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The time is midnight, and as the act begins a foghorn is heard in the distance. Tyrone sits alone in the living room, drinking and playing solitaire. He is drunk, and soon Edmund enters, also drunk. They argue about keeping the lights on and the cost of the electricity. Tyrone acts stubborn, and Edmund accuses him of believing whatever he wants, including that Shakespeare and Wellington were Irish Catholics. Tyrone grows angry and threatens to beat Edmund, then retracts. He gives up and turns on all the lights. They note that Jamie is still out at the whorehouse. Edmund has just returned from a long walk in the cold night air even though doing so was a bad idea for his health. He states, "To hell with sense! We're all crazy." Edmund tells Tyrone that he loves being in the fog because it lets him live in another world. He pessimistically parodies Shakespeare, saying,
"We are such stuff as manure is made of, so let's drink up and forget it.
That's more my idea." He quotes then from the French author Baudelaire, saying "be always drunken." He then quotes from Baudelaire about the debauchery in the city in reference to Jamie. Tyrone criticizes all of
Edmund's literary tastes; he thinks Edmund should leave literature for God.
Tyrone thinks that only Shakespeare avoids being an evil, morbid degenerate.

They hear Mary upstairs moving around, and they discuss her father, who died of tuberculosis. Edmund notes that they only seem to discuss unhappy topics together. They begin to play cards, and Tyrone tells Jamie that even though Mary dreamed of being a nun and a pianist, she did not have the willpower for the former or the skill for the latter; Mary deludes herself. They hear her come downstairs but pretend not to notice. Edmund then blames Tyrone for Mary's morphine addiction because Tyrone hired a cheap quack. Edmund then says he hates Tyrone and blames him for Mary's continued addiction because Tyrone never gave her a home. Tyrone defends himself, but then Edmund says that he thinks that Tyrone believes he will die from consumption. Edmund tells Tyrone that he, Tyrone, spends money only on land, not on his sons. Edmund states that he will die before he will go to a cheap sanatorium.

Tyrone brushes off his comments, saying that Edmund is drunk. But
Tyrone promises to send Edmund anywhere he wants to make him better,
"within reason." Tyrone tells Edmund that he is prudent with money because he has always had to work for everything he has. Edmund and Jamie, by contrast, have been able to take everything in life for granted. Tyrone thinks that neither of his sons knows the value of money. Edmund, delving into his deeper emotions, reminds Tyrone that he, Edmund, once tried to commit suicide. Tyrone says that Edmund was merely drunk at the time, but
Edmund insists he was aware of his actions. Tyrone then begins to cry lightly, telling of his destitute childhood and his terrible father. Tyrone and Edmund, making amends, agree together on a sanatorium for Edmund, a place that is more expensive but substantially better. Tyrone then tells
Edmund of his great theatrical mistake that prevented him from becoming widely famous: he sold out to one particular role, and was forever more typecast, making it difficult for him to expand his horizons and find new work. Tyrone says that he only ever really wanted to be an artist, but his hopes were dashed when he sold out to brief commercial success. Edmund begins laughing "at life. It's so damned crazy," thinking of his father as an artist.

Edmund then tells some of his memories, all of which are related to the sea. He reflects on moments when he felt dissolved into or lost in the ocean. He thinks that there is truth and meaning in being lost at sea, and he thinks he should have been born a "seagull or a fish."

Act IV, Part Two

Hearing Jamie approaching the house, Tyrone steps into the next room.
Jamie enters, drunk and slurring his speech. He drinks more, but he will not let Edmund drink at first, for health reasons. Jamie complains about
Tyrone briefly, then learns of his agreement with Edmund. Jamie says that he spent the evening at the whorehouse, where he paid for a fat whore whom no one else was willing to take. Edmund attacks Jamie with a punch when
Jamie begins praising himself and berating others. Jamie thanks him suddenly for straightening him out; he has been messed up by problems related to Mary's addiction. He and Edmund both begin to cry as they think about their mother. Jamie is also worried about Edmund, who may die from consumption. Jamie says that he loves Edmund, and that in a sense he made him what he is at present.

But Jamie also admits that he has been a bad influence, and he says that he did it on purpose. Jamie admits that he has always been jealous of
Edmund, and he wanted Edmund to also fail. He set a bad example intentionally and tried to bring Edmund down. He then warns Edmund, saying,
"I'll do my damnedest to make you fail," but then he admits, "You're all
I've got left." Jamie then passes out.

Tyrone then reenters, having heard all that Jamie said. Tyrone says that he has been issuing the exact same warning to Edmund for many years.
Tyrone calls Jamie a "waste." Jamie wakes up suddenly and argues with
Tyrone. Jamie and Tyrone both pass out briefly until they are awoken by the sound of Mary playing the piano in the next room. The sound stops, and Mary appears. She is very pale and very clearly on a substantial dose of morphine. Jamie begins to cry, and Tyrone angrily cries that he will throw
Jamie out of his house. Mary is hallucinating, thinking that she is back in her childhood. She thinks that she is in a convent. In her hands, she is holding her wedding gown, which she fished out of the attic earlier. She does not hear anyone, and she moves like a sleepwalker. Edmund suddenly tells Mary that he has consumption, but she tells him not to touch her because she wants to be a nun. The three men all pour themselves more alcohol, but before they can drink, Mary begins to speak. She tells them of her talk with Mother Elizabeth, who told her that she should experience life out of the convent before choosing to become a nun. Mary says that she followed that advice, went home to her parents, met and fell in love with
James Tyrone, "and was so happy for a time." The boys sit motionless and
Tyrone stirs in his chair as the play ends.

Moby Dick

Context
Herman Melville (1819-1891) was a popular writer of sea narratives before he wrote Moby-Dick (1851). What was to become his best known novel, The
Whale; or Moby-Dick, received good reviews when it appeared in England, but the first American edition, coming out a month later in New York, received mixed reviews. It was not a financial success and bafied American critics until the 20th century, when it began to be considered a classic.
Melville was not recognized as a genius in his time; his most famous works today{Moby-Dick, short stories like "Benito Cereno," and Billy Budd{were not widely read or heralded in the 19th century.
Melville's America was a tumultuous place. In the North, rapid industrialization was changing social patterns and giving rise to new wealth. In the South, the cotton interest was trying to hold onto the system of black slavery.
America was stretching westward, and encountering Native American tribes, as travel by train, road, sea, and canal become easier than before.
Politicians appealed to the masses as the idea of "democracy" (versus republicanism) took hold. Nationalism was high in the early nineteenth century, but as national interconnectedness became more feasible, the deep divisions in society began to grow. Soon, sectionalism, racism, economic self-interest, and bitter political struggle would culminate in the Civil
War.
Against this backdrop, Melville sailed off on his first whaling voyage in
1841. This experience became the material for his first book, Typee (1846), a narrative that capitalized on exotic titillation about natives in the
Marquesas Islands. Becoming well known for his earthy, rowdy stories of faraway places, he quickly followed his initial success with Omoo (1847) and Mardi (1849).
But after Mardi, Melville's writing career started to level off. Though
Melville had once thought he could be a professional writer, Moby-Dicks poor reviews meant that Melville would never be able to support himself by writing alone. Melville was always firmly middle-class, though his personas in books always seemed working-class. He had a distinguished pedigree: some of his ancestors were Scottish and Dutch settlers of New York who played leading roles in the American Revolution and commercial development. But
Melville often felt like the "savage" in the family, which may have explained why he was not afraid to tackle such risky topics as slave revolt
(in "Benito Cereno") or the life-sucking potential of offce jobs ("Bartleby the Scrivener").
Throughout his life, Melville was an avid reader. Much of his information for Moby-Dick comes from printed sources. The number of refer ences to difierent texts (intertextuality) in Moby-Dick testifies to the importance of books in Melville's life. In particular, he admired Nathaniel
Hawthorne, whom he befriended in 1850 and to whom Melville dedicated the novel. Melville admired Hawthorne's willingness to dive to deep psychological depths and gothic grimness, traits for which he would also be praised.
The works of Shakespeare and stories in the Bible (especially the Old
Testament) also in uenced Moby-Dick. Moreover, Melville's novel was certainly not the first book on whaling. Whaling narratives were extremely popular in the 19th century. In particular, Melville relied on the encyclopedic Natural History of the Sperm Whale by Thomas Beale and the narrative Etchings of a Whaling Cruise by J. Ross Browne. He also used information from a volume by William Scoresby, but mostly to ridicule
Scoresby's pompous inaccuracy. One final note: many editions of Moby-Dick have been printed. Check your edition before using this guide, because
"abridged" or "edited" versions may be difierent.
Characters
Ishmael { Ishmael is the narrator of the story, but not really the center of it. He has no experience with whaling when he signs on and he is often comically extravagant in his storytelling. Ishmael bears the same name as a famous castaway in the Bible.
Ahab { The egomaniacal captain of the whalingship Pequod; his leg was taken off by Moby Dick, the white whale. He searches frantically for the whale, seeking revenge, and forces his crew to join him in the pursuit.
Starbuck { This native of Nantucket is the first mate of the Pequod.
Starbuck questions his commander's judgment, first in private and later in public.
Queequeg { Starbuck's stellar harpooner and Ishmael's best friend, Queequeg was once a prince from a South Sea island who wanted to have a worldly adventure. Queequeg is a composite character, with an identity that is part
African, Polynesian, Islamic, Christian, and Native American.
Stubb { This native of Cape Cod is the second mate of the Pequod and always has a bit of mischievous good humor.
Moby Dick { The great white sperm whale; an infamous and dangerous threat to seamen like Ahab and his crew.
Tashtego { Stubb's harpooneer, Tashtego is a Gay Head Indian from Martha's
Vineyard.
Flask { This native of Tisbury on Martha's Vineyard is the third mate of the Pequod. Short and stocky, he has a confrontational attitude and no reverence for anything.
Daggoo { Flask's harpooneer, Daggoo is a very big, dark-skinned, imperial- looking man from Africa.
Pip { Either from Connecticut or Alabama (there is a discrepancy), Pip used to play the tambourine and take care of the ship. After being left to oat on the sea alone for a short period of time, he becomes mystically wise{or possibly loses his mind.
Fedallah { Most of the crew doesn't know until the first whale chase that
Ahab has brought on board this strange "oriental" old man who is a Parsee
(Persian fire-worshipper). Fedallah has a very striking appearance: around his head is a turban made from his own hair, and he wears a black Chinese jacket and pants. Like Queequeg, Fedallah's character is also a composite of Middle Eastern and East Asian traits.
Peleg { This well-to-do retired whaleman of Nantucket is one of the largest owners of the Pequod who, with Captain Bildad, takes care of hiring the crew. When the two are negotiating wages for Ishmael and Queequeg, Peleg plays the generous one. He is a Quaker.
Bildad { Also a well-to-do Quaker ex-whaleman from Nantucket who owns a large share of the Pequod, Bildad is (or pretends to be) crustier than
Peleg in negotiations over wages.
Father Mapple { The preacher in the New Bedford Whaleman's Chapel. He delivers a sermon on Jonah and the whale.
Captain Boomer { Boomer is the jovial captain of the English whalingship
Samuel Enderby; his arm was taken off by Moby Dick

Introduction
Summary
These prefatory sections establish the groundwork for a new book about whaling. Melville quotes from a variety of sources, revered, famous, and obscure, that may directly address whaling or only mention a whale in passing. The quotations include short passages from the Bible, Shakespeare,
John Milton's epic poem Paradise Lost (1667), other well-known poems, dictionaries, whaling and travel narratives, histories, and songs. The
Etymology section, looking at the derivations of "whale," is compiled by a
"late consumptive usher to a grammar school," and the Extracts section, a selection of short quotations describing whales or whaling, by a "sub-sub- librarian."
Melville's humor comes through in these sections, both in the way he pokes fun at the "poor devil of a Sub-Sub" and mentions even the tiniest reference to a whale in these literary works.

