David Copperfield by Charles Dickens summary

David Copperfield by Charles Dickens

Summary

David Copperfield is the common name of the eighth novel by Charles Dickens, first published as a novel in 1850. Its full title is The Personal History, Adventures, Experience and Observation of David Copperfield the Younger of Blunderstone Rookery (Which He Never Meant to Publish on Any Account). Like most of his works, it originally appeared in serial form during the two preceding years. Many elements of the novel follow events in Dickens' own life, and it is probably the most autobiographical of his novels. In the preface to the 1867 edition, Dickens wrote, "...like many fond parents, I have in my heart of hearts a favourite child. And his name is David Copperfield."

Summary:

Now a grown man, David Copperfield tells the story of his youth. As a young boy, he lives happily with his mother and his nurse, Peggotty. His father died before he was born. During David’s early childhood, his mother marries the violent Mr. Murdstone, who brings his strict sister, Miss Murdstone, into the house. The Murdstones treat David cruelly, and David bites Mr. Murdstone’s hand during one beating. The Murdstones send David away to school.

Peggotty takes David to visit her family in Yarmouth, where David meets Peggotty’s brother, Mr. Peggotty, and his two adopted children, Ham and Little Em’ly. Mr. Peggotty’s family lives in a boat turned upside down—a space they share with Mrs. Gummidge, the widowed wife of Mr. Peggotty’s brother. After this visit, David attends school at Salem House, which is run by a man named Mr. Creakle. David befriends and idolizes an egotistical young man named James Steerforth. David also befriends Tommy Traddles, an unfortunate, fat young boy who is beaten more than the others.

David’s mother dies, and David returns home, where the Murdstones neglect him. He works at Mr. Murdstone’s wine-bottling business and moves in with Mr. Micawber, who mismanages his finances. When Mr. Micawber leaves London to escape his creditors, David decides to search for his father’s sister, Miss Betsey Trotwood—his only living relative. He walks a long distance to Miss Betsey’s home, and she takes him in on the advice of her mentally unstable friend, Mr. Dick.

Miss Betsey sends David to a school run by a man named Doctor Strong. David moves in with Mr. Wickfield and his daughter, Agnes, while he attends school. Agnes and David become best friends. Among Wickfield’s boarders is Uriah Heep, a snakelike young man who often involves himself in matters that are none of his business. David graduates and goes to Yarmouth to visit Peggotty, who is now married to Mr. Barkis, the carrier. David reflects on what profession he should pursue.

On his way to Yarmouth, David encounters James Steerforth, and they take a detour to visit Steerforth’s mother. They arrive in Yarmouth, where Steerforth and the Peggottys become fond of one another. When they return from Yarmouth, Miss Betsey persuades David to pursue a career as a proctor, a kind of lawyer. David apprentices himself at the London firm of Spenlow and Jorkins and takes up lodgings with a woman named Mrs. Crupp. Mr. Spenlow invites David to his house for a weekend. There, David meets Spenlow’s daughter, Dora, and quickly falls in love with her.

In London, David is reunited with Tommy Traddles and Mr. Micawber. Word reaches David, through Steerforth, that Mr. Barkis is terminally ill. David journeys to Yarmouth to visit Peggotty in her hour of need. Little Em’ly and Ham, now engaged, are to be married upon Mr. Barkis’s death. David, however, finds Little Em’ly upset over her impending marriage. When Mr. Barkis dies, Little Em’ly runs off with Steerforth, who she believes will make her a lady. Mr. Peggotty is devastated but vows to find Little Em’ly and bring her home.

Miss Betsey visits London to inform David that her financial security has been ruined because Mr. Wickfield has joined into a partnership with Uriah Heep. David, who has become increasingly infatuated with Dora, vows to work as hard as he can to make their life together possible. Mr. Spenlow, however, forbids Dora from marrying David. Mr. Spenlow dies in a carriage accident that night, and Dora goes to live with her two aunts. Meanwhile, Uriah Heep informs Doctor Strong that he suspects Doctor Strong’s wife, Annie, of having an affair with her young cousin, Jack Maldon.

Dora and David marry, and Dora proves a terrible housewife, incompetent in her chores. David loves her anyway and is generally happy. Mr. Dick facilitates a reconciliation between Doctor Strong and Annie, who was not, in fact, cheating on her husband. Miss Dartle, Mrs. Steerforth’s ward, summons David and informs him that Steerforth has left Little Em’ly. Miss Dartle adds that Steerforth’s servant, Littimer, has proposed to her and that Little Em’ly has run away. David and Mr. Peggotty enlist the help of Little Em’ly’s childhood friend Martha, who locates Little Em’ly and brings Mr. Peggotty to her. Little Em’ly and Mr. Peggotty decide to move to Australia, as do the Micawbers, who first save the day for Agnes and Miss Betsey by exposing Uriah Heep’s fraud against Mr. Wickfield.

A powerful storm hits Yarmouth and kills Ham while he attempts to rescue a shipwrecked sailor. The sailor turns out to be Steerforth. Meanwhile, Dora falls ill and dies. David leaves the country to travel abroad. His love for Agnes grows. When David returns, he and Agnes, who has long harbored a secret love for him, get married and have several children. David pursues his writing career with increasing commercial success.

