own poetic world and he is creating himself as a character within that world. He encompasses both the basest desires of the human flesh and the loftiest visions of the human soul. As he describes it, he becomes "multitudes."