Chapters 1-9
Summary
The story begins with one of the most famous opening lines in literary history: "Call me Ishmael." Whatever Ishmael's "real" name, his adopted name signals his identification with the Biblical outcast from the Book of
Genesis.
He explains that he went to sea because he was feeling a "damp, drizzly
November in [his] soul" and wanted some worldly adventure. In the mood for old-fashioned whaling, Ishmael heads to New Bedford, the current center of whaling, to catch a ferry to Nantucket, the previous center of whaling.
After wandering through the black streets of New Bedford, he finally stumbles upon The Spouter-Inn, owned by Peter Coffn. First passing by a large, somewhat inscrutable oil painting and a collection of "monstrous clubs and spears," Ishmael walks into a room filled with "a wild set of mariners." Because the inn is nearly full, Ishmael learns that he will have to share a room with "a dark complexioned" harpooner named Queequeg. At first, Ishmael decides that he would rather sleep on a bench than share a bed with some strange, possibly dangerous man. But, discovering the bench to be too uncomfortable, he decides to put up with the unknown harpooner, who, Coffn assures him, is perfectly fine because "he pays reg'lar." Still,
Ishmael is worried since Coffn tells him that the harpooner has recently arrived from the South Sea and peddles shrunken heads. When the Queequeg finally returns, the frightened Ishmael watches Queequeg from the bed, noting with a little horror the harpooner's tattoos, tomahawk/pipe, and dark-colored idol.
When Queequeg finally discovers Ishmael in his bed, he ourishes the tomahawk as Ishmael shouts for the owner. After Coffn explains the situation, they settle in for the night and, when they wake up, Queequeg's arm is affectionately thrown over Ishmael. Ishmael is sorry for his prejudices against the "cannibal," finding Queequeg quite civilized, and they become fast, close friends.
The chapters called The Street, The Chapel, The Pulpit, and The Sermon establish the atmosphere in which Ishmael sets out on his whaling mission.
Because of its maritime industry, New Bedford is a cosmopolitan town, full of difierent sorts of people (Lascars, Malays, Feegeeans, Tongatabooans,
Yankees, and green Vermonters). In this town is the Whaleman's Chapel, where the walls are inscribed with memorials to sailors lost at sea and the pulpit is like a ship's bow. The preacher in this chapel, Father Mapple, is a favorite among whalemen because of his sincerity and sanctity. Once a sailor and harpooner, Mapple now delivers sermons. His theme for this
Sunday: Jonah, the story of the prophet swallowed by "a great fish." (Today we talk about "Jonah and the Whale.") Mapple preaches a story about man's sin, willful disobedience of the command of God, and ight from Him. But, says Mapple, the story also speaks to him personally as a command "To preach the Truth in the face of Falsehood!" with a confidence born from knowing God's will.
Chapters 10-21
Summary
In these chapters we learn more about the relationship between Ishmael and
Queequeg. Upon third consideration, Ishmael develops a great respect for his new friend. Although still a "savage," Queequeg becomes, in Ishmael's mind, "George Washington cannibalistically developed." Furthermore, after having intimate chats with him in bed, Ishmael admires Queequeg's sincerity and lack of Christian "hollow courtesies." Quick friends, they are
"married" after a social smoke. The chapter called Biographical gives more information on Queequeg's past, detailing the harpooner's life as a son of a High Chief or King of Kokovoko. Intent on seeing the world, he paddled his way to a departing ship and persisted so stubbornly that they finally allowed him to stow away as a whaleman. Queequeg can never go back because his interaction with Christianity has made him unfit to ascend his homeland's "pure and undefiled throne" and so, says Ishmael, "that barbed iron [a harpoon] was in lieu of a sceptre now."
Together, they set off with a wheelbarrow full of their things for
Nantucket. On the packet over to Nantucket, a bumpkin mimics
Queequeg.Queequeg ips him around to punish him, and is subsequently scolded by the captain. But when the bumpkin is swept overboard as the ship has technical dificulties, Queequeg takes charge of the ropes to secure the boat and then dives into the water to save the man overboard. This action wins everyone's respect.
Melville then writes a bit about Nantucket's history, about the "red- men"who first settled there, its ecology, its dependence on the sea for livelihood.
When the two companions arrive, they have a pot of the best chowder at the
Try Pots. Charged by Yojo (Queequeg's wooden idol) to seek a ship for the two of them, Ishmael comes upon the Pequod, a ship "with an old fashioned claw-footed look about her" and "apparelled like any barbaric Ethiopian emperor, his neck heavy with pendants of polished ivory." But the Pequod is not just exotic to Ishmael; he also calls it a "cannibal of a craft" because it is bejeweled with whale parts. On board, he makes a deal with
Peleg and Bildad, the Quaker owners of the ship, characterized as conniving cheapskates and bitter taskmasters. Evaluating Ishmael for his lay (portion of the ship's proffts, a whaleman's wage), Peleg finally gives him the
300th lay. (This, Bildad says, is "generous.") At this time, Ishmael also learns that the ship's captain is Ahab, named after a wicked and punished
Biblical king. Although Ahab has seemed a little moody since he lost his leg to the white whale Moby Dick, Bildad and Peleg believe in his competence. Ishmael does not meet the captain in person until much later.
Returning to the inn, Ishmael allows Queequeg a day for his "Ramadan" ceremonies and then becomes worried when his friend does not answer the door in the evening. When the panicking Ishmael finally gets the door open, he finds Queequeg deep in meditation. The next day, they return to the
Pequod to sign Queequeg up. Though the owners object at first to Queequeg's paganism, the Kokovokan impresses them with his skill by hitting a spot of tar on a mast with a harpoon. They give him the 90th lay, "more than ever was given a harpooneer yet out of Nantucket." Although Bildad still tries to convert Queequeg, Peleg tells him to give up. "Pious harpooneers never make good voyagers { it takes the shark out of 'em; no harpooneer is worth a straw who aint pretty sharkish."
Just after signing the papers, the two run into a man named Elijah (a prophet, or just some frightening stranger) who hints to them about the peril of signing aboard Ahab's ship. They disregard him. For several days, there is preparation for the dangerous voyage. When they are near the ship,
Ishmael thinks that he sees some "shadows" boarding the ship, but then dismisses the idea. Elijah warns them again just before they board.
Chapters 22-31
Summary
At Christmas, the ship finally heaves off from the port and Ishmael gets his first taste of the rigors of whaling life. As the boat sails away from civilization, Bulkington, a noble sailor that Ishmael saw at the Coffn inn, appears on the Pequod's decks, and makes Ishmael wax sentimental about the heroism in sailing into the deeps.
In the chapter called The Advocate, Ishmael defends the whaling profession in a series of arguments and responses. Whaling is a heroic business, he says, that is economically crucial (for the oil) and has resulted in geographical discovery. He finds the utmost dignity in whaling: a subject of good genealogy, worthy enough for Biblical writers and also educational.
These, he says, are facts. He can't praise sperm whaling enough and even suggests that sperm oil has been used to anoint kings because it is the best, purest, and sweetest.
In the chapter called Knights and Squires, we meet the mates and their lieutenants. The first mate, Starbuck, is a pragmatic, reliable
Nantucketer. Speaking about Starbuck leads Ishmael to carry on about the working man and democratic equality. The pipe-smoking second mate Stubb, a native of Cape Cod, is always cool under pressure and has "impious good humor."
Third mate Flask, a native of Tisbury on Martha's Vineyard, is a short, stocky fellow with a confrontational attitude and no reverence for the dignity of the whale. He is nicknamed "King-Post" because he resembles the short, square timber known by that name in Arctic whalers. Already introduced, Queequeg is Starbuck's harpooner. Stubb's "squire" is Tashtego,
"an unmixed Indian from Gay Head" (Martha's Vineyard). Flask's harpooner is
Daggoo, "a gigantic, coal-black negro-savage" from Africa with an imperial bearing.
The rest of the crew is also mostly international. But, says Ishmael, all these "Isolatoes" are "federated along one keel" and unified by accompanying Ahab. Ishmael also makes small mention of Pip, a poor Alabama boy who beats a tambourine on ship.
Ahab finally appears on deck and Ishmael observes closely. He sees Ahab as a very strong, willful figure, though his encounter with the whale has scarred him. Certainly, Ahab seems a bit psychologically troubled. Ahab's relationship to others on the boat is one of total dictatorship. When Stubb complains about Ahab's pacing, Ahab calls him a dog and advances on him.
Stubb retreats. The next morning, Stubb wakes up and explains to Flask that he had a dream that Ahab kicked him with his ivory leg. (The title of this chapter, Queen Mab, refers to Shakespeare's tragedy Romeo and Juliet, in which the character Mercutio talks about weird dreams.)
Chapters 32-40
"Cetology," as Ishmael explains, is "the science of whales." In the
Cetology chapter and subsequent cetology- like chapters in the book,
Ishmael tries to dissect whales scientifically. After including some quotations from previous writers on the whale, Ishmael says he here attempts a "draught" (draft) of a whale classification system that others can revise. He divides the whales into books and chapters (like today's
Linnaean system that includes genus and species). His first subject is the sperm whale. At the end of the chapter, he pronounces it a "drought of a draught." The Specksynder is another cetology-like chapter in that it tries to dissect the whaling industry. Beginning with trivia about the changing role of the specksynder (literally, "fat-cutter"), who used to be chief harpooneer and captain, Ishmael moves on to a discussion of leadership styles, particularly that of royal or imperial leaders.
The chapter called The Cabin-Table returns to the plot, showing the ship's offcers at dinner. This is a rigid afiair over which Ahab presides. After the offcers finish, the table is re-laid for the harpooneers. Then Ishmael discusses his first post on the mast-head watching for whales. He writes a history of mast-heads and their present role on a whaling ship. Ishmael, who can rarely stick only to one subject or one level of thinking, discusses metaphorical meanings of what he sees. Then, in the chapter called The Quarter-Deck, he returns to narrative plot, dramatizing Ahab's first offcial appearance before the men. Ahab's call and response tests the crew, checking whether they know what to do, and unites them under his leadership.
Presenting a Spanish gold doubloon, he proclaims. "Whosoever of ye raises me a white-headed whale with a wrinkled brow and a crooked jaw; whosoever of ye raises me that while-headed whale, with three holes punctured in his starboard uke - look ye, whosoever of ye raises that same white whale, he shall have this gold ounce, my boys!" The men cheer. Ahab then confesses, in response to Starbuck's query, that it was indeed this white whale Moby
Dick who took off his leg, and announces his quest to hunt him down. The men shout together that they will hunt with Ahab, though Starbuck protests.
Ahab then begins a ritual that binds the crew together. He fills a cup with alcohol and everyone on the ship drinks from that agon. Telling the harpooners to cross their lances before him, Ahab grasps the weapons and anoints Queequeg, Tashtego, and Daggoo "my three pagan kinsmen there -yon three most honorable gentlemen and noble men." He then makes them take the iron off of the harpoons to use as drinking goblets. They all drink together while Ahab proclaims, "God hunt us all, if we do not hunt Moby
Dick to his death!"
Another chapter beginning with a stage direction, Sunset is a melancholy monologue by Ahab. He says that everyone thinks he is mad and he agrees somewhat. He self- consciously calls himself "demoniac" and "madness maddened." Even though he seems to be the one orchestrating events, he does not feel in control: "The path to my fixed purpose is laid with iron rails, whereon my soul is grooved to run." Dusk is Starbuck's monologue. Though he feels that it will all come out badly, he feels inextricably bound to Ahab.
When he hears the revelry coming from the crew's forecastle, he laments the whole, doomed voyage. First Night-Watch is Stubb's monologue, giving another perspective on the voyage. Midnight, Forecastle is devoted to the jolly men who take turns showing off and singing together. They get into a fight when the Spanish Sailor makes fun of Daggoo. The onset of a storm, however, stops their fighting and makes them tend to the ship.
Chapters 41-47
Summary
Ishmael is meditative again, starting with a discussion of the white whale's history. Rumors about Moby Dick are often out of control, he says, because whale fishermen "are by all odds the most directly brought into contact with whatever is appallingly astonishing in the sea; face to face they not only eye its greatest marvels, but, hand to jaw, give battle to them." It is easy to attach metaphorical meaning or make up legend about dangerously intense, life-threatening experiences. Ishmael is skeptical, though, about assertions that Moby Dick is immortal. He admits that there is a singular whale called Moby Dick who is distinguished by his "peculiar snow-white wrinkled forehead, and a high, pyramidical white hump" and that this whale is known to have destroyed boats in a way that seems
"intelligent." No wonder Ahab hates the white whale, says Ishmael, since it does seem that Moby Dick did it out of spite.
Intertwined with Moby Dick's history is Ahab's personal history. When the white whale took off Ahab's leg, the whale became to Ahab "the monomaniac incarnation of all those malicious agencies which some deep men feel eating in them, till they are left living on with half a heart and half a lung."
Ahab's reaction was to magnify the symbolism of the whale: the whale didn't just take off his leg, but represents everything that he hates and everything that torments him. Ahab went crazy on the trip home, says
Ishmael, though he tried to appear sane.
The Whiteness of the Whale turns from what Moby Dick means to Ahab, to what it means to Ishmael. Above all, he says, it is the whiteness of the whale that appalls him. (Note Ishmael's pun{the root of the word "appall" literally means to turn white.) Ishmael begins his cross-cultural discussion of "whiteness" by saying how much it has been idealized as virtue or nobility.
To him, however, the color white only multiplies terror when it is attached with any object "terrible" in itself.
After a short dramatic scene (Hark!) where the sailors say to each other that they think there may be something or someone in the after-hold,
Ishmael returns to an examination of Ahab in The Chart. Because Ahab believes that his skill with charts will help him locate Moby Dick, Ishmael discusses how one might scientifically track a whale. In The Afidavit,
Ishmael explains in organized form "the natural verity of the main points of this afiair." He realizes that this story seems preposterous in many ways and wants to convince the reader that his story is real by listing the
"true" bases for this story in quasi-outline form (first, personal experiences, then tales of whale fishermen or collective memory, and finally books). He then looks at why people may not believe these stories.
Perhaps readers haven't heard about the perils or vivid adventures in the whaling industry, he says. Or maybe they do not understand the immensity of the whale. He asks that the audience use "human reasoning" when judging his story.
The chapter called Surmises returns the focus to Ahab, considering how the captain will accomplish his revenge. Because Ahab must use men as his tools, Ahab has to be very careful. How can he motivate them? Ahab can appeal to their hearts, but also he knows that cash will keep them going.
Ahab further knows that he has to watch that he does not leave himself open to charges of "usurpation." That is, he has to follow standard operating procedure, lest he give his offcers reason to overrule him.
The Mat-Maker returns to the plot. Ishmael describes slow, dreamy atmosphere on the ship when they are not after a whale. He and Queequeg are making a sword-mat, and, in a famous passage, likens their weaving to work on "the Loom of Time." (The threads of the warp are fixed like necessity.
Man has limited free will: he can interweave his own woof crossthreads into this fixed structure. When Queequeg's sword hits the loom and alters the overall pattern, Ishmael calls this chance.) What jolts him out of his reverie is Tashtego's call for a whale. Suddenly, everyone is busied in preparations for the whale hunt. Just as they are about to push off in boats, "five dusky phantoms" emerge around Ahab.
Chapters 48-54
Summary
These chapters return us to the action of Moby-Dick. We meet Fedallah for the first time, described as a dark, sinister figure with a Chinese jacket and turban made from coiling his own hair around his head. We also meet for the first time the "tiger-yellow ... natives of the Manillas" (Ahab's boat crew) who were hiding in the hold of the Pequod. The other crews are staring at the newly discovered shipmates, but Flask tells them to continue doing their jobs{that is, to concentrate on hunting the whale.
The Pequod's first lowering after the whale is not very successful.
Queequeg manages to get a dart in the whale but the animal overturns the boat.
The men are nearly crushed by the ship as it passes looking for them, because a squall has put a mist over everything.
The chapter called The Hyena functions as a mooring of sorts{a self- conscious look back that puts everything in perspective. In this chapter,
Ishmael talks about laughing at things, what a hyena is known for. Finding out that such dangerous conditions are typical, Ishmael asks Queequeg to help him make his will.
Ishmael then comments on Ahab's personal crew. Ahab's decision to have his own boat and crew, says Ishmael, is not a typical practice in the whaling industry. But however strange, "in a whaler, wonders soon wane" because there are so many unconventional sights in a whaler: the sheer variety of people, the strange ports of call, and the distance and disconnectedness of the ships themselves from land-based, conventional society. But even though whalemen are not easily awe-struck, Ishmael does say "that hair- turbaned
Fedallah remained a mufied mystery to the last." He is "such a creature as civilized, domestic people in the temperate zone only see in their dreams, and that but dimly."
Ishmael then focuses on Fedallah. On the masthead one night, the Parsee thinks he sees a whale spouting. The whole ship then tries to follow it, but the whale is not seen again until some days later. Ishmael calls it a
"spirit-spout" because it seems to be a phantom leading them on. Some think it might be Moby Dick leading the ship on toward its destruction. The ship sails around the Cape of Good Hope (Africa), a particularly treacherous passage.
Through it all, Ahab commands the deck robustly and even when he is down in the cabin, he keeps his eye on the cabin-compass that tells him where the ship is going.
They soon see a ship called "The Goney," or Albatross, a vessel with a
"spectral appearance" that is a long way from home. Of course, Ahab asks them as they pass by, "Have ye seen the White Whale?" While the other captain is trying to respond, a gust of wind blows the trumpet from his mouth.
Their wakes cross as both ships continue on. The Pequod continues its way around the world, Ishmael worries that this is dangerous{they might just be going on in mazes or will all be "[over]whelmed." Ishmael then explains that these two ships did not have a "gam." A gam, according to Ishmael, is
"a social meeting of two (or more) Whale-ships, generally on a cruising- ground; when, after exchanging hails, they exchange visits by boats' crews: the two captains remaining, for the time, on board of one ship, and the two chief mates on the other."
The Town-Ho's Story is a story within the larger story of Moby-Dick. During a gam with the ship Town-Ho (which they encounter after the Goney), a white sailor on the Town-Ho tells this story to Tashtego who shares it with all the men in the forecastle. Ishmael announces at the beginning of the chapter that he is telling us what he once told it to some friends in Lima.
The basic story concerns Radney, a mate from Martha's Vineyard, and
Steelkilt, a sailor from Bufialo who have a con ict on board the Town-Ho, a sperm whaler from Nantucket. Steelkit rebels against Radney's authority, assaults the mate (after the mate attacks him), and starts a mutiny. The mutineers are punished and released, but Steelkilt wants revenge. The ship runs into Moby Dick and, in the process of trying to harpoon him, Radney falls out of the boat. Moby Dick snatches him in his jaws. Ishmael's listeners don't necessarily believe him, but he swears on a copy of the
Four Gospels that he is telling the truth.
Chapters 55-65
Summary
Here, Melville describes poor representations of whales. To a whaleman who has actually seen whales, many historical, mythological, and scientific sources seem inaccurate. As a result, says Ishmael, "you must needs conclude that the great Leviathan is the one creature in the world which must remain unpainted to the last." The only solution Ishmael sees is to go whaling yourself. The next chapter tries to find some acceptable depictions. To Ishmael's taste the only things that are anywhere close are two large French engravings from a Garneray painting that show the Sperm and Right Whales in action. The following chapter tries to expand the discussion of representations of whales to include whales in various media.
Ishmael then talks about how whalemen have been known to make scrimshaw.
Whalemen who deal with whales so much start seeing whales everywhere, which is why he mentions stars.
The Brit chapter brings back the encyclopedic cetology chapter type. Brit is a minute yellow substance upon which the Right Whale largely feeds.
Ishmael uses the chapter as a platform on which to talk about contradictory views of the sea (frightening "universal cannibalism") and the earth
("green, gentle, and most docile" land). Past the field of Brit in the water, Daggoo thinks that he sights Moby Dick. It is a false alarm, however, and it is only a giant squid.
In preparation for a later scene, says Ishmael, he will explain the whaleline. Made of hemp, this rope is connected to the harpoon at one end and free at the other so that it can be tied to other boats' lines. Because it whizzes out when a whale is darted, it is dangerous for the men in the boat.
We then return to more action, where Stubb kills a black sperm whale.
Ishmael vigorously describes the gore to us. In The Dart, Ishmael backtracks, describing what a harpooneer does and how he uses a dart.
Freely giving his opinion on whaling technique, Ishmael says that mates should throw both the dart and the lance because the harpooneer should be fresh, not tired from rowing. Then, to explain the crotch mentioned in the previous chapter, Ishmael backtracks again to describe the notched stick that furnishes a rest for the wooden part of the harpoon.
Ishmael then returns to the plot: Stubb wants to eat the freshly killed whale, although most whalemen do not. (Usually the only creatures that eat whale meat are sharks.) He calls on the black cook Fleece to make his supper and make the sharks stop eating the whale esh. In a sermon to the sharks, the cook tells them that they ought to be more civilized. Stubb and the cook get into a folksy religious discussion. He then likens Stubb to a shark. Ishmael then feels that he must describe what whale is like as a dish. Doing a historical survey of whale-as-dish, Ishmael remarks that no one except for Stubb and the "Esquimaux" accept it now. Deterrents include the exceedingly rich quality of the meat and its prodigious quantities.
Furthermore, it seems wrong because hunting the whale makes the meat a
"noble dish" and one has to eat the meat by the whale's own light. But perhaps this blasphemy isn't so rare, says Ishmael, since the readers probably eat beef with a knife made from the bone of oxen or pick their teeth after eating goose with a goose feather.
Chapters 66-73
Summary
These chapters get into the minutiae of whaling technique. The Shark
Massacre describes how sharks often swarm around dead whale carcasses, forcing whalemen to poke them with spades or kill them. Even when sharks are dead, they are often still dangerous: once, when Queequeg brought one on deck for its skin, it nearly took his hand off. There's no sacred
Sabbath in whaling, since the gory business of cutting in occurs whenever there is a kill. Cutting in involves inserting a hook in the whale's blubber and peeling the blubber off as one might peel off an orange rind in one strip. Discussing the whale's blubber, Ishmael realizes that it is dificult to determine exactly what the whale's skin is. There is something thin and isinglass-like, but that's only the skin of the skin. If we decide that the blubber of the whale (the long pieces of which are called "blanket- pieces") is the skin, we are still missing something since blubber only accounts for 3/4 of the weight of the blanket-pieces. After cutting in, the whale is then released for its "funeral" in which the "mourners" are vultures and sharks. The frightful white carcass oats away and a "vengeful ghost" hovers over it, deterring other ships from going near it.
Ishmael backtracks in The Sphynx, saying that before whalers let a carcass go, they behead it in a "scientific anatomical feat." Ahab talks to this head, asking it to tell him of the horrors that it has seen. But Ahab knows that it doesn't speak and laments its inability to speak: too many horrors are beyond utterance.
The chapter about the Jeroboam (a ship carrying some epidemic) also backtracks, referring back to a story Stubb heard during the gam with the
Town-Ho. A man, who had been a prophet among the Shakers in New York, proclaimed himself the archangel Gabriel on the ship and mesmerized the crew. Captain Mayhew wanted to get rid of him at the next port, but the crew threatened desertion. And the sailors aboard the Pequod now see this very Gabriel in front of them. When Captain Mayhew is telling Ahab a story about the White Whale, Gabriel keeps interrupting. According to Mayhew, the
Jeroboam first heard about the existence of Moby Dick when they were speaking to another ship. Gabriel then warned against killing it, calling it the Shaker God incarnated. They ran into it about a year afterwards and the ship's leaders decided to hunt it. As the mate was standing in the ship to throw his lance, the whale ipped the mate into the air and tossed him into the sea. Nothing was harmed except for the mate, who drowned. Gabriel, the entire time, had been on the mast-head and said, basically, "I told you so." When Ahab confirms that he intends to hunt the white whale still,
Gabriel points to him, saying, "Think, think of the blasphemer - dead, and down there! - beware of the blasphemer's end!" Ahab then realizes that the
Pequod is carrying a letter for the dead mate and tries to hand it over to the captain on the end of a cutting-spade pole. Somehow, Gabriel gets a hold of it, impales it on the boat-knife, and sends it back to Ahab's feet as the Jeroboam pulls away.
Ishmael backtracks again in The Monkey-Rope to explain how Queequeg inserts the blubber hook. Ishmael, as Queequeg's bowsman, ties the monkey-rope around his waist as Queequeg is on the whale's oating body trying to attach the hook. (In a footnote, we learn that only on the Pequod were the monkey and this holder actually tied together, an improvement introduced by
Stubb.) While Ishmael holds him, Tashtego and Daggoo are also ourishing their whale-spades to keep the sharks away. When Dough-Boy, the steward, offers Queequeg some tepid ginger and water, the mates frown at the in uence of pesky Temperance activists and make the steward bring him alcohol.