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twelfth night Olivia's Garden Act II Scene 5 summary and analysis

Act II: Scene 5

Olivia's Garden

Summary

Sir Toby, Sir Andrew, and Fabian (another of Olivia's servants) have agreed to meet in Olivia's garden, and as the scene begins, the three men enter, Sir Toby urging Fabian on. But Fabian, as we quickly realize, needs no urging; he is more than anxious to relish every minute of their plan to make a fool of Malvolio. Like Sir Toby and Sir Andrew, Fabian has his own quarrel with the prudish, sharp-tongued Malvolio. It seems that Malvolio reported to Olivia that Fabian was "bear-baiting," a popular (if cruel) Elizabethan sport and one which Fabian enjoys. Sir Toby predicts that very soon Malvolio will be the "bear," for the bait will soon be set. They do not have long to wait, for, as Sir Toby points out, "Here comes the little villain."

Before Malvolio comes onstage, however, Maria rushes in and makes sure that they are all well concealed in a "box-tree" (a long hedge trimmed to look like a box). Satisfied, she puts the forged love letter in the garden path, where Malvolio will be sure to find it. "The trout" (Malvolio), she vows, will be caught with "tickling" (having his vanity tickled).

When Malvolio enters, he is greedily weighing the possibility that Olivia may be falling in love with him. Maria herself, he says, confirmed such a notion, and he himself has heard Olivia say that if ever she should choose a husband, that man would be someone very much like Malvolio; also, Malvolio believes that Olivia treats him with more respect than she does any of her other suitors. The thought of Malvolio's being "Count Malvolio" overwhelms him. He conjures up visions of himself — married to Olivia for three months and lovingly letting her sleep in the morning while he, robed in a "velvet gown," rises from the bed and calls his officers to him. He imagines himself reminding his officers to remember their place. Then he would call for his "Cousin Toby," and while he is waiting, he would "frown the while," and toy with his watch or with "some rich jewel." He envisions Sir Toby approaching, curtsying and quaking, as Malvolio reminds him that because "fortune" has given Malvolio "this prerogative of speech," he will austerely command his "kinsman" to "amend [his] drunkenness." He will also inform Sir Toby that he "wastes the treasure of . . . time with a foolish knight" — a contemptuous slur at Sir Andrew.

At this point, Malvolio spies the "love note." He reads it and is absolutely convinced that it was written by Olivia. The script and the phraseology are Olivia's, and the note also has her stamp that she uses for sealing letters. As he reads the poem of love, Malvolio ponders over its mystery. Olivia confesses that only "Jove knows" whom she truly loves; her lips cannot say and "no man must know." The first stanza is unclear, but Malvolio finds hope in the second stanza that it is indeed he whom Olivia loves, for she writes that she "may command where I adore." Surely she refers to him; he is her steward and is at her command. He reads on and finds that the author of the poem says that because she cannot speak the name of her beloved, that "silence, like a Lucrece knife / With bloodless stroke my heart doth gore." Such passion thrills Malvolio, but his emotions are stilled by the poem's puzzling last line: "M, O, A, I, doth sway my life." He reasons that "M" could stand for "Malvolio," but it should logically be followed by "A," and not by "O." And what of the "I" at the end? Yet the letters could feasibly be pieces of an anagram of his name because his name does contain all those letters, albeit in a different sequence.

Then enclosed with the poem, Malvolio discovers a prose letter, which he reads aloud. The author of the letter says that if this letter should, by accident, "fall into [her beloved's] hand," he should be aware that the woman who loves him is, because of the stars (fate) "above" him (meaning that she is socially superior to him), but she begs him not to fear her "greatness." She then states words that have been much-quoted ever since: ". . . some are born great, some achieve greatness, and some have greatness thrust upon 'em." Maria, despite being a mere maid, has done a masterful job of composing exquisite, apologetic modesty, coupled with the tenderness of a love that cannot speak its name.

The author of the love letter continues: Fate beckons to her beloved; he is urged to cast off his usual garments and, instead, he is "commended" to wear yellow stockings, cross-gartered. And, in addition, he should be more "surly with servants"; his tongue should have a "tang." If he does not do all of these things, he will be thought of as no more than a "steward still" and "not worthy to touch Fortune's fingers." The note is signed with a popular Elizabethan lover's device — an oxymoron: "The Fortunate Unhappy." The incongruity of combining one mood with its opposite was considered the epitome of epigrammatic wit.

Malvolio is exultant after reading the letter. He vows, as he was "commended," to be proud and to baffleSir Toby. To him, there can be no doubt that Olivia wrote the love letter, and if she desires him to wear "yellow stockings . . . cross-gartered," then yellow stockinged and cross-gartered he shall be. His joy is so rapturous that he almost overlooks a postscript: the author is sure that her beloved, if he finds her letter, will recognize himself as her heart's secret treasure; if so, he is to acknowledge his own affection. He is to smile; she repeats the command three times: he is to smile and smile and smile. In other words, Maria is going to make the usually sober and uppity Malvolio look like a grinning fool.

Malvolio exits, and Sir Toby, Sir Andrew, and Fabian emerge from the hedge, just as Maria enters. They are all in excellent spirits. Sir Toby is prepared to marry Maria for her cleverness; he even offers to lie under her and allow her to put her foot upon his neck in the classical position of the victor and the vanquished. She has succeeded beyond all their expectations. Maria says that they won't have long to wait to see the results of their prank. Malvolio is sure to try to see Olivia as soon as possible, and, Maria says, Olivia detests yellow stockings, and cross-garters are a fashion which Olivia abhors; in addition, Olivia is usually so melancholy about the fact that she cannot choose a husband for herself that Malvolio's endless smiling will drive her into a fury. So off the pranksters go, arm in arm, eagerly anticipating their comic revenge on the officious Malvolio.

Analysis

In contrast to the romantic plot of the preceding scene, we return now to the comic subplot focusing on the duping of Malvolio. This gulling of Malvolio is one of the most comic scenes in the entire play. Sir Toby and Sir Andrew are joined by a new character, Fabian, who has been the victim of Malvolio's sanctimoniousness when he protested to the Lady Olivia that Fabian was involved in the cruel game of "bear baiting," a form of sport in which dogs barked and snapped at a bear chained to a post. As a moral puritan, Malvolio had reported Fabian for "bear baiting" because Olivia disapproved of this cruel sport. Now, however, they hope that this "niggardly rascally sheep-biter" will soon come along, and they will make Malvolio into the "bear" and will "bait" (tease) him.

They intend to fool him "black and blue." Yet, there is no genuine malevolence in their actions. They resent Malvolio's lack of human sympathy and his puritanical arrogance towards them, and furthermore they will use his own arrogant and egotistical nature to play the trick upon him. If he weren't so self-centered and egotistical, it would be impossible to play this trick upon him. Because of this, we find it difficult to sympathize with Malvolio. At this point, Malvolio is like a man who looks down the wrong end of a telescope and sees everything in the world as being diminished in stature.

When Malvolio opens the letter, he thinks that he recognizes Olivia's handwriting; we know, of course, that it is Maria's handwriting. As Malvolio recognizes certain letters, he mouths them aloud; this is a superb comic example of "echo comedy." All through the scene, as Malvolio tries to decipher the letter, the characters in the box-elder hedge continue to make humorous and derogatory remarks. When Malvolio reads in the letter, "If this fall into thy hand, revolve," he turns around on the stage, evoking roars of laughter from those in the box-hedge.

The instructions in the letter will be the source of future comedy; we should remember that Maria conceived the letter knowing full well Lady Olivia's likes and dislikes. Malvolio is instructed to be surly and distant to the servants, and especially to Olivia's uncle, Sir Toby. Moreover, Malvolio is to wear yellow stockings, an old fashioned symbol of jealousy, already a laughable joke and also a symbol of a low-class serving person; in addition, yellow is a color that Maria knows that the Lady Olivia detests. Malvolio is also to wear the stockings "cross gartered" — that is, he is to wear the garters both above and below the knee, making a cross behind, another custom practiced only by the lowest menials. The irony is that when Malvolio is dressed in this outrageous garb, he hopes to woo a countess! Furthermore, he is to smile continuously at Olivia, and Maria knows that Olivia cannot countenance smiles because she is in "mourning." This is doubly ironic because Malvolio has never smiled before; now he will walk around with a foolish smile constantly upon his face.

As a final note, the duping is so perfect that Sir Toby says of Maria: "I could marry this wench for this device" — that is, because of her plan for the duping. When Maria returns, she tells the others to wait until Malvolio first appears before Olivia. He will wear and do everything Olivia detests, and Malvolio's smiling will be so unsuitable to her melancholy disposition that she will probably have him sent away. The comedy lies in the audience's anticipation of this forthcoming scene.

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twelfth night A Street Act 2 Scene 2 summary and analysis

Act II: Scene 2

A street 

  Summary

Viola, still in disguise as Cesario, comes on stage and is followed by Malvolio, who catches up with the lad and asks him if he is indeed the young man who was with the Countess Olivia only a short time ago. Cesario admits that it was he, and Malvolio holds out a ring to him — seemingly a ring that Duke Orsino sent to Olivia, one which Cesario left behind by mistake. Malvolio adds sarcastically that Cesario would have saved Malvolio the time and trouble of returning it if Cesario had not been so absent-minded. Scornfully, Malvolio tells Cesario to return to his master, Orsino, and tell him that Olivia "will none of him," and furthermore he warns Cesario that he should "never be so hardy to come again in his [Orsino's] affairs."

Cesario is dumbfounded by Malvolio's high-handed manner; then, matching Malvolio's insolence, he says, "I'll none of it." Malvolio is incensed at Cesario's haughty manner and flings the ring to the ground; if Cesario wants it and "if it be worth stooping for, there it lies." With that, he exits abruptly.

Left alone, Viola ponders all that has happened; she is absolutely certain that she left no ring with Olivia, yet why does Olivia believe that she did and, moreover, why did she send Malvolio with such urgency to return it? Then she realizes what may have happened, and she is horrified: can it be possible that Olivia has fallen in love with Viola's boyish disguise? She is aghast: "fortune forbid my outside have not charmed her!" Thinking back on their interview, however, she clearly recalls that Olivia certainly "made good view of me; indeed, so much / That sure methought her eyes had lost her tongue."

The evidence is clear. Olivia has indeed fallen in love with Cesario; when she spoke to the young man, she spoke in starts and spurts, and her manner was vague and distracted. Now "the winning of her passion" has sent Malvolio after the "boy" whom she believes to be the object of her love.

Viola pities Olivia; it would be better for the poor Olivia to "love a dream." Viola recognizes that "disguise . . . art a wickedness." She aptly calls disguise a "pregnant enemy," an enemy able to play havoc with "women's waxen hearts." Like Olivia, Viola too is a woman. She knows the anguish of love: "Our frailty is the cause, not we," she meditates, "for such are we made of."