Meanwhile, as the Pequod oats along, they spot a right whale. After killing him, Stubb asks Flask what Ahab might want with this "lump of foul lard."
Flask responds that Fedallah says that a whaler with a Sperm Whale's head on her starboard side and a Right Whale's head on her larboard will never afterwards capsize. They then get into a discussion in which both of them confess that they do not like Fedallah and think of him as "the devil in disguise." In this instance and always, Fedallah watches and stands in
Ahab's shadow. Ishmael notes that the Parsee's shadow seemed to blend with and lengthen Ahab's.
Chapters 74-81
Summary
The paired chapters (74 and 75) do an anatomic comparison of the sperm whale's head and the right whale's head. In short, the sperm whale has a great well of sperm, ivory teeth, long lower jaw, and one external spout- hole; the right whale has bones shaped like Venetian blinds in his mouth, huge lower lip, a tongue, and one external spout- hole. Ishmael calls the right whale stoic and the sperm "platonian." The Battering-Ram discusses the blunt, large, wall-like part of the head that seems to be just a "wad."
In actuality, inside the thin, sturdy casing is a "mass of tremendous life." He goes on to explain, in The Great Heidelberg Tun (a wine cask in
Heidelberg with a capacity of 49,000 gallons), that there are two subdivisions of the upper part of a whale's head: the Case and the junk.
The Case is the Great Heidelberg Tun since it contains the highly-prized spermaceti. Ishmael then dramatizes the tapping of the case by Tashtego. It goes by bucket from the "cistern" (well) once Tashtego finds the spot. In this scene, Tashtego accidentally falls in to the case. In panic, Daggoo fouls the lines and the head falls into the ocean. Queequeg dives in and manages to save Tashtego.
In The Prairie, Ishmael discusses the nineteenth-century arts of physiognomy (the art of judging human character from facial features)and phrenology (the study of the shape of the skull, based on the belief that it reveals character and mental capacity). By such analyses, the sperm whale's large, clear brow gives him the dignity of god. The whale's
"pyramidical silence" demonstrates the sperm whale's genius. But later
Ishmael abandons this line of analysis, saying that he isn't a professional. Besides, the whale wears a "false brow" because it really doesn't have much in its skull besides the spermy stufi. (The brain is about 10 inches big.) Ishmael then says that he would rather feel a man's spine to know him than his skull, throwing out phrenology. Judging by spines (which, like brains, are a network of nerves) would discount the smallness of the whale's brain and admire the wonderful comparative magnitude of his spinal cord. The hump becomes a sign of the whale's indomitable spirit.
The Jungfrau (meaning Virgin in German) is out of oil and meets the Pequod to beg for some. Ahab, of course, asks about the White Whale, but the
Jungfrau has no information. Almost immediately after the captain of the
Jungfrau steps off the Pequod's deck, whales are sighted and he goes after them desperately. The Pequod also gives chase and succeeds in harpooning the whale before the Germans. But, after bringing the carcass alongside the ship, they discover that the whale is sinking and dragging the ship along with it. Ishmael then discusses the frequency of sinking whales.
The Jungfrau starts chasing a fin-back, a whale that resembles a sperm whale to the unskilled observer.
Chapter 82-92
Summary
Ishmael strays from the main action of the plot again, diving into the heroic history of whaling. First, he draws from Greek mythology, the Judeo-
Christian Bible, and Hindu mythology. He then discusses the Jonah story in particular (a story that has been shadowing this entire novel from the start) through the eyes of an old Sag-Harbor whaleman who is crusty and questions the Jonah story based on personal experience.
Ishmael then discusses pitchpoling by describing Stubb going through the motions (throwing a long lance from a jerking boat to secure a running whale). He then goes into a discursive explanation of how whales spout with some attempt at scientific precision. But he cannot define exactly what the spout is, so he has to put forward a hypothesis: the spout is nothing but mist, like the "semi- visible steam" that proceeds from the head of ponderous beings such as Plato, Pyrrho, the Devil, Jupiter, Dante, and himself! In the next chapter, he celebrates a whale's most famous part: his tail. He likes its potential power and lists its difierent uses.
When the Pequod sails through the straits of Sunda (near Indonesia) without pulling into any port, Ishmael takes the opportunity to discuss how isolated and self- contained a whaleship is. While in the straits, they run into a great herd of sperm whales swimming in a circle (the "Grand
Armada"){ but as they are chasing the whales, they are being chased by
Malay pirates. They try to "drugg" the whales so that they can kill them on their own time.
(There are too many to try to kill at once.) They escape the pirates and go in boats after the whales, somehow ending up inside their circle, a placid lake.
But one whale, who had been pricked and was oundering in pain, panics the whole herd. The boats in the middle are in danger but manage to get out of the center of the chaos. They try to "waif" the whales{that is, mark them as the Pequod's to be taken later. Ishmael then goes back to explaining whaling terms, staring with "schools" of whales. The schoolmaster is the head of the school, or the lord. The all-male schools are like a "mob of young collegians." Backtracking to a reference in Chapter 87 about waifs,
Ishmael explains how the waif works as a symbol in the whale fishery. He goes on to talk about historical whaling codes and the present one that a
Fast- Fish belongs to the party fast to it and a Loose-Fish is fair came for anybody who can soonest catch it. A fish is fast when it is physically connected (by rope, etc.) to the party after it or it bears a waif, says
Ishmael. Lawyer- like, Ishmael cites precedents and stories, to show how dificult it is to maintain rules. In Heads or Tails, he mentions the strange problem with these rules in England because the King and Queen claim the whale. Some whalemen in Dover (or some port near there, says
Ishmael) lost their whale to the Duke because he claimed the power delegated him from the sovereign.
Returning to the narrative, Ishmael says they come up on a French ship
Bouton de Rose (Rose-Button or Rose- Bud). This ship has two whales alongside: one "blasted whale" (one that died unmolested on the sea) that is going to have nothing useful in it and one whale that died from indigestion.
Stubb asks a sailor about the White Whale? Never seen him, is the answer.
Crafty Stubb then asks why the man is trying to get oil out of these whales when clearly there is none in either whale. The sailor on the Rose-Bud says that his captain, on his first trip, will not believe the sailor's own statements that the whales are worthless. Stubb goes aboard to tell the captain that the whales are worthless, although he knows that the second whale might have ambergris, an even more precious commodity than spermaceti. Stubb and the sailor make up a little plan in which Stubb says ridiculous things in English and the sailor says, in French, what he himself wants to say. The captain dumps the whales. As soon as the Rose-Bud leaves, Stubb mines and finds the sweet- smelling ambergris.
Ishmael, in the next chapter, explains what ambergris is: though it looks like mottled cheese and comes from the bowel of whales, ambergris is actually used for perfumes. He uses dry legal language to describe ambergris and discuss its history even though he acknowledges that poets have praised it.
Ishmael then looks at where the idea that whales smell bad comes from. Some whaling vessels might have skipped cleaning themselves a long time ago, but the current bunch of South Sea Whalers always scrub themselves clean. The oil of the whale works as a natural soap.
Chapters 93-101
Summary
These are among the most important chapters in Moby- Dick. In The Castaway,
Pip, who usually watches the ship when the boats go out, becomes a replacement in Stubb's boat. Having performed passably the first time out,
Pip goes out a second time and this time he jumps from the boat out of anxiety. When Pip gets foul in the lines, and his boatmates have to let the whale go free to save him, he makes them angry. Stubb tells him never to jump out of the boat again because Stubb won't pick him up next time. Pip, however, does jump again, and is left alone in the middle of the sea's
"heartless immensity." Pip goes mad.
A Squeeze of the Hand, which describes the baling of the case (emptying the sperm's head), is one of the funniest chapters in the novel. Because the spermaceti quickly cools into lumps, the sailors have to squeeze it back into liquid. Here, Ishmael goes overboard with his enthusiasm for the
"sweet and unctuous" sperm. He squeezes all morning long, getting sentimental about the physical contact with the other sailors, whose hands he encounters in the sperm. He goes on to describe the other parts of the whale, including the euphemistically-named "cassock" (the whale's penis).
This chapter is also very funny, blasphemously likening the whale's organ to the dress of clergymen because it has some pagan mysticism attached to it. It serves an actual purpose on the ship: the mincer wears the black
"pelt" of skin from the penis to protect himself while he slices the horse- pieces of blubber for the pots.
Ishmael then tries to explain the try-works, heavy structures made of pots and furnaces that boil the blubber and derive all the oil from it. He associates the try-works with darkness and a sense of exotic evil: it has
"an unspeakable, wild, Hindoo odor about it, such as may lurk in the vicinity of funereal pyres." Furthermore, the pagan harpooneers tend it.
Ishmael also associates it with the red fires of Hell that, in combination with the black sea and the dark night, so disorient him that he loses sense of himself at the tiller. Everything becomes "inverted," he says, and suddenly there is "no compass before me to steer by."
In a very short chapter, Ishmael describes in The Lamp how whalemen are always in the light because their job is to collect oil from the seas. He then finishes describing how whale's oil is processed: putting the oil in casks and cleaning up the ship. Here he dismisses another myth about whaling: whalers are not dirty. Sperm whale's oil is a fine cleaning agent.
But Ishmael admits that whalers are hardly clean for a day when the next whale is sighted and the cycle begins again.
Ishmael returns to talking about the characters again, showing the reactions of Ahab, Starbuck, Stubb, Flask, the Manxman, Queequeg, Fedallah, and Pip to the golden coin fixed on the mainmast. Ahab looks at the doubloon from Ecuador and sees himself and the pains of man. Starbuck sees some Biblical significance about how man can find little solace in times of trouble. Stubb, first saying he wants to spend it, looks deeper at the doubloon because he saw his two superiors gazing meaningfully at it. He can find little but some funny dancing zodiac signs. Then Flask approaches, and says he sees "nothing here, round thing made of gold and whoever raises a certain whale, this round thing belongs to him. So what's all this staring been about?" Pip is the last to look at the coin and says, prophetically, that here's the ship's "navel"{ something at the center of the ship, holding it together.
Then the Pequod meets the Samuel Enderby, a whaling ship from London with a jolly captain and crew. The first thing Ahab asks, of course, is if they have seen Moby Dick. The captain, named Boomer, has, and is missing an arm because of it. The story is pretty gory, but Boomer does not dwell too much on the horrible details, choosing instead to talk about the hot rum toddies he drank during his recovery. The ship encountered the white whale again but did not want to try to fasten to it. Although the people on board the
Enderby think he is crazy, Ahab insists on knowing which way the whale went and returns to his ship to pursue it.
In the next chapter, Ishmael backtracks, to explain why the name Enderby is significant: this man fitted the first ever English sperm whaling ship.
Ishmael then exuberantly explains the history behind Enderby's before telling the story of the particular whaler Samuel Enderby. The good food aboard the Enderby earns the ship the title "Decanter."
Chapter 102-114
Summary
Ishmael now tries another tactic for interpreting the whale. In the chapter called A Bower in the Arsacides, he discusses how he learned to measure a whale's bones. When he was visiting his friend Tranquo, king of Tranque, he lived in a culture in which the whale skeleton was sacred. After telling how he learned to measure, he goes on to tell the results of the measurements. He begins with the skull, the biggest part, then the ribs, and the spine. But these bones, he cautions, give only a partial picture of the whale since so much esh is wrapped around them. A person cannot still find good representation of a whale in its entirety.
And Ishmael continues to "manhandle" the whale, self- consciously saying that he does the best he knows how. So he decides to look at the Fossil
Whale from an "archaeological, fossiliferous, and antediluvian point of view." He can't be too grandiloquent with his exaggerated words and diction because the whale itself is so grand. He ashes credentials again, this time as a geologist and then discusses his finds. But, again, he is unsatisfied:
"the skeleton of the whale furnishes but little clue to the shape of his fully invested body." But this chapter does give a sense of the whale's age and his pedigree.
Ishmael finally gives up, in awe, deconstructing the whale- -now he wants to know if such a fabulous monster will remain on the earth. Ishmael says that though they may not travel in herds anymore, though they may have changed haunting grounds, they remain. Why? Because they have established a new home base at the poles, where man cannot penetrate; because they've been hunted throughout history and still remain; because the whale population is not in danger for survival since many generations of whales are alive at the same time.
Ahab asks the carpenter to make him a new leg because the one he uses is not trustworthy. After hitting it heavily on the boat's wooden oor when he returned from the Enderby, he does not think it will keep holding. Indeed, just before the Pequod sailed, Ahab had been found lying on the ground with the whalebone leg gouging out his thigh. So the carpenter, the do-it-all man on the ship, has to make Ahab a new prosthetic leg. They discuss the feeling of a ghost leg. When Ahab leaves, the carpenter thinks he is a little queer.
A sailor then informs Ahab, in front of Starbuck, that the oil casks are leaking. The sailor suggests that they stop to fix them, but Ahab refuses to stop, saying that he doesn't care about the owners or profft. Starbuck objects and Ahab points a musket at him. Says Starbuck, "I ask thee not to beware of Starbuck; thou wouldst but laugh; but let Ahab beware of Ahab; beware of thyself, old man." In cleaning out the stowed oil casks, Queequeg falls sick. Thinking he is going to die, Queequeg orders a coffn made. He lies in it and closes the cover, as Pip dances around the coffn. Soon,
Queequeg feels well again and gets out. Ishmael attributes this to his
"savage" nature.
In The Pacific, Ishmael gets caught up in the meditative, serene Pacific
Ocean. At the end of the chapter, he comes back to Ahab, saying that no such calming thoughts entered the brain of the captain. Ishmael then pans over to the blacksmith whose life on land disintegrated. With characteristic panache, Ishmael explains that the sea beckons to broken- hearted men who long for death but cannot commit suicide. The Forge dramatizes an exchange between the blacksmith and Ahab in which the captain asks the blacksmith to make a special harpoon to kill the white whale.
Although Ahab gives the blacksmith directions, he takes over the crafting of the harpoon himself, hammering the steel on the anvil and tempering it with the blood of the three harpooneers (instead of water). The scene ends with Pip's laughter.
In The Gilder, Ishmael considers how the dreaminess of the sea masks a ferocity. He speaks of the sea as "gilt" because it looks golden in the sun- set and is falsely calm. The sea even makes Starbuck rhapsodize, making an apostrophe (direct address of an absent or imaginary person or of a personified abstraction, especially as a digression in the course of a speech or composition) to the sea; Stubb answers him by surprise and, as usual, makes light of the situation.
Chapters 115-125
Summary
These chapters show how badly off the Pequod really is. The somber Pequod, still on the lookout for Moby Dick, runs into the Bachelor, a festive
Nantucket whaler on its way home with a full cargo. The captain of the
Bachelor, saying that he has only heard stories of the white whale and doesn't believe them, invites Ahab and the crew to join his party. Ahab declines. The next day, the Pequod kills several whales and the way that a dying whale turns towards the sun spurs Ahab to speak out to it in wondrous tones. While keeping a night vigil over a whale that was too far away to take back to the ship immediately, Ahab hears from Fedallah the prophecy of his death. Before Ahab can die, he must see two hearses, one "not made by mortal hands" and one made of wood from America; and only hemp can kill the captain. Back on the ship, Ahab holds up a quadrant, an instrument that gauges the position of the sun, to determine the ship's latitude. Ahab decides that it does not give him the orienteering information he wants and tramples it underfoot. He orders the ship to change direction.
The next day, the Pequod is caught in a typhoon. The weird weather makes white ames appear at the top of the three masts and Ahab refuses to let the crew put up lightning rods to draw away the danger. While Ahab marvels at the ship's three masts lit up like three spermaceti candles, hailing them as good omens and signs of his own power, Starbuck sees them as a warning against continuing the journey. When Starbuck sees Ahab's harpoon also ickering with fire, he says that this is a sign that God is against Ahab.
Ahab, however, grasps the harpoon, and says, in front of a frightened crew, there is nothing to fear in the enterprise that binds them all together. He blows out the ame to "blow out the last fear. "In the next chapter,
Starbuck questions Ahab's judgment again{this time saying that they should pull down the main-top-sail yard. Ahab says that they should just lash it tighter, complaining that his first mate must think him incompetent. On the bulwarks of the forecastle, Stubb and Flask are having their own conversation about the storm and Ahab's behavior. Stubb basically dominates the conversation and says that this journey is no more dangerous than any other is even though it seems as if Ahab is putting them in extreme danger.
Suspended above them all on the main-top-sail yard, Tashtego says to himself that sailors don't care that much about the storm, just rum. When the storm finally dies down, Starbuck goes below to report to Ahab. On the way to Ahab's cabin, he sees a row of muskets, including the very one that
Ahab had leveled at him earlier. Angry about Ahab's reckless and selfish behavior, he talks to himself about whether he ought to kill his captain.
He decides he cannot kill Ahab in his sleep and goes up.
When Ahab is on deck the next day, he realizes that the storm has thrown off the compasses. Ahab then pronounces himself "lord over the level loadstone yet" and makes his own needle. Here Ishmael comments, "In this fiery eyes of scorn and triumph, you then saw Ahab in all his fatal pride."
With all the other orienteering devices out of order, Ahab decides to pull out the seldom-used log and line. Because of heat and moisture, the line breaks and Ahab realizes that he now has none of his original orienteering devices. He calls for Pip to help him and Pip answers with nonsense. Ahab, touched by Pip's crazy speeches, says that his cabin will now be Pip's because they boy "touchest [his] inmost center."
Chapters 126-132
Sailors are very superstitious. As the Pequod approaches the Equatorial fishing ground, the sailors think that they hear ghosts wailing. The
Manxman (man from the Isle of Man) says that these are the voices of the newly drowned men in the sea. Ahab says nonsense. When the Pequod's life- buoy falls overboard and sinks, the sailors think it is a fulfillment of evil that was foretold. The offcers decide to replace the life-buoy with
Queequeg's coffn.
Though the carpenter grumbles about having to transform the object, Ahab, who is aware of the irony of the substitution, nevertheless calls the carpenter "unprincipled as the gods" for going through with the substitution.
The Pequod encounters the ship Rachel while it is looking for Moby Dick in these waters. Captain Gardiner of the , after afirming that he has indeed seen Moby Dick, climbs aboard Ahab's ship and begs Ahab to help him find his son, whose whaleboat was lost in the chase after the white whale. Ahab refuses. Now that Ahab knows that the white whale is near, he spends a lot of time walking the decks. As Ahab goes up one time, Pip wants to follow him. Ahab tells him to stay in the captain's cabin, lest Pip's insanity start to cure his own just when he's getting close to the whale and needs to be a little crazy.
And so Ahab, shadowed everywhere by Fedallah, remains on deck, ever watchful. This continuous watch sharpens Ahab's obsession and he decides that he must be the first to sight the whale. He asks Starbuck to help him get up the main-mast head and watch his rope. When he is there, a black hawk steals his hat; Ishmael this considers a bad omen. The Pequod then runs into the miserably misnamed ship Delight. The Delight has indeed encountered Moby Dick, but the result was a gutted whaleboat and dead men.
As the Pequod goes by, the Delight drops a corpse in the water and sprinkles the Pequod's hull with a "ghostly baptism."
In the chapter called The Symphony, disparage parts come together for a crescendo. The pressure finally gets to Ahab and he seems human here, dropping a tear into the sea. He and Starbuck have a bonding moment as Ahab sadly talks about his continual, tiring whaling. He calls himself a fool and thinks himself pathetic. Starbuck suggests giving up the chase, but
Ahab wonders if he can stop because he feels pushed on by Fate. But as Ahab is asking these grand questions, Starbuck steals away. When Ahab goes to the other side of the deck to gaze into the water, Fedallah, too, is looking over the rail.
Chapters 133-Epilogue
Summary
Ahab can sense by smell that Moby Dick is near. Climbing up to the main royal-mast head, Ahab spots Moby Dick and earns himself the doubloon. All the boats set off in chase of the whale. When Moby Dick finally surfaces, he stoves Ahab's boat. The whale is swimming too fast away from them and they all return to the ship.
Saying that persistent pursuit of one whale has historically happened before, Ishmael comments that Ahab still desperately wants to chase Moby
Dick though he has lost one boat. They do sight Moby Dick again and the crewmen, growing increasingly in awe of Ahab and caught up in the thrill of the chase, lower three boats. Starbuck stays to mind the Pequod. Ahab tries to attack Moby Dick head on this time, but again, Moby Dick is triumphant.
He stoves Ahab's ship and breaks his false leg. When they return to the
Pequod, Ahab finds out that Fedallah is gone, dragged down by Ahab's own line. Starbuck tells him to stop, but Ahab, convinced that he is only the
"Fate's lieutenant," says he must keep pursuing the whale.
. Still on the look out, the crew spots the white whale for a third time but sees nothing until Ahab realizes, "Aye, he's chasing me now; not I, him{ that's bad." They turn the ship around completely and Ahab mounts the masthead himself. He sights the spout and lowers again. As he gets into his boat and leaves Starbuck in charge, the two men exchange a poignant moment in which Ahab asks to shake hands with his first made and the first mate tries to tell him not to go. Dangerously, sharks bite at the oars as the boats pull away.
Starbuck, in a monologue, laments Ahab's sure doom. On the water, Ahab sees
Moby Dick breach. Seeing Fedallah strapped to the whale by turns of rope,
Ahab realizes that this is the first hearse that the Parsee had forecasted.
The whale goes down again and Ahab rows close to the ship. He tells
Tashtego to find another ag and nail it to the main masthead. The boats soon see the white whale again and go after him. But Moby Dick only turns around, and heads for the Pequod at full speed. He smashes the ship.
It goes down without its captain. The ship, Ahab realizes, is the second hearse. Impassioned, Ahab is now determined to strike at Moby Dick with all of his power: "Towards thee I roll, thou all-destroying but unconquering whale; to the last I grapple with thee; from hell's heart I stab at thee; for hate's sake I spit my last breath at thee. Sink all coffns and all hearses to one common pool and since neither can be mine, let me then tow to pieces, while still chasing thee, though tied to thee, thou damned whale! Thus, I give up the spear!" After darting the whale, Ahab is caught around the neck by the ying line. He is dragged under the sea. Tashtego, meanwhile, is still trying to nail the ag to the ship's spar as it goes down. He catches a sky-hawk in mid-hammer and the screaming bird, folded in the ag, goes down with everything else.
In the Epilogue, Ishmael wraps up the story, saying that he is the only one who survives the wreck. All the boats and ship were ruined. Ishmael survives only because Queequeg's coffn bobs up and becomes his life buoy. A day after the wreck, the Rachel, still cruising for her first lost son, saves Ishmael.