This is a dreadfully complicated knot. Viola loves her master, Orsino, who loves the beautiful but disdainful Olivia, who loves the handsome Cesario (who is not a man at all, but is Viola, in disguise). Viola calls on Time to untangle this knot, for she is incapable of doing so herself; "it is too hard a knot for me to untie."

Analysis

At the end of Act I, Olivia sent Malvolio to catch up with Cesario and return a ring that Cesario did notleave behind. In this short scene, Malvolio is seen returning the ring in a very scornful, haughty, and arrogant manner. The scene serves in part to bring out Malvolio's rudeness and his ill nature. He is extremely insolent to a youth who has caused him no personal injury. His unwarranted enmity is seen in the manner in which he delivers the ring. Malvolio's action here again prepares the reader for delight in the tricks that will later be played on this insolent man who shows nothing but scorn for any person who is not above him in social status.

While this scene does not advance the plot, it does show us how intricately Viola is caught up in the entanglement. She suddenly realizes that Olivia has fallen in love with an exterior facade — and not with the inner person. This realization allows her to comment on the "frailty" of women who are constantly deceived by disguises of one sort or another. When Viola cries out, "Disguise, I see thou art a wickedness, / Wherein the pregnant enemy does much," she speaks with allusions about the "wickedness" that arises from a woman's being constantly deceived by disguises, ever since Eve was first deceived in the Garden of Eden. Yet, Viola must retain her disguise because, as a girl alone in a foreign country, she would be powerless to defend herself, as we see later when the cowardly Sir Aguecheek threatens her.

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The Sea-coast Act II Scene 1 summary and analysis

Act II: Scene 1

The Sea-coast 

the sea coast 12th night

Summary

The second act begins on the seacoast of Illyria. Viola's twin brother, Sebastian, was not drowned after all. He survived the shipwreck and enters on stage talking with Antonio, a sea captain (not the same sea captain who managed to reach shore with Viola). Sebastian, like his sister Viola, is deeply grieved; he is sure that Viola was lost at sea and perished in the storm. He blames the stars and "the malignancy of [his] fate" for his dark mood and his misfortune. He turns to the sea captain, and, feeling that he can be straightforward with him because of what they have both just experienced, he tells the captain that he wants to be alone. He needs solitude because of his terrible grief; his troubles are many, and he fears that they will spread like an illness and "distemper" the sea captain's mood. He cares too much for the captain to unburden his woes on him.

Antonio, however, will not leave Sebastian; his friendship for the young man is strong enough to withstand Sebastian's emotionalism. Sebastian's composure suddenly breaks, and he bewails his lot; if Antonio had not saved him, he would now be dead at the bottom of the sea, alongside his beloved sister. "If the heavens had been pleased," his fate would have been the same as his sister's. He then recalls his sister's beauty, and he remembers her keen mind, a mind that was extraordinary and enviable. At this point, Antonio protests. Sebastian was correct when he spoke earlier of his dark moodiness being able to "distemper" Antonio's temperament. The sea captain says that Sebastian's lamentations are "bad entertainment," a fact that Sebastian quickly realizes and quickly apologizes for.

Antonio changes the subject to matters more practical and more immediate. He asks Sebastian if he can be the young man's servant. That single favor would please him immensely. That single favor, however, Sebastian cannot grant him, for as much as he would like to do so, he dare not take Antonio with him. His destination is Duke Orsino's court and Antonio has "many enemies" in Orsino's court. Yet "come what may," Antonio says that he will always treasure his friendship with Sebastian. Thus, he will go with Sebastian. Antonio's devotion to Sebastian is admirable; he recognizes the dangers ahead if he follows Sebastian to Orsino's palace, but after the horrors of the shipwreck, future "danger shall seem sport."

Analysis

This scene takes us away from the regal households and out to the seashore on another part of the coast of Illyria. The two new characters who are introduced, Sebastian and Antonio, form the third plot line of the comedy. Sebastian is Viola's twin brother whom she believes was probably drowned at sea, and this fact will create comic complications, which will be resolved in the fifth act. Like his sister, Sebastian is kind and good-looking. When Sebastian describes his sister as a lady "though it was said she much resembled me, was yet of many accounted beautiful," we are being prepared for the confusion later in the play when Sebastian will be mistaken for Cesario (Viola), and Viola (as Cesario) will be mistaken for Sebastian by Antonio, the sea captain.

Sebastian will appear throughout the rest of the comedy as more impulsive and more emotional than his twin sister; for example, he will consent to marry a woman (Olivia) whom he has just met — an act of extreme impetuosity. But yet we must assume that Sebastian possesses many good qualities to have attracted the loyalty of such a stalwart man as the sea captain, who decides to risk his life to accompany the handsome young lad to Duke Orsino's court.

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Macbeth Act 5, Scene 7: Another part of the field summary and analysis

Act V: Scene 7

Summary

In a scene that foreshadows the final destruction of a tyrant in single combat, Macbeth is challenged by the courageous son of Siward. Immediately afterwards, Macduff is seen eagerly seeking out the man who was responsible for the murder of his family. Lastly, it is announced that Macbeth's forces have surrendered Dunsinane castle. But the business is not yet finished.

 Analysis

The image of paralysis that ended Scene 5 is picked up immediately in Macbeth's image of himself as a baited bear. He is like a captured wild animal, furious yet unable to move: "They have tied me to a stake: I cannot fly." All he can do is to await his destiny. When a single figure enters, Macbeth must wonder, half-doubtful, whether his nemesis has arrived in the form of young Siward. The fight itself is preceded by a combat of words in which Siward appropriately taunts Macbeth with the words "devil" and "lie," words that have particular significance for his opponent. Macbeth's replies spur Siward into courageous but futile action. Before his exit, Macbeth gloats over the corpse of his assailant, with one final mockery: "Thou wast born of woman."