The Scarlet Letter

Introduction-Chapter 1
Introduction: The first forty-four pages written by the author tell about his life working at the Custom House in Salem Massachusetts. During his time of employment there, he discovers some records in the attic and begins to piece together the story of Hester Prynne, an adulterous man in Puritan
Salem. The Scarlet Letter is his account of the story with as many facts as he, the author, was able to gather from the documents he found.
Chapter 1: Hawthorn’s first chapter is short, detailing the set up of colonial Salem. He talks of the town and how essential prisons and cemeteries are in the organization. Next to the steps of the Salem prison is a rosebush that has survived centuries and Hawthorn says this bush gives comfort with it’s beauty to the people who enter and leave the establishment.
Chapter 2: A town meeting is taking place and the people of the town, mainly the women, are gathered for the release of the adulteress, Hester
Prynne. She steps out of the prison with the town beadle leading her with his hand on her shoulder. Hawthorn describes her as beautiful with a very proud stature that does not cower to the crowd of disdain that surrounds her. On her chest she bears the scarlet letter ‘A’ that is surrounded by shining gold thread upon a gown that scandalizes the women of the town.
Clutched close to her breast is the child that was produced by her adultery and the apparent reason she was not more harshly punished for her crime.
She stood there under public scrutiny, not with a look of shame but almost bewilderment that her life had panned out as it had.
Chapter 3: Mistress Prynne is placed upon the pillory for three hours so all can see her shame. As she is standing there with her babe, she notices a new man in town along with an Indian. From the moment she sees him, she cannot take her eyes from him. An angry look quickly flashes across the man’s face at the sight of her and he inquires to the town person next to him why the woman is made to stand upon the pillory. Both the man and the readers are informed that Mistress Prynne was married to a man who has not yet returned from the Netherlands where they sailed from to New England.
Because she was so long away from her husband, it is obvious that he was not the father of her child. The man asked of her sentence, and of the man who did father the child and the town’s person told him that the father is not known. The Governor of the town who is standing on a higher platform then appeals to the Reverend Dimmesdale to extract the name of father from
Mistress Prynne. After an emotional plea to Mistress Prynne, she still refuses to state the name of the father of her child, and states that her child has only a heavenly father.
Chapter 4: When Mistress Prynne was returned to the prison, she was in such mental disarray that the jailer, Master Brackett, decided to call in the physician. Roger Chillingworth, Hester’s real husband, introduces himself as the physician for Mistress Prynne and as soon as he enters the room, she goes perfectly still. Mr. Chillingsworth was the same man who she saw when she was on the pillory. He began to examine the baby and Hester expresses her concern that he will hurt the child as revenge on her.
They talk about their failed marriage, and how there was never love between them, and Roger tells her not to reveal to anyone who he really was. After giving her a draught to calm her, he asks her who the father of the child was. Again, as she did when asked by the Reverend, she refuses to give the name of the father. At her refusal, he tells her that he will find out who the man is and that she not breathe a word of his identity to anyone.
Chapter 5: Hester was released from prison and free to go wherever she wished. Instead of fleeing the town she moved to a little cottage outside of it, and supported herself with her needlework. She sewed for many different people of the town but kept herself in plain clothing, save the letter upon her bosom. She took all of the passion of her life and used it to ply her needle. Much of her work she donated to the poor as penance for her guilt. Although they all coveted her services, she was still an outcast looked upon with malice and her sin burned deep in her soul.
Chapter 6: Hester named her child Pearl because she was her treasure in life. Pearl was beautiful and intelligent, and had an air of a nymph about her. Even as a baby, the child was fascinated by the scarlet letter Hester wore upon her breast. This was a constant reminder for Hester of her sin.
Pearl was a happy laughing child who had a fiery passion and temper that made Hester and others wonder if she was a demon with her black eyes.
Everywhere Hester went Pearl went also. They had only each other. Hester attempted to raise her daughter with Puritan values but could not discipline her and Pearl held the strings on whether or not she did what she was told. Chapter 7: Hester and Pearl went to the Governor
Bellingham’s house to deliver a pair of gloves she had embroidered for him.
More than the delivery, Hester was there to plead to be able to keep
Pearl. The people of the town thought that because of her sin, Hester was unfit to raise her child. When she arrived to the house, the governor was with other gentleman in the garden and they waited for a chance to speak with him. As they were waiting, Pearl was examining a shining suit of armor and saw Hester in it. She was delighted by the sight, and Hester’s image was lost behind the large shiny red letter that was magnified by the polished armor.
Chapter 8: The Governor, the pastor John Wilson, Reverend Dimmesdale, and
Roger Chillingworth exited the garden to find their path blocked by the nymph Pearl. Struck by the beauty of the scarlet clad child they ask her to whom she belongs. She answers that she is Pearl, and her mother’s child. As they enter the hall, they see Mistress Prynne and are happy that she has come so they can discuss what to do with Pearl. Testing to see whether the child has been properly instructed so far, the dotting John
Winston asks young Pearl who made her. Pearl, though she knew the correct answer was the Heavenly Father answered that she had been plucked by her mother from the rose bush by the prison door.
The gentlemen were appalled by the child’s answer and decided that Hester should not raise her further. Hester was angry with this and pleaded
Reverend Dimmesdale who knew she was capable of guiding the child spiritually to let her keep Pearl. She argued that God gave her Pearl, and that they could not take away the only joy that God gave her. After discussing it further among themselves, with the Reverend giving an impassioned plea for Hester, they decided to let her keep Pearl. Hester was thankful, and she and Pearl left for home. Mr. Chillingworth offered to figure out the identity of the father of the child, but his offer was refused. As she leaves, Hester realizes that she would have sold her soul to the devil if it meant she could keep her child.
Chapter 9: Since his first appearance in town, the people looked on Roger
Chillingworth as a blessing. They were thankful that such a learned physician was given to them. As time went on, Mr. Chillingworth and the
Reverend Dimmesdale became very close. Though he was young, the Reverend was growing sicker and sicker by the day and the people of the town implored him to let the physician examine him. He refused but continued to become closer and closer to the old man. After a while they even began living together in the home of a respected matron of the town. As time passed, the people began to look at Mr. Chillingworth differently however.
Instead of seeing a man sent from God to help them, they saw in his old disfigured form, a servant of Satan that was sent to haunt the Reverend.
Chapter 10: Mr. Chillingworth watched the Reverend searching him for the secret sin of his soul. Searching for Hester’s lover became the secret purpose of his life and it clouded his head and heart. Slowly he was trying to get the Reverend to confess to the deed, and one afternoon began a discussion with him about unconfessed sin and how it eats away at the soul. While they are talking, they see Hester and Pearl in the cemetery.
They look up at the men in the window and they wonder if the mischevious nymph like, Pearl, is true evil. After the woman and the child leave the cemetery, the men continue with their conversation.
Mr. Chillingworth accuses the Reverend that he cannot cure him until he knows the pain upon his soul because that sin is part of his bodily ailment. In a moment of passion, the Reverend blows up at him telling him that he will reveal nothing to the earthly man and leaves the room. This display of passion makes Mr. Chillingworth exceptionally pleased because it brings him closer to finding out that his suspicions of Hester and the
Reverend are true.
Chapter 11: As the days went by the Reverend Dimmesdale continued to be haunted more and more by the sin upon his soul. He would look upon his companion the physician with disgust and feel as if the black part of his heart was spilling over into the rest of his life. The people of the town began to worship him more, saying he was a wonderful and saintly young preacher. As they looked up to him with greater fervor, he began to hate himself more. Many a time he stood on his pulpit aching to tell them of his sin, release it from his heart. However, all he could manage to say was that he was a terrible sinner, which only inspired his congregation more because they saw him as virtually flawless. He fasted, prayed, and kept vigils in order to purge himself, but the sin upon his soul haunted him without end.
Chapter 12: It was midnight and Reverend Dimmesdale was so tortured by his sin that he took himself out and stood upon the scaffold that Hester had stood. He planned to stay there all night suffering from his own shame.
At one point he cried out hoping in his mind to wake the whole town so they could see him standing there, so his sin could finally be revealed and his mind eased. However, no one in the town was awakened by his cry. At one point from his perch, he saw the Pastor John Winston walking towards him, but the man was wrapped up tightly in his cloak and did not notice the
Reverend on the scaffold.
His mind wandered to what he would look like in the morning when his body was frozen with cold, and at the image of himself in his mind, he laughed.
His laugh was returned by a sprightly laugh in the darkness that was none other than Pearl’s. He cried out to her in the night, and to Hester. They appeared having been out measuring a robe for a man who had died that evening. At the Reverend’s request, they came to stand upon the scaffold with him and they joined hands in their sin. Pearl asked the Reverend repeatedly if he would come stand with them on the scaffold the next day at noon, but the Dimmesdale refused. Out of the darkness, Mr. Chillingworth appeared, and the Reverend spoke his fear and hatred of the man. He asked who he really was, and because of her oath, Hester kept her silence. Pearl whispered gibberish to him in revenge for him not standing with them the next day on the scaffold. The Reverend looked up into the sky and saw a meteor trail that looked like a large red ‘A’ leering at him. Mr.
Chillingworth told him to come home and he left the scaffold with the evilly happy physician.
Chapter 13: Seven years had passed since little Pearl’s birth. The letter on Hester’s chest to the village people had become a symbol of her good deeds. It set her apart from the general population, but many looked on her as a sister of charity. When someone was in need she was always the one by his or her side. Many people in town said the A stood for able.
She had changed. She was an empty form, void of the passion and love that people were able to see in her before.
Her luxurious hair was always hidden from the sight of the people. After the minister’s vigil, Hester found a new cause for sacrifice, a new purpose. She decided to talk to the old physician, her former husband, and try to save his victim from further mental torture. After making her decision, she came upon him as he was walking the peninsula.
Chapter 14: Hester instructed Pearl to go run and play and she went to a pool and saw herself there. Hester accosted Mr. Chillingworth and he began telling her of all the good things the people in the town had said about her. The leaders in the town at the last council meeting had even thought about admitting Hester to take the letter off her bosom. Hester told him that if the Lord meant her to take it off her chest that it would have fallen off long ago. While they began talking, Hester took a good look at him. In the past seven years he had aged well, but there was a strikingly different look about him. He wore a guarded look of an eager angry man who was out for revenge.