With ironic timing, the man who was not born of woman now takes Siward's place on the battlefield stage. The darkly vengeful figure of Macduff speaks of his obligation to the souls of his dead family: Revenge must be his and his alone if he is to escape his personal feelings of guilt at having abandoned his family.

Describing the surrender of Macbeth's castle, Old Siward (who at this point is ignorant of the heroic self-sacrifice of his son) explains that Macbeth's troops surrendered the castle with little resistance — "gently." Perhaps the audience recalls the "gentle" King Duncan, who, on his fateful visit to Macbeth's castle at Inverness in Act I, Scene 6, commented on the sweet air which surrounded it. Here, we feel that a weight has been lifted: the air will shortly "smell wooingly" once more.

Glossary

bruited (22) announced

rendered (22) surrendered

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Macbeth Act 5, Scene 6: Dunsinane. Before the castle summary and analysis

Act V: Scene 6

 

Summary

Malcolm and his troops have reached Dunsinane under the "leafy screens" of the branches, thus fulfilling the prophecy of the apparitions: Birnam wood has come to Dunsinane.

Analysis

The strong sense of movement and of impending threat is generated throughout Act V by the swift alternation of scenes. This, the briefest of all the scenes, at a mere ten lines in length, enables the audience to follow the advancing forces of Malcolm and England virtually to the walls of Dunsinane castle.

Two lines are worth commenting on: First, Malcolm announces that Siward, his "worthy uncle" shall lead the first battle, while Macduff and he complete the encounter "According to our order." The phrasing of this, with the implication that Siward is to be revered for his age and experience, establishes very strongly the idea of propriety and orderliness in Malcolm's army, in contrast with the comparative lawlessness and lovelessness of Macbeth's regime.

The second point occurs in the stirring final couplet, in which the trumpets sounding the advance are referred to as "harbingers of blood and death"; a harbinger is a sign of what is to come, a precursor of Destiny or Fate.

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The Open Window by Saki Plot Analysis

The Open Window Plot Analysis

Andrew Kokanoutranon


  Open Window Analysis

The Open Window Plot Analysis 


Exposition: "My aunt will be down presently, Mr. Nuttel," said a very self-possessed young lady of fifteen; "in the meantime you must try and put up with me.

The story starts off by the narrator giving details and back round descriptions of the characters. 

Inciting Incident: "Her great tragedy happened just three years ago," said the child; "that would be since your sister's time." 

"Her tragedy?" asked Framton; somehow in this restful country spot tragedies seemed out of place. 

"You may wonder why we keep that window wide open on an October afternoon," said the niece, indicating a large French window that opened on to a lawn. 

"It is quite warm for the time of the year," said Framton; "but has that window got anything to do with the tragedy?

Framton, the main character, gets introduce to a plot and he takes it as truth. 

Rising Action: "I hope you don't mind the open window," said Mrs. Sappleton briskly; "my husband and brothers will be home directly from shooting, and they always come in this way. They've been out for snipe in the marshes today, so they'll make a fine mess over my poor carpets. So like you menfolk, isn't it?" 

She rattled on cheerfully about the shooting and the scarcity of birds, and the prospects for duck in the winter. To Framton it was all purely horrible. He made a desperate but only partially successful effort to turn the talk on to a less ghastly topic, he was conscious that his hostess was giving him only a fragment of her attention, and her eyes were constantly straying past him to the open window and the lawn beyond. It was certainly an unfortunate coincidence that he should have paid his visit on this tragic anniversary. 

Framton gets introduce to Mrs. Sappleton and he thinks she is insane, but in reality she is telling the truth; this is setting up for the climax. 

Climax: In the deepening twilight three figures were walking across the lawn towards the window, they all carried guns under their arms, and one of them was additionally burdened with a white coat hung over his shoulders. A tired brown spaniel kept close at their heels. Noiselessly they neared the house, and then a hoarse young voice chanted out of the dusk: "I said, Bertie, why do you bound?" 

The main character sees that the husband and the sons were walking towards the house, the character reaches the point of no return. 

Falling Action: Framton grabbed wildly at his stick and hat; the hall door, the gravel drive, and the front gate were dimly noted stages in his headlong retreat. A cyclist coming along the road had to run into the hedge to avoid imminent collision. 

"A most extraordinary man, a Mr. Nuttel," said Mrs. Sappleton; "could only talk about his illnesses, and dashed off without a word of goodby or apology when you arrived. One would think he had seen a ghost." 

"I expect it was the spaniel," said the niece calmly; "he told me he had a horror of dogs. He was once hunted into a cemetery somewhere on the banks of the Ganges by a pack of pariah dogs, and had to spend the night in a newly dug grave with the creatures snarling and grinning and foaming just above him. Enough to make anyone lose their nerve." 

The main character reacts to the climax by running out and away from the ‘ghosts’. 

Denouement (Resolution): Romance at short notice was her speciality. 
The resolution of the story consists of the family thinking that Framton is insane because he ran away. 


1. Look up the meaning of the name Vera. How might Saki's choice of this be considered verbal irony?

The name Vera means truth but she was lying to Framton about her family dying. 

2. In what ways is the story's last line ironic?

Vera was lying the whole time about her family’s death just to keep her amuse, and the author makes us think that Mrs. Sappleton was crazy. 