They began talking about the minister and Mr. Chillingworth reveals that had it not been for his care, the minister would have died long ago.
Hester asks if he has not had enough revenge since he was able to torture the minister every day by burying into his heart. He answers no, that it will never be enough. Hester tells him that she plans on revealing his secret to the minister and he tells her that neither of them are sinful and evil, they just must lead the lives that they were given because of her sin. They say farewell, and Hester leaves him to gathering herbs.
Chapter 15: Hester watches him for a while from a distance disgusted at the evil she sees in him. She turns to find little Pearl who was playing with all the different things in nature. When Pearl goes back to her mother,
Hester sees that the child has made a letter A out of seaweed and placed it on her chest. Hester asks the child if she knows what the letter her mother wears means. Pearl answers that it is the same reason the minister keeps his hand over his chest.
That is all she knows however, and she asks earnestly why she wears the scarlet letter, and why the minister places his hand over his heart. Ever since she was little, Pearl had a certain fascination with the letter that tortured her mother even more. Hester decided it was better to not unburden her sin upon her child and told her daughter that it meant nothing. After that day however, Pearl would ask her mother two or three times a day what the scarlet letter meant.
Chapter 16: : Hester learned that the Minister had gone into the woods to visit a friend who lived among the Indians. She learned when he was expected to return, and when the day came, she and Pearl went into the forest so she could catch him on his return and speak with him in private.
As they enter the forest, Pearl says that she can stand in the sunlight, but the sunlight runs away from Hester. In response, Hester reaches out to touch the stream of light that flocks around the little elf-child, and it vanishes when her hand comes near. Pearl then asks her mother for a story about the black man who inhabits the forest, which she over heard a woman the previous evening talking about. Pearl said that people went into the forest and signed the Black man’s book with their blood and that she heard the scarlet letter was the black man’s mark on her mother. They traveled into the deep into the forest and stopped next to a little brook that Pearl began playing around. After a while, they saw the Reverend Dimmesdale come walking slowly down the path, and Hester tells Pearl to run and play.
Chapter 17: Hester calls out to the Minister and he instantly straightens up and looks towards her. He finds out it is she and they inquire on how their lives have been in the last seven years. They sit down together on a log, and ask each other if they have found peace. The minister expresses his sadness and how he feels like a hypocrite teaching others to be holy, when he himself has a terrible hidden sin. Hester tries to help him by talking with him and caring for him. He thanks her for her friendship.
She then tells him of Roger Chillingsworth, how he is her husband, and out for revenge. Dimmesdale is horrified but knew that something was wrong with Roger Chillingworth. Hester could not take the frown that descended upon his face, and asked him if he forgave her. He has, and she asks if he remembers what they had. She hints that they once had a great passion and affection for each other. Hester talks of them leaving together. Arthur says he has not the strength to travel that far, but with Hester helping him, they thought they could do it.
Chapter 18: Together they decide to leave the New World together and not torture themselves further with their sin so that only God will judge them.
To them, they are damned already. Hester unhooks her scarlet letter and tosses it by the bubbling brook. They make plans together and say that they will leave for England on the ship that is in the harbor. Talking of their love and their plans, they call back Pearl, for once happy and with lifted spirits. Pearl is off in the forest playing and interacting with the animals. When they call her back, Pearl comes slowly when she sees them sitting together.
Chapter 19: They sat there looking at Pearl as she approached. She had adorned herself with wild flowers and looked like a fairy child. They rejoiced in their child as she came towards him, and Arthur was exceptionally afraid and anxious for the interview. Pearl stopped at the brook and stared at them. The child pointed at her mother with a frown.
Hester called out to her harshly to come and Pearl began screaming and throwing a tantrum. Hester realized that the child was upset that her scarlet letter was not affixed to her mother’s breast. She walked over to where it lay on the ground and showed it to the child. She pinned it back into place, and Pearl was pacified and happy again. They approached the minister and the three of them held hands, and they tried to explain to her that they were all going to be a happy family. The minister kissed Pearl’s forehead and she ran quickly to the brook to try to wash it away.
Chapter 20: Arthur Dimmesdale walked home happily. For the first time in seven years, there was a bounce in his step and a light in his hurting heart. On his way, he saw some of his parishioners and he had thoughts of corruption on his mind. He thought about the reaction he would get if he whispered corrupting things in their ears. There are three different people he runs into in which he feels this. He resists the temptation to do this, and wonders why he is having these thoughts. He wonders if he signed the black man’s book in the forest with his blood. He runs into a woman known as the town witch, and she tells him the next time he wants to go into the forest she would go with him. When he arrives home, Mr.
Chillingworth comes into his room, and the Reverend refuses to take anymore of his medicine. He sits at his desk and reworks the sermon he had planned for the following celebration.
Chapter 21: A public holiday because of the election was planned and everyone from that and the neighboring towns attended in their best clothing. Hester and little Pearl attended but stayed slightly apart from the crowd. Though everyone was packed close to see the parade, there was an empty circle around Hester because of her scarlet letter. She had gone previously to make plans with the captain of the ship that they were going to take to England, and she saw the captain of that vessel talking to Roger
Chillingworth. The captain then came over to her and informed her that the physician would be attending the voyage with them. She looked towards him, and he smiled at her evilly.
Chapter 22: The parade began and Pearl saw the minister when he reached the front. She asked if that was the same minister who kissed her in the woods, and Hester told her to not talk about it in the marketplace.
Mistress Hibbins approached her and began talking to Hester about the minister. Hester denied any involvement with him, and they began watching as he preached to the people. Pearl left her mother and wandered around.
The captain of the ship told Pearl to give her mother a message for him.
She told him that her father was the Prince of Air. She threatened him and ran to her mother. Hester’s mind wandered and thought about how she would soon be free of he scarlet letter and the pain associated with it.
Chapter 23: The minister ended his incredible speech and it was one of the best of his life. The people were inspired and as the parade turned therefor, everyone would exit. The minister looked exceptionally sick and called to Hester and Pearl to come to him. Roger Chillingworth ran towards and tried to get Hester back from the minister. He is dying and with his last breaths he shouts his sin to the audience around and blesses Hester and Pearl. He tells the people to take another better look at Hester and at himself so they see the truth in them. He ripped off the ministerial band from his chest, and the people stood shocked. The people are struck with awe and sympathy. The doctor came over the minister, awestruck because he will lose him and his revenge. Dimmesdale asks Pearl for a kiss and she finally places one on his lips. Hester kneels over him and asks him if they will not see each other again, and spend eternity together.
The reverend tells her that their sin was too large, and that is all she should be concerned. He shouted farewell to the audience and breathed his last breath.
Chapter 24: People swore after that day that when they saw the minister rip off the band on his breast that a scarlet ‘A’ resided there. Many thought that he made the revelation in the dying hour so everyone would know that one who appeared so pure, was as much a sinner as the rest of them. Roger
Chillingworth died within the year and bequeathed large amounts of property both in New England and in England to Pearl. This made Pearl the richest heiress in the New World. Soon after his death, Hester Prynne and her little Pearl disappeared. Years later Hester came back alone to live with her sin in her cottage. Pearl was thought to be happily married elsewhere and mindful of her mother. After her return, many people of the town went to Hester for advice and help when they were in need. After many years she died, and was placed next to the saintly minister. They shared a tombstone and they would be together forever.
Character Profiles
Hester Prynne: A beautiful puritan woman full of strong passions, Hester
Prynne is the main character in the story. Employed as the village seamstress, she is strong and caring, helping anyone she can when he or she are in need. With a penitent heart, Hester travels through the story becoming only a shadow of her former passionate loving self. Other than the scarlet letter, she was a very moral woman whose only joy in life was her daughter Pearl. Roger Chillingsworth: The missing husband of Hester
Prynne. He shows up the day that Hester is put on public display and does not show himself as her husband. A scholar and a man of medicine, his soul purpose in his life becomes revenge against the man who helped his wife sin. By the end of the story, he is shown to be an evil character.
Pearl: Looked on as the devil’s child, Pearl is the only one in the story that is purely innocent. She is passionate, intelligent, and energetic.
Pearl is in touch with nature and with her mother’s feelings. Ever since she was born, Pearl had a fascination with the scarlet letter that is a constant reminder for Hester of her sin.
Arthur Dimmesdale: The minister of the town that the people adore, Arthur was the secret lover of Hester Prynne. He was a sickly man who took his sin very seriously. He spent the seven years since his indiscretion with
Mistress Prynne trying to repent. He wore down his body with his penitence and his sin ate away his soul. In the end, he frees himself from his guilt by admitting to everyone his sin.
Metaphor Analysis
The Rose Bush: A rose bush that grew outside the prison was a symbol of survival, that there is life after the prison where Hester spent he beginning of the story.
The Scarlet Letter ‘A’: The letter that Hester was forced to wear upon her bosom, the scarlet letter was not only a symbol of her adulterous sin, but of the women herself. The letter masks her beauty and passion as the story goes until it is what she is known.
The Black Man in the Woods: the peoples symbol for the devil. The woods in those times were a very scary place, and they thought that people that went into it came out evil and corrupted.
Theme Analysis
The Scarlet Letter is a story that illustrates intricate pieces of the
Puritan lifestyle. Centered first on a sin committed by Hester Prynne and her secret lover before the story ever begins, the novel details how sin affects the lives of the people involved. For Hester, the sin forces her into isolation from society and even from herself. Her qualities that
Hawthorne describes at the opening of the book, i.e. her beauty, womanly qualities, and passion are, after a time, eclipsed by the ‘A’ she is forced to wear. An example of this is her hair. Long hair is something in this time period that is a symbol of a woman. At the beginning of the story,
Hawthorne tells of Hester’s long flowing hair. After she wears the scarlet letter for a time, he paints a picture of her with her hair out of site under a cap, and all the wanton womanliness gone from her.
Yet, even with her true eclipsed behind the letter, of the three main characters affected, Hester has the easiest time because her sin is out in the open. More than a tale of sin, the Scarlet Letter is also an intense love story that shows itself in the forest scene between Hester and the minister Arthur Dimmesdale. With plans to run away with each, Arthur and
Hester show that their love has surpassed distance and time away from each other. This love also explains why Hester would not reveal the identity of her fellow sinner when asked on the scaffolding. Roger Chillingworth is the most affected by the sin, though he was not around when the sin took place. Demented by his thoughts of revenge and hate, Hawthorne shows Mr.
Chillingworth to be a devil or as a man with an evil nature. He himself commits one of the seven deadly sins with his wrath.
By the end of the tale that surpasses seven years, Hester is respected and revered by the community as a doer of good works, and the minister is worshipped for his service in the church. Only Mr. Chillingworth is looked upon badly by the townspeople although no one knows why. Through it all,
Hawthorne illustrates that even sin can produce purity, and that purity came in the form of the sprightly Pearl. Though she is isolated with her mother, Pearl finds her company and joy in the nature that surrounds her.
She alone knows that her mother must keep the scarlet letter on her at all times, and that to take it off is wrong.
Through the book the child is also constantly asking the minister to confess his sin to the people of the town inherently knowing that it will ease his pain. Hawthorne’s metaphor of the rose growing next to the prison is a good metaphor for Pearl’s life that began in that very place. The reader sees this connection when Pearl tells the minister that her mother plucked her from the rose bush outside of the prison. Finally, for all the characters, Hawthorne’s novel illustrates how one sin can escalate to encompass one’s self so that the true humans behind the sin are lost. This is what makes Hawthorne’s novel not only a story of love vs. hate, sin vs. purity, good vs. evil, but all of these combined to make a strikingly historical tragedy as well.
Top Ten Quotes
1) «It may serve, let us hope, to symbolize some sweet moral blossom that may be found along the track, or relieve the darkening close of a tale of human frailty and sorrow.» 2) « ‘People say,’ said another, ‘that the
Reverend Master Dimmesdale, her godly pastor, takes it very grievously to his heart that such a scandal has come upon his congregation.’» 3) « ‘If thou feelest to be for thy soul’s peace, and that they earthly punishment will there by be made more effectual to salvation, I charge thee to speak out the name of thy fellow-sinner and fellow-sufferer.’» 4) «But she named the infant ‘Pearl,’ as being of great price- purchased with all she had- her mother’s only pleasure.» 5) «After putting her fingers in her mouth, with many ungrateful refusals to answer Mr. Wilson’s question, the child finally announced that she had not been made at all, but had been plucked by her mother off the bush of wild roses that grew by the prison door» 6) «
‘He hath done a wild thing ere now, this pious Mr. Dimmesdale, in the hot passion of his heart!’» 7) «Such helpfulness was found in her- so much power to do and power to sympathize- that many people refused to interpret the scarlet ‘A’ by it’s original signification. They said that it meant
‘Able’; so strong was Hester Prynne, with a women’s strength.» 8) «‘That old man!- the physician!- the one whom they call Roger Chillingworth!-he was my husband!’» 9) «Pacify her, if thou lovest me!» 10) « ‘Hester
Prynne’ cried he, with a piercing earnestness ‘in the name of Him, so terrible and so merciful, who gives me grace, at this last moment, to do what- for my own heavy sin and miserable agony- I withheld myself from doing seven years ago, come hither now, and twine thy strength about me!»

Slaughterhouse Five

Chapter One. Summary:
The narrator assures us that the book we are about to read is true, more or less. The parts dealing with World War II are most faithful to actual events. Twenty-three years have passed since the end of the war, and for much of that time the narrator has been trying to write about the bombing of Dresden. He was never able to bring make the project work. When he thinks about Dresden's place in his memory, he always recalls two things: an obscene limerick about a man whose penis has let him down, and "My Name is Yon Yonson," a song which has no ending.
Late some nights, the narrator gets drunk and begins to track down old friends with the telephone. Some years ago he tracked down Bernard O'Hare, an old war buddy of his, using Bell Atlantic phone operators. When he tracked his old friend down, he asked if Bernard would help him remember things about the war. Bernard seemed unenthusiastic. When the narrator suggests the execution of Edgar Derby, an American who stole a teapot from the ruins, as the climax of the novel, Bernard still seems unenthusiastic.
The best outline the narrator ever made for his Dresden book was on a roll of toilet paper, using crayon. Colors represented different people, and the lines crisscrossed when people met, and ended when they died. The outline ended with the exchange of prisoners who had been liberated by Americans and Russians.
After the war, the narrator went home, married, and had kids, all of whom are grown now. He studied anthropology at the University of Chicago, and in anthropology he learned that "there was absolutely no difference between anybody," and that "nobody was ridiculous or bad or disgusting." He's worked various jobs, and tried to keep up work on his Dresden novel all this time.
He actually did go to see Bernard O'Hare just a few weeks after finding him over the telephone. He brought his young daughters, who were sent upstairs to play with O'Hare's kids. The men could not think of any particularly good memories or stories, and the narrator noticed that Mary, Bernard's wife (to whom Slaughterhouse Five is dedicated), seemed very angry about something. Finally, she confronted him: the narrator and Bernard were just babies when they fought. Mary was angry because if the narrator wrote a book, he would make himself and Bernard tough men, glorifying war and turning scared babies into heroes. The movie adaptation would then star
"Frank Sinatra and John Wayne or some of those other glamorous, war-loving, dirty old men" (14). Wars would look good, and we would be sure to have more of them. The narrator promised that it won't be that kind of book, and that he'd call it The Children's Crusade. He and Mary were friends starting at that moment. That night, he and Bernard looked through Bernard's library for information on the real Children's Crusade, a war slightly more sordid than the other crusades. The scheme was cooked up by two monks who planned to raise an army of European children and then sell them into slavery in
North Africa. Sleepless later that night, the narrator looked at a history of Dresden published in 1908. The book described a Prussian siege of the city in the eighteenth century.
In 1967, the narrator and O'Hare returned to Dresden. On the flight over, the narrator got stuck in Boston due to delays. In a hotel in Boston, he felt that someone had played with all the clocks. With every twitch of a clock, it seemed that years passed. That night, he read a book by Roethke and another book by Erika Ostrovsky. The Ostrovsky book, Cйline and His
Vision, is a story of a French soldier whose skull gets cracked during
World War I. He hears noises and suffers from insomnia forever afterward, and at night he writes grotesque, macabre novels. Cйline sees death and the passage of time as the same process.
The narrator also read about the destruction of Sodom and Gomorrah in the hotel room's Gideon Bible. He calls attention to the moment when Lot's wife looks back and is turned into a pillar of salt. He loves her for that act, because it was such a human thing to do.
Now, he presents us with his war book. He will strive to look back no more.
This book, he says, is a failure. It was bound to be a failure because it was written by a pillar of salt. He gives us the first line and the last, and the central story of the novel is ready to begin.
Chapter Two. Summary:
"Billy Pilgrim has come unstuck in time." He wanders from moment to moment in his life, experiencing chronologically disparate events right after one another. He sees his birth and death and everything in between, all out of order, with no pattern to predict what will come next. Or so he believes.
Billy was born in 1922 in Ilium, New York. Tall, thin, and embarrassingly weak, he made an unlikely soldier. He was going to night school in optometry when he got drafted to fight in World War II. His father died in a hunting accident before Billy left for Europe. The Germans captured Billy during the Battle of the Bulge. In 1945 he returned to the States, finished optometry school, and married the daughter of the school's owner. During the engagement, he was hospitalized for a nervous breakdown. After his release, he finished school, married the girl, got his own practice with help from his father-in-law, became quite rich, and had two kids. In 1968 he was the sole survivor of a plane crash. While he was in the hospital, his wife died of carbon monoxide poisoning. He returned home for rest, but without warning one day he went to New York and claimed on the radio that he had been kidnapped by aliens called Trafalmadorians. Billy's daughter,
Barbara, retrieved him from New York. A month later, Billy wrote a letter to Ilium's newspaper describing the aliens. The Trafalmadorians are shaped like two-foot tall toilet plungers, suction cup down.
We now see Billy working on a second letter describing the Trafalmadorian conception of time. All time happens simultaneously, so a man who dies is actually still alive, since all moments exist at all times. Billy works on his letter, oblivious to the increasingly frantic shouts of his daughter, who has stopped by to check on him. The burden of caring for Billy has made
Barbara difficult and unforgiving.
We move to the first time Billy gets unstuck in time. Billy receives minimal training as a chaplain's assistant before being shipped to Europe.
He arrives in September of 1944, right in the middle of the Battle of the
Bulge. He never meets his chaplain or gets a proper helmet or boots.
Although he survives the onslaught, he wanders behind German lines, tagging along with two scouts and an anti-tank gunner named Roland Weary. Weary repeatedly saves Billy's life, mostly by not allowing him to lie down in the snow and die. Although the scouts are experienced, Weary is as new to the war as Billy is; he just fancies himself as having more of a taste for it. By firing the anti-tank gun incorrectly, his gun crew put scorch marks into the ground. Because of those marks, the position of the gun crew was revealed to a Tiger tank that fired back. Everyone but Weary was killed. He is stupid, fat, cruel, and violent. Back in Pittsburgh he was friendless, and constantly getting ditched. His father collects torture devices. He carries a cruel trench knife, various pieces of equipment that have been issued to him, and a pornographic photo of a woman with a horse. He plagues
Billy with macho, aggressive conversation. In his own mind, Weary narrates the war stories he will one day tell. Although he is almost as clumsy and slow as Billy, he imagines himself and the two scouts as fast friends. In his head he dubs them and himself the Three Musketeers, and tells himself the story of how the Three Musketeers saved the life of a dumb, incompetent college kid.
Straggling behind the others, Billy becomes unstuck in time. He goes back to the red light of pre-birth and then forward again to a day in his childhood with his father at the YMCA. His father tries to teach him how to swim by the sink-or-swim method. Billy sinks, and someone has to rescue him. He jumps forward to 1965, when he is a middle-aged man visiting his mother in a nursing home. Then he jumps to 1958, and Billy is attending his son's Little League banquet. Leap to 1961: Billy is at a party, totally drunk and cheating on his wife for the first and only time. Then, he is back in 1944, being shaken awake by Weary. Weary and Billy catch up to the scouts. Dogs are barking in the distance, and the Germans are searching for them. Billy is in bad shape: he looks like hell, can barely walk, and is having vivid (but pleasant) hallucinations. Weary tries to be chummy with his supposed buddies, the scouts, grouping himself with them as "the Three
Musketeers." The scouts coldly tell him that he and Billy are on their own.