3. Find two other ironic statements in the story.

"The doctors agree in ordering me complete rest, an absence of mental excitement, and avoidance of anything in the nature of violent physical exercise."

"It is quite warm for the time of the year," said Framton; "but has that window got anything to do with the tragedy?" 

4. What is the point of view in the story? How does the point of view create irony?

The point of view in the story is in third person view and it is limited to knowledge. We only know what Framton is thinking and no one else. We wouldn’t have known that Vera was lying until the end of the story. 

5. Identify important character traits of Framton Nuttel, and Vera. What action and lines of dialogue are the most important in the development of their characters?

Framton is on the edge of insanity, he cant take anymore stress or else he’ll go insane. He is a fragile person, any little excitement or anxiety can make him insane. Vera is a lair and a fifteen year old girl. She lies to Framton only to keep herself amused by his terror. When Vera greeted Framton at the door, the story would have never happened if Mrs. Sappleton opened the door instead of Vera. 

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A Literary Analysis of Somerset W. Maugham's The Luncheon

A Literary Analysis of Somerset

By

 W. Maugham's The Luncheon

The Analysis of the short story The Luncheon

The text I'm going to analyse represents a short-story, entitled "THE LUNCHEON", written by a prominent, English novelist, short-story writer, playwright and essayist Somerset Maugham. 

First of all I'd like to say some words about the title of the text "The Luncheon". The title of the text is rather ironical. If we consult a dictionary, we can find out that the word "luncheon" means a "light snack", but as we can see hereinafter a light snack turns to be an abundant and expensive meal. 

The text represents the first person narration. The use of pronouns "I", "my", "myself" is predominant. E.g. "Did I remember?", "My heart sank", "as for myself, I chose the cheapest dish". 

The plot of the text is the following: the narrator, a book writer, recognizes a woman with whom he had lunch years ago. He starts remembering the unforgettable evening. He was young, lived in Paris and could barely make ends meet. She had read of his books and wrote a letter to congratulate him on his work. He invited her for lunch and to his horror she chose an expensive restaurant. He had only eighty francs to last him the rest of the month. She ordered one expensive dish after another and when the bill came he paid and was left with no money at all. However, in the end, the narrator feels that he has finally had his revenge when he sees that the lady now put a lot of weight. 

Maugham offers the reader a description sustained by dialogues which has a source in a flash back. The author presents a flash back soon at the beginning of the text and this flash back becomes an important detail "Did I remember?" which allows us to know what had happened twenty years ago. The flash-back goes to the last paragraph when the narrator comes back to the present time and shows us that he had been revenged. 

The tone of the text is ironical. Irony is presented here in a stressed form, mainly in scene of restaurant. 

The given text can be divided into 3 logical parts: the 1 one is presented by 2 first paragraphs when the narrator sees the lady at the theatre in 20 years since their first meeting, which recurs to his memory in the second logical part. I'd like to say that it's the story in the story. So, this very part can be divided into3 structural parts. I think that it has the open structure: it possesses the exposition, the story and the climax. 

The exposition begins with the sentence "It was twenty years ago and I was living in Paris" and ends with the words " I answered that I would meet my friend by correspondence at Foyot's on Thursday at half past twelve." Here the reader learns about place of action – Paris and time – it was 20 years ago. We learn that the main the narrator was very poor and could hardly keep body and soul together. The reader gets information about the events which preceded the meeting of the main characters. The protagonist got the letter from a lady who was admired by his work, she wrote that she was interested to have chat with him and suggested meeting at Foyot's, one of the most expensive restaurants. He was flattered and couldn't say "no" to her. The author uses: epithets little luncheon and modest luncheon are in contradiction with the luxury restaurant Foyot's at which the French senators eat. I think it is used to achieve the ironical effect., the epithet – tiny room and the cliché to keep body and soul together underlines the fact that he lived in want. 

Then comes the main part. It begins with the narrator's description of his admirer and lasts till the last sentence. The action takes place in the restaurant. Here the reader learns more about the main characters. They are presented both directly and indirectly. So, the male character is the ingenuous one as we may note through the expressions from his way of thinking, acting anf speech "Foyot's was so far beyond my means that I had never even thought of going there", " I was flattered,and I was too young to have learned to say "no" to a woman". These and other 

examples show us the narrator's traditional concepts. He is also an educated man, polite, 

from a good family tradition. 

As for the female character, we can get a clear idea about her from what the narrator tells about her "She was not so young as I expected and in appearance imposing rather than attractive. She was, in fact, a woman of forty ( a charming age, but not one that excites a sudden and devastating passion at first sight), and she gave me the impression of having more teeth, white and large and even, than were necessary for any 

practical purpose. She was talkative, but since she seemed inclined to talk about me I was prepared to be an attentive listener. So, we can see that the narrator is the mouthpiece of the author. And also we learn about her through her actions, behaviour and speech: e.g she repeats "I never eat anything for luncheon", but she eats everything she can, as the narrator says: "I watched the abandoned woman thrust the asparagus down her throat in voluptuous mouthfuls and in my polite way discoursed on the condition of the drama in the Balkans." So we can make a conclusion that the woman is smart, experienced, selfish, cold, without any feeling except to fulfill her desires. I think that he perceives her as a beast of pray and the hyperbole "she gave me the impression having more teeth, white and large and even, than were necessary for any practical purpose, proves this idea. 