Billy goes to 1957, when he gives a speech as the newly elected president of the Lion's Club. Although he has a momentary bout of stage fright, his speech is beautiful. He has taken a public speaking course.
He leaps back to 1944. Ditched again, Weary starts to beat Billy up, furious that this weak college kid has cost him his membership in "the
Three Musketeers." He cruelly beats Billy, who is in such a state that he can only laugh. Suddenly, Weary realizes that they are being watched by five German soldiers and a police dog. They have been captured.
Chapter Three. Summary:
The troops who capture Billy and Weary are irregulars, newly enlisted men using the equipment of newly dead soldiers. Their commander is a tough
German corporal, whose beautiful boots are a trophy from a battle long ago.
Once, while waxing the boots, he told a soldier that if you stared into their shine you could see Adam and Eve. Though Billy has never heard the corporal's claim, looking into the boots now he sees Adam and Eve and loves them for their innocence, vulnerability, and beauty. A blond fifteen-year- old boy helps Billy to his feet; he looks as beautiful and innocent as Eve.
In the distance, shots sound out as the two scouts are killed. Waiting in ambush, they were found and shot in the backs of their heads.
The Germans take Weary's things, including the pornographic picture, which the two old men grin about, and Weary's boots. The fifteen-year old gets
Weary's boots, and Weary gets the boy's clogs. Weary and Billy are made to march a long distance to a cottage where American POWs are being detained.
The soldiers there say nothing. Billy falls asleep, his head on the shoulder of a Jewish chaplain.
Billy leaps in time to 1967, although it takes him a while to figure out the date. He is giving an eye exam in his office in Ilium. His car, visible outside his window, has conservative stickers on the bumper; the stickers were gifts from his father-in-law.
He leaps back to the war. A German is kicking his feet, telling him to wake up. The Americans are assembled outside for photographs. The photographer takes pictures of Billy's and Weary's feet as evidence of how poorly equipped the American troops are. They stage photos of Billy being captured. Billy then returns to 1967, driving to the Lion's club. He drives through a black ghetto, an area recovering from recent riots and fires. He largely ignores what he sees there. At the Lion's club, a marine major talks about the need to continue the fight in Vietnam. He advocates bombing
North Vietnam into the Stone Age, if necessary, and Billy does not think of the horror of bombing, which he has witnessed himself. He is simply having lunch. The narrator mentions that he has a prayer on the wall of his office: "God grant me the serenity to accept the things I cannot change, courage to change the things I can, and wisdom always to tell the difference."
The narrator tells us that Billy cannot change past, present, or future.
After lunch, Billy goes home. He is a wealthy man now, with a son in the
Green Berets and a daughter about to get married; he also is seized occasionally by sudden and inexplicable bouts of weeping. During one of these spells, he closes his eyes and finds himself back in World War II. He is marching with an ever-growing line of Americans making their way through
Luxembourg. They cross into Germany, being filmed by the Germans who want a record of their great victory. Weary's feet are sore and bloody from marching on the German boy's clogs. The Americans are sorted by rank, and a colonel tries to talk with Billy. The colonel is dying; he tries to be chummy with Billy. He has always wanted to be called "Wild Bob" by his men.
He dreams of having a reunion of his men in his hometown of Cody, Wyoming.
He invites Billy and the other men to come. Vonnegut mentions that he and
Bernard O'Hare were there when the colonel gave his invitation. All of the
POWs are put into train cars. The train does not leave for two days; during that time Wild Bob dies. The boxcars are so crowded that to sleep the men have to take turns lying down. When the train finally begins its trek deeper into Germany, Billy jumps through time again. It is 1967, and he is about to be kidnapped for the first time by the Trafalmadorians.
Chapter Four. Summary:
In 1967, on his daughter's wedding night, Billy cannot sleep. Because he is unstuck in time, he knows that he will soon be kidnapped by a
Trafalmadorian flying saucer. He kills time unproductively in the meantime.
He watches a war movie, and because he is unstuck in time the movie goes forward and then backward. He goes out to meet the ship, and he is taken as planned. As the ship shoots out into space, Billy is jarred back to 1944.
In the boxcar, none of the men want Billy to sleep next to them because he yells and thrashes in his sleep. He is forced to sleep while standing. In another car, Weary dies of gangrene in his feet. As he slowly dies over the course of days, he tells people again and again about the Three Musketeers.
He also asks that someone get revenge for him on the man who caused his death. He blames Billy Pilgrim, of course.
The train finally arrives at a camp, and Billy and the other men are pushed and prodded along. The camp is full of dying Russian POWs. At points,
Vonnegut likens the Russians' faces to radium dials. The Americans are all given coats; Billy's is too small. They go into a delousing station, where all of the men strip naked. Billy has one of the worst bodies there; he is skinny and weak, and a German soldier comments on that fact. We are introduced briefly to Edgar Derby and Paul Lazarro. Derby is the oldest POW there, a man who pulled strings to get into the army. He is a high school teacher from Indianapolis, and he is physically sturdy despite his forty- four years of age. He will be shot after the Dresden bombing for trying to steal a teapot.
Paul Lazarro is a car thief from Illinois. His body is even weaker and less healthy than Billy's. He was in Roland Weary's boxcar, and he vowed solemnly to Weary that he would find and kill Billy Pilgrim. When the scalding water turns on, Billy leaps back to his infancy. His mother has just finished giving him a bath. He then leaps forward to a Sunday game of golf, played with three other optometrists. Then, he leaps in time to the space ship, on his first trip to Trafalmadore. He talks with one of his captors about time, and he says that the Trafalmadorians sound like they do not believe in free will. The alien replies that in all of the inhabited planets of the galaxy, Earth is the only one whose people believe in the concept of free will.
Chapter Five. Summary:
En route to Trafalmadore, Billy asks for something to read. The only human novel is Valley of the Dolls, and when Billy asks for a Trafalmadorian novel, he learns that the aliens' novels are slim, sleek volumes. Because they have a different concept of time, Trafalmadorians have novels arranged by juxtaposition of marvelous moments. The books have no cause or effect or chronology; their beauty is in the arrangement of events meant to be read simultaneously. Billy jumps in time to a visit to the Grand Canyon taken when he was twelve years old. He is terrified of the canyon. His mother touches him and he wets his pants. He jumps forward in time just ten days, to later in the same vacation. He is visiting Carlsbad Caverns. The ranger turns the lights off, so that the tourists can experience total darkness.
But Billy sees a light nearby: the radium dial of his father's watch.
Billy jumps back to the war. The Germans think Billy is one of the funniest creatures they've seen in all of the war. His coat is preposterously small, and on his already awkward body it looks ridiculous. The Americans give their names and serial numbers so that they can be reported to the Red
Cross, and then they are marched to sheds occupied by middle-aged British
POWs. The British welcome them with singing. These British POWs are officers, some of the first Brits taken prisoner in the war. They have been prisoners for four years. Due to a clerical error early in the war, the Red
Cross shipped them an incredible surplus of food, which they have hoarded cleverly. Consequently, they are some of the best-fed people in Europe.
Their German captors adore them.
To prepare for their American guests, the Brits have cleaned and set out party favors. Candles and soap, supplied by the Germans, are plentiful: the
British do not know that these items are made from the bodies of Holocaust victims. They have prepared a huge dinner and a dramatic adaptation of
Cinderella. Billy is so unhinged that his laughter at the performance becomes hysterical shrieking, and he is taken to the hospital and doped up on morphine. Edgar Derby watches over him, reading The Red Badge of
Courage. He leaps in time to the mental ward where he recovered in 1948.
In the mental ward, Billy's bed is next to the bed of Elliot Rosewater.
Like Billy, he has little love for life, in part because of things he saw and did in the war. He is the man who introduces Billy to the science fiction of Kilgore Trout. Billy is enduring one of his mother's dreaded visits. She is a simple, religious woman. She makes Billy feel worse just by being there. Billy leaps back in time to the POW camp. A British colonel talks to Derby; after the newly arrived Americans shaved, the British were shocked by how young they all were. Derby tells of how he was captured: the
Americans were pushed back into a forest, and the Germans rained shells on them until they surrendered.
Billy leaps back to the hospital. He is being visited by his ugly, overweight fiancйe Valencia. He knew he was going crazy when he proposed to her. He does not want to marry her. She is visiting now, eating a Three
Musketeers bar and wearing a diamond engagement ring that Billy found while in Germany. Elliot tells her about The Gospel from Outer Space, a Kilgore
Trout book.
Valencia tries to talk to Billy about plans for their wedding and marriage, but he is not too involved. He leaps forward in time to the zoo on Trafalmadore, where he was on display when he was forty-four years old.
The habitat is furnished with Sears and Roebuck furniture. He is naked. He answers questions posed by the Trafalmadorian tourists. He learns that there are five sexes among the Trafalmadorians, but the sex difference is only visible in the fourth dimension. On earth there are actually seven sexes, all necessary to the production of children; earthlings just do not notice the sex difference between themselves because many of the sex acts occur in the fourth dimension. These ideas baffle Billy, and they in turn are baffled by his linear concept of time. Billy expects the
Trafalmadorians to be concerned about or horrified by the wars on earth. He worries that earthlings will eventually threaten all the other races in the galaxy, causing the eventual destruction of the universe. The
Trafalmadorians put their hands over their eyes, which lets Billy know that he is being stupid.
The Trafalmadorians already know how the universe will end: during experiments with a new fuel, one of their test pilots pushes a button and the entire universe will disappear. They cannot prevent it. It has always happened that way. Billy correctly concludes that trying to prevent wars on
Earth is futile. The Trafalmadorians also have wars, but they choose to ignore them. They spend their time looking at the pleasant moments rather than the unpleasant ones; they suggest that humans learn to do the same.
Billy leaps back in time to his wedding night. It is six months after his release from the mental ward. The narrator reminds us that Valencia and her father are very rich, and Billy will benefit greatly from his marriage to her. After they have sex, Valencia tries to ask Billy questions about the war. She wants a heroic war story, but Billy does not really respond to her. He has a crazy thought about the war, which Vonnegut says would make a good epitaph for Billy, and for the author, too: "Everything was beautiful, and nothing hurt." He jumps in time to that night in the prison camp. Edgar
Derby has fallen asleep. Billy, doped up still from the morphine, wanders out of the hospital shed. He snags himself on a barbed wire fence, and cannot extract himself until a Russian helps him.
Billy never really says a word to the Russian. He wanders to the latrine, where the Americans are sick from the feasting. A long period without food followed by a feast almost always results in violent sickness. Among the sick Americans is a soldier complaining that he has shit his brains out. It is Vonnegut. Billy leaves, passing by three Englishmen who watch the
Americans' sickness with disgust. Billy jumps in time again, back to his wedding night. He and his wife are cozy in bed. He jumps in time again, to
1944. It is before he left for Europe; he is riding the train from South
Carolina, where he was receiving his training, all the way back to Ilium for his father's funeral.
We return to Billy's morphine night in the POW camp. Paul Lazarro is carried into the hospital; while attempting to steal cigarettes from a sleeping British officer, he was beaten up. The officer is the one carrying him. Seeing now how puny Lazarro is, the officer feels guilty for hitting him so hard. But he is disgusted by the American POWs. A German soldier who adores the British officers comes in and apologizes for the inconvenience of hosting the Americans. He assures the Brits in the room that the
Americans will soon be shipped off for forced labor in Dresden. The German officer reads propaganda materials written by Howard Campbell, Jr., a captured American who is now a Nazi. Campbell condemns the self-loathing of the American poor, the inequalities of America's economic system, and the miserable behavior of American POWs. Billy falls asleep and wakes up in
1968, where his daughter Barbara is scolding him. Barbara notices the house is icy cold and goes to call the oil-burner man.
Billy leaps in time to the Trafalmadorian zoo, where Montana Wildhack, a motion picture star, has been brought in to mate with him. Initially unconscious, she wakes to find naked Billy and thousands of Trafalmadorians outside their habitat. They're clapping. She screams. Eventually, though, she comes to love and trust Billy. After a week they're sleeping together.
He travels in time back to his bed in 1968. The oil-burner man has fixed the problem with the heater. Billy has just had a wet dream about Montana
Wildhack. The next day, he returns to work. His assistants are surprised to see him, because they thought that he would never practice again. He has the first patient sent in, a boy whose father died in Vietnam. Billy tries to comfort the boy by telling him about the Trafalmadorian concept of time.
The boy's mother informs the receptionist that Billy is going crazy.
Barbara comes to take him home, sick with worry about what how to deal with him.
Chapter Six. Summary:
Billy wakes after his morphine night in POW camp irresistibly drawn to two tiny treasures. They draw him like magnets; they are hidden in the lining of his coat. It will be revealed later on exactly what they are. He goes back to sleep, and wakes up to the sounds of the British building a new latrine. They have abandoned their old latrine and their meeting hall to the Americans. The man who beat up Lazarro stops by to make sure he is all right, and Lazarro promises that he is going to have the man killed after the war. After the amused Brit leaves, Lazarro tells Derby and Billy that revenge is life's sweetest pleasure. He once brutally tortured a dog that bit him. He is going to have all of his enemies killed after the war. He tells Billy that Weary was his buddy, and he is going to avenge him by having Billy shot after the war. Because of his time hopping, Billy knows that this is true. He will be shot in 1976. At that time, the United States has split into twenty tiny nations. Billy will be lecturing in Chicago on the Trafalmadorian concept of time and the fourth dimension. He tells the spectators that he is about to die, and urges them to accept it. After the lecture, he is shot in the head by a high-powered laser gun.
Back in the POW camp, Billy, Derby, and Lazarro go the theater to elect a leader. On the way over, they see a Brit drawing a line in the dirt to separate the American and British sections of the compound. In the theater,
Americans are sleeping anywhere that they can. A Brit lectures them on hygiene, and Edgar Derby is elected leader. Only two or three men actually have the energy to vote. Billy dresses himself in a piece of azure curtain and Cinderella's boots. The Americans ride the train to Dresden. Dresden is a beautiful city, appearing on the horizon like something out of a fairy tale. They are met by eight German irregulars, boys and old men who will be in charge of them for the rest of the war. They march through town towards their new home. The people of Dresden watch them, and most of them are amused by Billy's outlandish costume. One surgeon is not. He scolds Billy about dignity and representing his country and war not being a joke, but
Billy is honestly perplexed by the man's anger. He shows the man his two treasures from the lining of his coat: a two-carat diamond and some false teeth. The Americans are brought to their new home, a converted building originally for the slaughter of pigs. The building has a large 5 on it. The
POWs are taught the German name for their new home, in case they get lost in the city. In English, it is called Slaughterhouse Five.
Chapter Seven. Summary:
Billy is on a plane next to his father-in-law. Billy and a number of optometrists have chartered a plane to go to a convention in Montreal.
There's a barbershop quartet on board. Billy's father-in-law loves it when they sing songs mocking the Polish. Vonnegut mentions that in Germany Billy saw a Pole getting executed for having sex with a German girl. Billy leaps in time to his wandering behind the German lines with the two scouts and
Roland Weary. He leaps in time again to the plane crash. Everyone dies but him. The plane has crashed in Vermont, and Billy is found by Austrian ski instructors. When he hears them speaking German, he thinks he's back in the war. He is unconscious for days, and during that time he dreams about the days right before the bombing.
He remembers a boy named Werner Gluck, one of the guards. He was good- natured, as awkward and puny as Billy. One day, Gluck and Billy and Derby were looking for the kitchen. Derby and Billy were pulling a two-wheeled cart; it was their duty to bring dinner back for the boys. Gluck pulled a door open, thinking the kitchen might be there, and instead revealed naked teenage girls showering, refugees from another city that was bombed. The women scream and Gluck shuts the door. When they finally find the kitchen, an old cook talks with the trio critically and proclaims that all the real soldiers are dead. Billy also remembers working in the malt syrup factory in Dresden. The syrup is for pregnant women, and it is fortified with vitamins. The POWs do everything they can to sneak spoonfuls of it. Billy sneaks a spoonful to Edgar Derby, who is outside. He bursts into tears after he tastes it.
Chapter Eight. Summary:
Howard Campbell, Jr., the American-turned-Nazi propagandist, visits the captives of Slaughterhouse Five. He wears an elaborate costume of his own design, a cross between cowboy outfit and a Nazi uniform. The POWs are tired and unhealthy, undernourished and overworked. Campbell offers them good eating if they join his Free American Corps. The Corps is Campbell's idea. Composed of Americans fighting for the Germans, they will be sent to fight on the Russian front. After the war, they will be repatriated through
Switzerland. Campbell reasons that the Americans will have to fight the
Soviet Union sooner or later, and they might as well get it out of the way.
Edgar Derby rises for his finest moment. He denounces Campbell soundly, praises American forms of government, and speaks of the brotherhood between
Russians and Americans. Air raid sirens sound, and everyone takes cover in a meat locker. The firebombing will not occur until tomorrow night; these sirens are only a false alarm. Billy dozes, and then leaps in time to an argument with his daughter Barbara. She is worrying about what should be done about Billy. She tells him that she feels like she could kill Kilgore
Trout.
We move to Billy's first meeting with Trout, which happened in 1964. He is out driving when he recognizes Trout from the jackets of his books. Trout's books have never made money, so he works as a newspaper circulation man, bullying and terrorizing newspaper delivery boys. One of Trout's boys quits, and Billy offers to help Trout deliver the papers on the boy's route. He gives Trout a ride. Trout is overwhelmed by meeting an avid fan.
He has only received one letter in the course of his career, and the letter was crazed. It was written by none other than Billy's friend from the mental ward, Elliot Rosewater. Billy invites Kilgore Trout to his anniversary party.
At the party, Trout is obnoxious, but the optometrists and their spouses are still enchanted by having an actual writer among them. A barbershop quartet sings "That Old Gang of Mine," and Billy is visibly disturbed.
After giving Valencia her gift, he flees upstairs. Lying in bed, Billy remembers the bombing of Dresden.
We see the events as Billy remembers them. He and the other POWs, along with four of their guards, spend the night in the meat locker. The girls from the shower were being killed in a shallower shelter nearby. The POWs emerge at noon the next day into what looks like the surface of the moon.
The guards gape at the destruction. They look like a silent film of a barbershop quartet.
We move to the Trafalmadorian Zoo. Montana Wildhack asked Billy to tell her a story. He tells her about the burnt logs, actually corpses. He tells her about the great monuments and buildings of the city turned into a flat, lunar surface.
We move to Dresden. Without food or water, the POWs have to march to find some if they are to survive. They make their way across the treacherous landscape, much of it still hot, bits of crumbling. They are attacked by
American fighter planes. The end up in the suburbs, at an inn that has prepared to receive any survivors. The innkeeper lets the Americans sleep in the stable. He provides them with food and drink, and goes out to bid them goodnight as they go to bed.
Chapter Nine. Summary:
When Billy is in the hospital in Vermont, Valencia goes crazy with grief.
Driving to the hospital, she gets in a terrible accident. She gears up her car and continues driving to the hospital, determined to get there even though she leaves her exhaust system behind. She pulls into the hospital driveway and falls unconscious from carbon monoxide poisoning. An hour later, she is dead.
Billy is oblivious, unconscious in his bed, dreaming and time traveling. In the bed next to him is Bertram Copeland Ruumford, an arrogant retired
Brigadier General in the Air Force Reserve. He is a seventy-year-old
Harvard professor and the official historian of the Air Force, and he is in superb physical condition. He has a twenty-three year-old high school dropout with an IQ of 103. He is an arrogant jingoist. Currently he is working on a history of the Air Corp in World War II. He has to write a section on the success of the Dresden bombing. Ruumfoord's wife Lily is scared of Billy, who mumbles deliriously. Ruumfoord is disgusted by him, because all he does in his sleep in quit or surrender.
Barbara comes to visit Billy. She is in a horrible state, drugged up so she can function after the recent tragedies. Billy cannot hear her. He is remembering an eye exam he gave to a retarded boy a decade ago. Then he leaps in time when he was sixteen years old. In the waiting room of a doctor's office, he sees an old man troubled by horrible gas. Billy opens his eyes and he is back in the hospital in Vermont. His son Robert, a decorated Green Beret, is there. Billy closes his eyes again.
He misses Valencia's funeral because he is till too sick. People assume that he is a vegetable, but actually he is thinking actively about
Trafalmadorians and the lectures he will deliver about time and the permanence of moments. Overhearing Ruumford talk about Dresden, Billy finally speaks up and tells Ruumford that he was at Dresden. Ruumford ignores him, trying to convince himself and the doctors that Billy has
Echonalia, a condition where the sufferer simply repeats what he hears.
Billy leaps in time to May of 1945, two days after the end of the war in
Europe. In a coffin-shaped green wagon, Billy and five other Americans ride with loot from the suburbs of Dresden. They found the wagon, attached to two horses, and have been using it to carry things that they have taken.
The homes have been abandoned because the Russians are coming, and the
Americans have been looting. When they go to the slaughterhouse and the other five Americans loot among the ruins, Billy naps in the wagon. He has a cavalry pistol and a Luftwaffe ceremonial saber. He wakes; two Germans, a husband-and-wife pair of obstetricians, are angry about how the Americans have treated the horses. The horses' hooves are shattered, their mouths are bleeding from the bits, and they are extremely thirsty. Billy goes around to look at the horses, and he bursts into tears. It is the only time he cries in the whole war. Vonnegut reminds the reader of the epigraph at the start of the book, an excerpt from a Christmas carol that describes the baby Jesus as not crying. Billy cries very little.
He leaps in time back to the hospital in Vermont, where Ruumford is finally questioning Billy about Dresden. Barbara takes Billy home later that day.
Billy is watched by a nurse; he is supposed to be under observation, but he escapes to New York City and gets a hotel room. He plans to tell the world about the Trafalmadorians and their concept of time. The next day, Billy goes into a bookstore that sells pornography, peep shows, and Kilgore Trout novels. Billy is only interested in Kilgore Trout novels. In one of the pornographic magazines, there is an article about the disappearance of porn star Montana Wildhack. Later, Billy sneaks onto a radio talk show by posing as a literary critic. The critics take turns discussing the novel, but when
Billy gets his turn he talks about Trafalmadore. At the next commercial break, he is made to leave. When he goes back to his hotel room and lies down, he travels back in time to Trafalmadore. Montana is nursing their child. She wears a locket with a picture of her mother and the same prayer that Billy had on his office wall in Ilium.
Chapter Ten. Summary:
Vonnegut tells us that Robert Kennedy died last night. Martin Luther King,
Jr., was assassinated a month ago. Body counts are reported every night on the news as signs that the war in Vietnam is being won. Vonnegut's father died years ago of natural causes. He left Billy all of his guns, which rust. Billy claims that on Trafalmadore the aliens are more interested in
Darwin than Jesus. Darwin, says Vonnegut, taught that death was the means to progress. Vonnegut recalls the pleasant trip he made to Dresden with his old war buddy, O'Hare. They were looking up facts about Dresden in a little book when O'Hare came across a passage on the exploding world population.
By 2000, the book predicts, the world will have a population of 7 billion people. Vonnegut says that he supposes they will all want dignity.
Billy Pilgrim travels back in time to 1945, two days after the bombing of
Dresden. German authorities find the POWs in the innkeeper's stable. Along with other POWs, they are brought back to Dresden to dig for bodies. Bodies are trapped in protected pockets under the rubble, and the POWs are put to work bringing them up. But after one of the workers is lowered into a pocket and dies of the dry heaves, the Germans settle on incinerating the bodies instead of retrieving them. During this time, Edgar Derby is caught with a teapot he took from the ruins. He is tried and executed by a firing squad.
Then the POWs were returned to the stable. The German soldiers went off to fight the Soviets. Spring comes, and one day in May the war is over. Billy and the other men go outside into the abandoned suburbs. They find a horse- drawn wagon, the wagon green and shaped like a coffin. The birds sing, "Po- tee-weet?"