The dialogues between the host and the guest are effective and permit the reader to witness what is happening. We can easily perceive how the writer makes the tone vary in the words of the characters. The woman's tone never changes while she cheats the host and orders the most expensive dishes, and the repetition of same phrases proves it I never eat anything for luncheon", and "I never eat more than one thing". And that is the key sentence of the text. The woman's insistence in saying that she does not eat anything for lunch is in the stressed mark of irony, for she ate like a heroine. The contrast in this short – story gives origin to a complex game between the host and his guest and it is sustained through the situation of the host which becomes worse as time goes by. 

We can feel the suspense to be developed through the words of the narrator from the very beginning. At the beginning of the text we notice his willingness to please her, but as the time passes his utterances become shorter and shorter and his tone becomes more and more subdued. e/g. metaphor: my heart sank a little, I turned a little pale, my heart sank,panic seized me. He answered generously,I answered promptly, I asked faintlyHe becomes less generous, as he is more worried about how much he will have to pay. It was the only thing he could think about. 

The tension gets to its highest point when the bill comes. I believe this moment to be the climax of the text.

Summary of The Luncheon

The writer of 'The Luncheon' William Somerset Maugham, in this short story,relates about a lady who is an admirer of his stories. She wins the author's favour and expresses her wish to meet him at a high class restaurant.William exposes the false motives of modest eating habits, of the middle classes with a touch of humour.

Twenty years ago the author was living in Paris, when he had met a lady, who is an admirer of his stories. She had met him at a play and relates to him the incident during the interval which had occurred at that time. She had read a book written by him, and had written a letter to him about her views. Another letter was posted, stating about her visit to Paris and her desire to have a little luncheon at the Foyots, a restaurant where French senators eat. William was not a rich man and had never even thought of visiting that restaurant, nor did he possess the art of refusing her request.

Estimating the cost of a luncheon, which should not cost more than fifteen Francs,he decided to cut down coffee from his menu, so that he could have enough for himself for the next two weeks. His meeting was fixed on Thursday, at half past twelve, through correspondence.The lady was in her Forties, talkative, and not attractive. She had ordered for Salmon,and Caviare, while the Salmon was being prepared.William had ordered for the cheapest dish mutton- chops.

After the meal, she had ordered for white champagne. She kept enjoying the meal, and chatting about art, literature, and music, while William kept wondering about the bill.The bill of fare was soaring above that which he had anticipated.When the waiter had come with the bill she waived him aside with an air of gesture and ordered for Asparagus, the horribly expensive dish.William's heart sank, his mouth watered, and yet he had to quell his emotions.Adding to worsen the situation, she ordered for ice-cream and then coffee, all the same announcing that 'she never ate anything for luncheon - just a bite' Thoughts kept reeling through William's mind about how he was going to pay the exorbitant bill or how could he feign an act of his pocket having been picked.

To his utter dismay,the head waiter walked up to the table with a large basket full of huge Peaches.She picked up one protesting that her meal was just a snack, and that she could certainly enjoy the Peach.

The bill was finally paid, and William found himself with just a few Francs for the tips, and not a penny left in his pocket for the whole month. William believes, that he had had his revenge for then, when the Twenty years had passed by, he met her weighing One Hundred and Thirty -Six Kilograms.

The Theme

The primary theme of the short story 'Luncheon' by Somerset Maugham is appearance vs. reality.
The speaker, in 'Luncheon', wishes from the beginning that his date would be a beautiful woman. He imagines a portrayal of a graceful lady in his mind. But, when he goes to have a lunch with her, she appears as a surprising blast, a total opposite to his imagination. Not only her appearance but also her dialogues express that she is an extremely fat, food-loving and ravenous woman who does not even think a bit about the costs the speaker would have to pay for the lunch. She has a very good appetite, and gobbles a lot of money also. The most interesting part is the verbal irony hidden in the lines she utters to the speaker, like she does not eat too much etc.
The irony concealed in her speeches helps to develop the main theme. These ironies make 'Luncheon' a comic story in the true sense.

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Macbeth Act 3, Scene 6: Forres. The palace summary and analysis

Act III: Scene 6

 

Summary

Meeting with a rebel lord, Lennox reveals his doubts concerning Macbeth. His argument is that those who might be immediately suspected of murdering their kinsmen are less likely to have done so than Macbeth, who had killed the guards of Duncan's chamber so hastily. Although Lennox is prepared to accept Macbeth's actions, he cannot help feeling deeply suspicious of him. The other lord reveals to Lennox that Macduff has fled from Scotland to join forces with Malcolm in England. Moreover, they have requested help from England's King Edward the Confessor. Both Lennox and the other lord pray that God's vengeance may swiftly fall on the tyrannical Macbeth and that Scotland may return to peace once more.

Analysis

Some of the language of this scene is difficult. Its lines are full of pauses, half-spoken thoughts, and fragments of reported speech. Its function is twofold: first to convince the audience of Lennox's real thoughts about Macbeth. Even though Lennox appears loyal to Macbeth at the end of Act IV, Scene 1, here he divulges his concerns in lines such as "Men must not walk too late" and, more directly, the phrase "the tyrant's feast."

The primary function of the other lord is to confirm the news of Macduff's flight to England and to introduce the names of other rebel leaders, Northumberland and Siward, who will combine against Macbeth in the final act. But his words "That . . . we may again / Give to our tables meat, sleep to our nights" (32-34) also recall, ironically, the words of Macbeth to his wife in Act III, Scene 2: "But let the frame of things disjoint . . . / Ere we will eat our meal in fear, and sleep / In the affliction of these terrible dreams."