The Sound and the Fury

Summary of April Seventh, 1928:
This section of the book is commonly referred to as "Benjy's section" because it is narrated by the retarded youngest son of the Compson family,
Benjamin Compson. At this point in the story, Benjy is 33 years old - in fact, today is his birthday - but the story skips back and forth in time as various events trigger memories. When the reader first plunges into this narrative, the jumps in time are difficult to navigate or understand, although many scenes are marked by recurring images, sounds, or words. In addition, a sort of chronology can be established depending on who is
Benjy's caretaker: first Versh when Benjy is a child, then T. P. when he is an adolescent, then Luster when he is an adult. One other fact that may confuse first-time readers is the repetition of names. There are, for example, two Jasons (father and son), two Quentins (Benjy's brother and
Caddy's daughter), and two Mauries (Benjy himself before 1900 and Benjy's uncle). Benjy recalls three important events: the evening of his grandmother "Damuddy's" death in 1898, his name change in 1900, and Caddy's sexual promiscuity and wedding in 1910, although these events are punctuated by other memories, including the delivery of a letter to his uncle's mistress in 1902 or 1903, Caddy's wearing perfume in 1906, a sequence of events at the gate of the house in 1910 and 1911 that culminates in his castration, Quentin's death in 1910, his father's death and funeral in 1912, and Roskus's death some time after this. I will summarize each event briefly.
The events of the present day (4/7/28) center around Luster's search for a quarter he has lost somewhere on the property. He received this quarter from his grandmother Dilsey in order to go to the circus that evening.
Luster takes Benjy with him as he searches by the golf course that used to be the Compson's pasture, by the carriage house, down by the branch of the
Yoknapatawpha River, and finally near Benjy's "graveyard" of jimson flowers in a bottle.
As the story opens, Benjy and Luster are by the golf course, where the golfers' cries of "caddie" cause Benjy to "beller" because he mistakes their cries for his missing sister Caddy's name. In the branch, Luster finds a golfer's ball, which he later tries to sell to the golfers; they accuse him of stealing it and take it from him. Luster tries to steer Benjy away from the swing, where Miss Quentin and her "beau" (one of the musicians from the circus) are sitting, but is unsuccessful. Quentin is furious and runs into the house, while her friend jokes with Luster and asks him who visits Quentin. Luster replies that there are too many male visitors to distinguish.
Luster takes Benjy past the fence, where Benjy sees schoolgirls passing with their satchels. Benjy moans whenever Luster tries to break from the routine path Benjy is used to. At Benjy's "graveyard," Luster disturbs the arrangement of flowers in the blue bottle, causing Benjy to cry. At this
Luster becomes frustrated and says "beller. You want something to beller about. All right, then. Caddy. . . . Caddy. Beller now. Caddy" (55).
Benjy's crying summons Dilsey, Luster's grandmother, who scolds him for making Benjy cry and for disturbing Quentin. They go in the kitchen, where
Dilsey opens the oven door so Benjy can watch the fire. Dilsey has bought
Benjy a birthday cake, and Luster blows out the candles, making Benjy cry again. Luster teases him by closing the oven door so that the fire "goes away." Dilsey scolds Luster again. Benjy is burned when he tries to touch the fire. His cries disturb his mother, who comes to the kitchen and reprimands Dilsey. Dilsey gives him an old slipper to hold, an object that he loves.
Luster takes Benjy to the library, where his cries disturb Jason, who comes to the door and yells at Luster. Luster asks Jason for a quarter. At dinner, Jason interrogates Quentin about the man she was with that afternoon and threatens to send Benjy to an asylum in Jackson. Quentin threatens to run away, and she and Jason fight. She runs out of the room.
Benjy goes to the library, where Luster finds him and shows him that
Quentin has given him a quarter. Luster dresses Benjy for bed; when Benjy's pants are off he looks down and cries when he is reminded of his castration. Luster puts on his nightgown and the two of them watch as
Quentin climbs out her window and down a tree. Luster puts Benjy to bed.
Benjy's memories, in chronological order:
Damuddy's death, 1898: Benjy is three years old and his name at this point is still Maury. Caddy is seven, Quentin is older (nine?) and Jason is between seven and three.
The four children are playing in the branch of the river. Roskus calls them to supper, but Caddy refuses to come. She squats down in the river and gets her dress wet; Versh tells her that her mother will whip her for that.
Caddy asks Versh to help her take her dress off, and Quentin warns him not to. Caddy takes off her dress and Quentin hits her. The two of them fight in the branch and get muddy. Caddy says that she will run away, which makes
Maury/Benjy cry; she immediately takes it back. Roskus asks Versh to bring the children to the house, and Versh puts Caddy's dress back on her.
They head up to the house, but Quentin stays behind, throwing rocks into the river. The children notice that all the lights are on in the house and assume that their parents are having a party. Father tells the children to be quiet and to eat dinner in the kitchen; he won't tell them why they have to be quiet. Caddy asks him to tell the other children to mind her for the evening, and he does. The children hear their mother crying, which makes
Maury/Benjy cry. Quentin is also agitated by her crying, but Caddy reassures him that she is just singing. Jason too begins to cry.
The children go outside and down to the servants' quarters, where Frony and
T. P. (who are children at this point) have a jar of lightning bugs. Frony asks about the funeral, and Versh scolds her for mentioning it. The children discuss the only death they know - when their mare Nancy died and the buzzards "undressed her" in a ditch. Caddy asks T. P. to give
Maury/Benjy his jar of lightning bugs to hold. The children go back up to the house and stop outside the parlor window. Caddy climbs up a tree to see in the window, and the children watch her muddy drawers as she climbs.
Dilsey comes out of the house and yells at them. Caddy tells the others that their parents were not doing anything inside, although she may be trying to protect them from the truth. The children go inside and upstairs.
Father comes to help tuck them into bed in a strange room. Dilsey dresses them and tucks them in, and they go to sleep.
Benjy's name change, 1900: Benjy is five years old, Caddy is nine, etc.
Benjy is sitting by the library fire and watching it. Dilsey and Caddy discuss Benjy's new name; Dilsey wants to know why his parents have changed it, and Caddy replies that mother said Benjamin was a better name for him than Maury was. Dilsey says that "folks don't have no luck, changing names"
(58). Caddy brings Benjy to where her mother is lying in the bedroom with a cloth on her head, to say good night. Benjy can hear the clock ticking and the rain falling on the roof. Mother chides Caddy not to carry him because he is too heavy and will ruin her posture. She holds Benjy's face in her hands and repeats "Benjamin" over and over. Benjy cries until Caddy holds his favorite cushion over his mother's head.
She leads him to the fire so that he can watch it. Father picks him up, and he watches the reflection of Caddy and Jason fighting in the library mirror. Father puts him down and breaks up Caddy and Jason, who are fighting because Jason cut up all of Benjy's paper dolls. Father takes
Jason to the room next door and spanks him. They all sit by the fire, and
Benjy holds his cushion. Quentin comes and sits next to them. He has been in a fight at school and has a bruise. Father asks him about it. Versh sits next to them and tells them a story about a "bluegum" he knows who changed his name too. Father tells him to be quiet. Caddy and Versh feed Benjy his dinner, and the four children sit in father's lap. Benjy says that Caddy and Quentin smell like trees and rain.
Versh, Caddy and Benjy go outside, December 23, 1902: Benjy is seven years old and Caddy is eleven.
Benjy is crying because he wants to go outside. Mother says it is too cold for him and he will freeze his hands. She says that if he won't be quiet he will have to go to the kitchen. Versh replies that Dilsey wants him out of the kitchen because she has a lot of cooking to do, and Uncle Maury tells her to let him go outside. Versh puts on his coat and they go outside;
Versh tells him to keep his hands in his pockets. Caddy comes through the gate, home from school. She takes his hands and they run through the fallen leaves into the house. Caddy puts him by the fire, and Versh starts to take his coat off, but Caddy asks if she can take him outside again. Versh puts on his overshoes again, and mother takes his face in her hands and calls him "my poor baby," but Caddy kneels by him and tells him that he is not a poor baby at all because he has her. Benjy notices that she smells like trees.
Caddy and Benjy deliver Uncle Maury's letter to Mrs. Patterson, December
25, 1902.
Caddy and Benjy cross the yard by the barn, where the servants are killing a pig for dinner. Caddy tells Benjy to keep his hands in his pockets and lets him hold the letter. She wonders why Uncle Maury did not send Versh with the letter. They cross the frozen branch and come to the Patterson's fence. Caddy takes the letter and climbs the fence to deliver it. Mrs.
Patterson comes out of the house.
Benjy delivers a letter to Mrs. Patterson alone, spring 1903: Benjy is eight years old.
Benjy is at the Patterson's fence. Mr. Patterson is in the garden cutting flowers. Mrs. Patterson runs from the house to the fence, and Benjy cries when he sees her angry eyes. She says that she told Maury not to send Benjy alone again, and asks Benjy to give her the letter. Mr. Patterson comes running, climbs the fence and takes the letter. Benjy runs away.
Caddy wears perfume, 1906: Benjy is ten years old and Caddy is fourteen.
Caddy tries to hug Benjy but he cries and pushes her away. Jason says that he must not like her "prissy dress," and says that she thinks she is all grown up just because she is fourteen. Caddy tries to hush Benjy, but he disturbs their mother, who calls them to her room. Mother tells Caddy to give Benjy his box full of cut-out stars. Caddy walks to the bathroom and washes the perfume off. Benjy goes to the door. Caddy opens the door and hugs him; she smells like trees again. They go into Caddy's room and she sits at her mirror. Benjy starts to cry again. She gives him the bottle of perfume to smell and he runs away, crying. She realizes what made him cry and tells him she will never wear it again. They go to the kitchen, and
Caddy tells Dilsey that the perfume is a present from Benjy to her. Dilsey takes the bottle, and Caddy says that "we don't like perfume ourselves"
(43).
Caddy in the swing, 1907?: Benjy is eleven or twelve and Caddy is fifteen or sixteen.
Benjy is out in the yard at night. T. P. calls for him through the window.
He watches the swing, where there are "two now, then one in the swing"
(47). Caddy comes running to him, asking how he got out. She calls for T.
P. Benjy cries and pulls at her dress. Charlie, the boy she is with on the swing, comes over and asks where T. P. is. Benjy cries and she tells
Charlie to go away. He goes, and she calls for T. P. again. Charlie comes back and puts his hands on Caddy. She tells him to stop, because Benjy can see, but he doesn't. She says she has to take Benjy to the house. She takes his hand and they run to the house and up the porch steps. She hugs him, and they go inside. Charlie is calling her, but she goes to the kitchen sink and scrubs her mouth with soap. Benjy sees that she smells like trees again.
Benjy sleeps alone for the first time, 1908: Benjy is thirteen years old.
Dilsey tells Benjy that he is too old to sleep with anyone else, and that he will sleep in Uncle Maury's room. Uncle Maury has a black eye and a swollen mouth, and Father says that he is going to shoot Mr. Patterson.
Mother scolds him and father apologizes. He is drunk.
Dilsey puts Benjy to bed alone, but he cries, and Dilsey comes back. Then
Caddy comes in and lies in the bed with him. She smells like trees. Dilsey says she will leave the light on in Caddy's room so she can go back there after Benjy has fallen asleep.
Caddy loses her virginity, 1909: Benjy is fourteen years old and Caddy is eighteen.
Caddy walks quickly past the door where mother, father, and Benjy are.
Mother calls her in, and she comes to the door. She glances at Benjy, then glances away. He begins to cry. He goes to her and pulls at her dress, crying. She is against the wall, and she starts to cry. He chases her up the stairs, crying. She stops with her back against the wall, crying, and looks at him with her hand on her mouth. Benjy pushes her into the bathroom.
Caddy's wedding, 1910: Benjy is fifteen years old and Caddy is nineteen.
Benjy, Quentin, and T. P. are outside the barn, and T. P. has given Benjy some sarsaparilla to drink; they are both drunk. Quentin pushes T. P. into the pig trough. They fight, and T. P. pushes Benjy into the trough. Quentin beats T. P., who can't stop laughing. He keeps saying "whooey!". Versh comes and yells at T. P. Quentin gives Benjy some more sarsaparilla to drink, and he cries. T. P. takes him to the cellar, and then goes to a tree outside the parlor. T. P. drinks some more. He gets a box for Benjy to stand on so he can see into the parlor. Through the window, Benjy can see
Caddy in her wedding veil, and he cries out, trying to call to her. T. P. tries to quiet him. Benjy falls down and hits his head on the box. T. P. drags him to the cellar to get more sarsaparilla, and they fall down the stairs into the cellar. They climb up the stairs and fall against the fence and the box. Benjy is crying loudly, and Caddy comes running. Quentin also comes and begins kicking T. P. Caddy hugs Benjy, but she doesn't smell like trees any more, and Benjy begins to cry.
Benjy at the gate crying, 1910.
Benjy is in the house looking at the gate and crying, and T. P. tells him that no matter how hard he cries, Caddy is not coming back.
Later, Benjy stands at the gate crying, and watches some schoolgirls pass by with their satchels. Benjy howls at them, trying to speak, and they run by. Benjy runs along the inside of the fence next to them to the end of his yard. T. P. comes to get him and scolds him for scaring the girls.
Quentin's death, 1910.
Benjy is lying in T. P.'s bed at the servants' quarters, where T. P. is throwing sticks into a fire. Dilsey and Roskus discuss Quentin's death without mentioning his name or Caddy's name. Roskus talks about the curse on the family, saying "aint the sign of it laying right there on that bed.
Aint the sign of it been here for folks to see fifteen years now" (29).
Dilsey tells him to be quiet, but he continues, saying that there have been two signs now (Benjy's retardation and Quentin's death), and that there would be one more. Dilsey warns him not to mention Caddy's name. He replies that "they aint no luck on this place" (29). Dilsey tucks Benjy into T.
P.'s bed and pulls the covers up.
Benjy attacks a girl outside the gate and is castrated, 1911: Benjy is sixteen years old.
Benjy is standing at the gate crying, and the schoolgirls come by. They tell each other that he just runs along the inside of the fence and can't catch them. He unlatches the gate and chases them, trying to talk to them.
They scream and run away. He catches one girl and tries to talk to her, perhaps tries to rape her.
Later, father talks about how angry Mr. Burgess (her father) is, and wants to know how Benjy got outside the gate. Jason says that he bets father will have to send Benjy to the asylum in Jackson now, and father tells him to hush.