Glossary

marry (4) indeed

want the thought (8) help thinking

straight (11) straightaway

the two delinquents (12) that is, the guards of Duncan's chamber

an't (19) If

with Him above . . . work (33) with God's help

The cloudy messenger . . . clogs me with this answer The surly messenger refuses to report to Macbeth the news of Macduff's desertion for fear of punishment.

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Macbeth Act 3, Scene 4: The same Hall in the palace summary and analysis

Act III: Scene 4

 

Summary

At Forres, Macbeth and his wife welcome the thanes of Scotland to the banquet. Immediately prior to the feast, one of the murderers appears at a side door and reveals to Macbeth the truth about the mission: their success in the killing of Banquo and their failure to murder Fleance. Macbeth recomposes himself and returns to the table. As he raises a toast to his absent friend, he imagines he sees the ghost of Banquo. As with the ethereal dagger, the ghost of Banquo appears to come and go, propelling Macbeth into alternating fits of courage and despair. Lady Macbeth invites the thanes to depart and, once alone, tries one last time to soothe her husband. But Macbeth's paranoid mind is already on to the next murder, that of Macduff. To ascertain his future with greater certainty, he makes clear his intention to visit the Weird Sisters once more.

Analysis

Macbeth's words and phrases to the thanes, such as "You know your own degrees" and "Both sides are even: here I'll sit i'th'midst" suggest a renewal of order and symmetry in Scotland, yet the audience knows that this is not the case. Both sides are not even, because Banquo is missing. Degree, or rank order, has been effectively perverted by Macbeth by his killing of the king and his usurpation of the throne. As in Act I, Scene 6, Lady Macbeth's words of introduction disguise her true feelings. Once again, the Macbeths act with suspicious confidence. This confidence is about to desert Macbeth, however, as his dark secret comes back to greet him in the form of the First Murderer.

At first, Macbeth is pleased with the murderer, telling him he is "the best," "the nonpareil" (without equal); moreover, Macbeth's own supposed invincibility is shown when he says that he feels "as broad and general as the casing air," but on hearing the unwelcome news that Fleance escaped his treachery, Macbeth's language abruptly changes: "But now I am cabin'd, cribbed, confin'd, bound in / To saucy doubts and fears" (25-26). The alliteration of the hard c sounds reveals Macbeth's sense of constraint, in contrast to the freedom which he claims to have enjoyed previously.

The imagery of confinement and constraint plays an increasing part in his language from now on. For example, these words foreshadow the point in Act V, Scene 7 when, recognizing that he is physically trapped by the advancing English army, Macbeth cries out, "They have tied me to a stake, I cannot fly" (flee). Now, though, something altogether more terrifying holds him down and prevents him from moving: In the very place reserved for him at the table, Macbeth sees, or thinks he sees, the spirit of the assassinated Banquo.

The rich banquet, a symbol of great orderliness and generosity, now becomes a hellish parody of itself. Instead of Macbeth sitting "in the midst," dispensing his largesse as he would wish, his throne has been usurped by the bloody apparition of his former friend. Macbeth's language reflects this change. The ghost, so hideous that it would "appall the devil," appears to have risen from a grave or a "charnel-house." Macbeth cannot understand why what is dead should "be alive again," when its bones should "be marrowless" and its blood "cold." Finally, he challenges the all-too-real apparition to "dare me to the desert with thy sword."

In contrast to the urgent horror of Macbeth's addresses to the gruesome apparition are moments of comparative calm. Each time the ghost vanishes, Macbeth's relief is recorded in softer, more lyrical expression: "Can such things be / And overcome us like a summer's cloud, / Without our special wonder?" (112-114). Indeed, the entire structure of this scene shows a man swinging from one state of mind to another, recalling the structure of the earlier dagger speech. Three times Macbeth sees the ghost, and three times he appears to recover his senses. This alternating structure adds strongly to the impression of Macbeth's loss of control.

Lady Macbeth, on the other hand, remains constant in her judgement. Unlike Macbeth, she cannot see the ghost, and her tone is typically pragmatic and down-to-earth: "When all's done, / You look but on a stool." She appears to want to calm his rages, but anger simmers beneath her conciliatory words. Once more she upbraids her husband for his apparent lack of manhood. A specific parallel with the murder scene occurs when Macbeth accuses his wife of being able to "keep the natural ruby of your cheeks, / When mine is blanched (whitened) with fear" (116-117). Here, the words "ruby" and "blanched" clearly recall the distinction that Lady Macbeth made between the "red" hands of murder and the "white" heart of a coward (II: 2, 64).

With the departure of the guests, Macbeth appears to regain some of his earlier self-confidence. He announces his decision to visit the Weird Sisters once more, this time of his own accord. His language in this coda to the banquet scene is mysterious and prophetic: The short scene is dominated by the repeated word "blood" and by the idea that a tide of murder has now been initiated which Macbeth is powerless to stop.

Glossary

The feast . . . ceremony (35) Banquets which are given freely are made more attractive by the "sauce" of ceremony.

roofed (35) surmounted

flaws and starts (62) outbursts

become (63) suit

authoriz'd (65) written

maws (72) appetites

gentle weal (75) noble commonwealth

speculation (94) eyesight

protest me (104) claim that I am

disposition . . . owe (112) my own human nature, courage

augurs. . . blood (123) Prophecies have (in the past) revealed even the most well-hidden murders

magot-pies (124) magpies

fee'd (131) paid

wants (142) requires

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