Mr. Compson's death, 1912: Benjy is seventeen.
Benjy wakes up and T. P. brings him into the kitchen where Dilsey is singing. She stops singing when Benjy begins to cry. She tells T. P. to take him outside, and they go to the branch and down by the barn. Roskus is in the barn milking a cow, and he tells T. P. to finish milking for him because he can't use his right hand any more. He says again that there is no luck on this place.
Later that day, Dilsey tells T. P. to take Benjy and the baby girl Quentin down to the servants' quarters to play with Luster, who is still a child.
Frony scolds Benjy for taking a toy away from Quentin, and brings them up to the barn. Roskus is watching T. P. milk a cow.
Later, T. P. and Benjy are down by the ditch where Nancy's bones are. Benjy can smell father's death. T. P. takes Benjy and Quentin to his house, where
Roskus is sitting next to the fire. He says "that's three, thank the Lawd .
. . I told you two years ago. They aint no luck on this place" (31). He comments on the bad luck of never mentioning a child's mother's name and bringing up a child never to know its mother. Dilsey shushes him, asking him if he wants to make Benjy cry again. Dilsey puts him to bed in Luster's bed, laying a piece of wood between him and Luster.
Mr. Compson's funeral, 1912.
Benjy and T. P. wait at the corner of the house and watch Mr. Compson's casket carried by. Benjy can see his father lying there through the glass in the casket.
Trip to the cemetery, 1912.
Benjy waits for his mother to get into the carriage. She comes out and asks where Roskus is. Dilsey says that he can't move his arms today, so T. P. will drive them. Mother says she is afraid to let T. P. drive, but she gets in the carriage anyway. Mother says that maybe it would be for the best if she and Benjy were killed in an accident, and Dilsey tells her not to talk that way. Benjy begins to cry and Dilsey gives him a flower to hold. They begin to drive, and mother says she is afraid to leave the baby Quentin at home. She asks T. P. to turn the carriage around. He does, and it tips precariously but doesn't topple. They return to the house, where Jason is standing outside with a pencil behind his ear. Mother tells him that they are going to the cemetery, and he asks her if that was all she came back to tell him. She says she would feel safer if he came, and he tells her that
Father and Quentin won't hurt her. This makes her cry, and Jason tells her to stop. Jason tells T. P. to drive, and they take off again.
Roskus's death, later 1920s: Luster is old enough to take care of Benjy by now.
Dilsey is "moaning" at the servants' quarters. Benjy begins to cry and the dog begins to howl, and Dilsey stops moaning. Frony tells Luster to take them down to the barn, but Luster says he won't go down there for fear he will see Roskus's ghost like he did last night, waving his arms.
Analysis of April 7, 1928:
The title of this novel comes from Shakespeare's Macbeth, Act five, scene five, in Macbeth's famous speech about the meaninglessness of life. He states that it is "a tale / Told by an idiot, full of sound and fury, / signifying nothing." One could argue that Benjy is the "idiot" referred to in this speech, for indeed his section seems, at first reading, to "signify nothing." No one vignette in his narrative seems to be particularly important, much of it detailing the minutiae of his daily routine. His speech itself, the "bellering" with which me makes himself heard, does, in fact, "signify nothing," since he is unable to express himself even when he wants to in a way other than howling. However, Benjy Compson is not merely an idiot, and his section is much more meaningful than it first seems.
When discussing Mr. Compson's death, Roskus states that Benjy "know a lot more than folks thinks" (31), and in fact, for all his idiocy, Benjy does sense when things are wrong with his self-contained world, especially when they concern his sister Caddy. Like an animal, Benjy can "smell" when Caddy has changed; when she wears perfume, he states that she no longer smells
"like trees," and the servants claim that he can smell death. He can also sense somehow when Caddy has lost her virginity; she has changed to him.
From the time she loses her virginity on, she no longer smells like trees to him. Although his section at first presents itself as an objective snapshot of a retarded boy's perceptions of the world, it is more ordered and more intelligent than that.
Most of the memories Benjy relates in his section have to do with Caddy, and specifically with moments of loss related to Caddy. The first memory of
Damuddy's death, for example, marks a change in his family structure and a change in his brother Jason, who was the closest to Damuddy and slept in her room. His many memories of Caddy are mostly concerned with her sexuality, a fact that changes her relationship with him and eventually removes her from his life. His later memories are also associated with some sort of loss: the loss of his pasture, of his father, and the loss associated with his castration. Critics have pointed out that Benjy's narrative is "timeless," that he cannot distinguish between present and past and therefore relives his memories as they occur to him. If this is the case, he is caught in a process of constantly regenerating his sister in memory and losing her simultaneously, of creating and losing at the same time. His life is a constant cycle of loss and degenerative change.
If Benjy is trapped in a constantly replaying succession of losses, the objects that he fixates on seem to echo this state. He loves fire, for instance, and often stares into the "bright shapes" of the fire while the world revolves around him. The word "fire" is mentioned numerous times in the memory of his name change. Caddy and the servants know that he stops crying when he looks at the fire, which is the reason in the present day that Luster makes a fire in the library even though one is not needed.
The fire is a symbolic object; it is conventionally associated with the contrast between light and dark, heat and cold. It is a comfort, not merely to Benjy because of the pleasure he receives in watching it, but because it is associated with the hearth, the center of the home. As critics have pointed out, it is often Caddy who places Benjy in front of the fire: "she led me to the fire and I looked at the bright, smooth shapes" (64). The fire is therefore tied in Benjy's mind with the idea of Caddy; both are warm and comforting forces within a cold family. But unlike Caddy, the fire is unchanging; there will always be a fire, even after she leaves him. The fact that Benjy burns himself on the kitchen stove after Luster closes the oven door reveals the pain - both physical and mental - that Benjy associates with Caddy's absence.
Another object that provides comfort to Benjy is the library mirror. Like the fire, the mirror plays a large part in the memory of his name change, as Benjy watches the various members of his family move in and out of the mirror: "Caddy and Jason were fighting in the mirror . we could see Caddy fighting in the mirror and Father put me down and went into the mirror and fought too . He rolled into the corner, out of the mirror. Father brought
Caddy to the fire. They were all out of the mirror" (64-65). The mirror is a frame of reference through which Benjy sees the world; people are either in or out of the mirror, and he does not understand the concept of reflection. Like the mirror, Benjy's section of the book provides readers with a similar exact reflection of the world that Benjy sees, framed by his memories. Characters slide in and out of the mirror of his perception, their conversations and actions accurately reported but somewhat distorted in the process.
As the "tale told by an idiot," Benjy's section makes up the center kernel of the story of the Compson family tragedy. And the scene of Damuddy's death in many ways makes up the center around which this section and the entire story revolve. Faulkner has said that the story grew out of the image of a little girl's muddy drawers as she climbs a tree to look into the parlor windows at the funeral taking place. From this image a story evolved, a story "without plot, of some children being sent away from the house during the grandmother's funeral. There were too young to be told what was going on and they saw things only incidentally to the childish games they were playing" (Millgate, 96). This original story was entitled
"Twilight," and the story grew into a novel because Faulkner fell in love with the character of this little girl to such an extent that he strove to tell her story from four different viewpoints.
If this one scene is the center of the story, it is also a microcosm of the events to follow. The interactions of the children in this scene prefigure their relations in the future and in fact the entire future of the Compson family. Thus Caddy's soaking her dress in the water of the branch is a metaphor for the sexual fall that will torment Quentin and ruin the family:

She was wet. We were playing in the branch and Caddy squatted down and got her dress wet and Versh said, "Your mommer going to whip you for getting your dress wet."
"It's not wet." Caddy said. She stood up in the water and looked at her dress. "I'll take it off." she said. "Then it'll be dry."
"I bet you won't." Quentin said.
"I bet I will." Caddy said.
"I bet you better not." Quentin said.
"You just take your dress off," Quentin said. Caddy took her dress off and threw it on the bank. Then she didn't have on anything but her bodice and drawers, and Quentin slapped her and she slipped and fell down in the water
(17-18).
Caddy sullies her garments in an act that prefigures her later sexuality.
She then takes off her dress, a further sexual metaphor, causing Quentin to become enraged and slap her. Just as the loss of her virginity upsets
Quentin to the point of suicide, his angry and embarrassed reaction to taking off her dress here reveals the jealous protectiveness he feels for her sexuality. Benjy, too, is traumatized by the muddying of Caddy's dress:
"Caddy was all wet and muddy behind, and I started to cry and she came and squatted in the water" (19). Just as her sexuality will cause his world to crack later on, her muddy dress here causes him to cry.
Jason, too, is a miniature version of what he will become in this scene.
While Caddy and Quentin fight in the branch, Jason stands "by himself further down the branch," prefiguring the isolation from the rest of his family that will characterize his later existence (19). Although the other children ask him not to tell their father that they have been playing in the branch, the first thing he does when he sees father is tattle. He is as perverse and mean here as he is sadistic in the third section of the book.
His reaction to Damuddy's death, too, is a miniature for the way he will deal with the loss that he sees in Caddy's betrayal of the family later on:

"Do you think the buzzards are going to undress Damuddy." Caddy said.
"You're crazy."
"You're a skizzard." Jason said. He began to cry.
"You're a knobnot." Caddy said. Jason cried. His hands were in his pockets.
"Jason going to be rich man." Versh said. "He holding his money all the time" (35-36).
Here Jason cries over the loss of Damuddy with his hands in his pockets,
"holding his money," just as later he will sublimate his anger at Caddy's absence by becoming a miserly workaholic and embezzling thousands of dollars from Quentin and his mother.
The scene ends with the image of Caddy's muddy drawers as she climbs the tree: "We watched the muddy bottom of her drawers. Then we couldn't see her. We could hear the tree thrashing . . . . the tree quit thrashing. We looked up into the still branches" (39). This image of Caddy's muddy undergarments disappearing into the branches of the tree, the scene that prompted Faulkner to write the entire novel, is, as critic John T. Matthews points out, an image of Caddy disappearing, just as she will disappear from the lives of her three brothers:
What the novel has made, it has also lost . . . . [Caddy] is memorable precisely because she inhabits the memories of her brothers and the novel, and memory for Faulkner never transcends the sense of loss . . . . Caught in Faulkner's mind as she climbs out of the book, Caddy is the figure that the novel is written to lose (Matthews, 2-3). Thus the seminal scene in this section of the story is that of the sullied Caddy, "climbing out of"
Benjy's life.
The scene of Damuddy's death is not the only part of this section that forecasts the future. Like a Greek tragedy, this section is imbued with a sense of impending disaster, and in fact the events of the present day chronicle a family that has fallen into decay. For Benjy, the dissolution of the life he knows is wrapped up in Caddy and her sexuality, which eventually leads her to desert him. For his mother and the servants, the family's demise is a fate that cannot be avoided, of which Benjy's idiocy and Quentin's death are signs. This is what prompts Roskus to repeatedly vow that "they aint no luck on this place," and what causes mother to perform the almost ritualistic ablution of changing Benjy's name. It is as if changing his name from Maury, the name of a Bascomb, will somehow avert the disastrous fate that the Compson blood seems to bring. This overwhelming sense of an inescapable family curse will resurface many times throughout the book.
Summary of June Second, 1910:
This section of the book details the events of the day of Quentin's suicide, from the moment he wakes in the morning until he leaves his room that night, headed to the river to drown himself. Like Benjy's section, this section is narrated in stream of consciousness, sliding constantly between modern-day events and memories; however, Quentin's section is not as disjointed at Benjy's, regardless of his agitated mental state. As with
Benjy, most of the memories he relates are centered on Caddy and her precocious sexuality.
The present day:
Quentin wakes in his Harvard dorm room to the sound of his watch ticking:
"when the shadow of the sash appeared on the curtain it was between seven and eight oclock and then I was in time again, hearing the watch" (76).
This is the watch his father gave him when he came to Harvard. He tries to ignore the sound, but the more he tries, the louder it seems. He turns the watch over and returns to bed, but the ticking goes on. His roommate Shreve appears in the doorway and asks him if he is going to chapel, then runs out the door to avoid being late himself. Quentin watches his friends running to chapel out the window of his dorm room, then listens to the school's bell chiming the hour (8:00 a.m.).
He goes to the dresser and picks up his watch, tapping it against the side of the dresser to break the glass. He twists the hands of the watch off, but the watch keeps ticking. He notices that he cut himself in the process and meticulously cleans his wound with iodine. He painstakingly packs up all his clothes except two suits, two pairs of shoes, and two hats, then locks his trunk and piles his schoolbooks on the sitting-room table, as the quarter-hour bell chimes.
He bathes and puts on a new suit and his (now broken) watch, puts his trunk key into an envelope addressed to his father, then writes two noes and seals them. He goes out the door, bumping into his returning roommate on the way, who asks him why he is all dressed up. The half-hour chimes and
Quentin walks into Harvard Square, to the post office. He buys stamps and mails one letter to his father and keeps one for Shreve in his coat pocket.
He is looking for his friend "the Deacon," an eccentric black man who befriends all the Southern students at Harvard. He goes out to breakfast; while he is eating he hears the clock strike the hour (10:00 a.m.).
Quentin continues to walk around the square, trying to avoid looking at clocks, but finds it impossible to escape time like that. He eventually walks into a jeweler's and asks him about fixing his watch. He asks if any of the watches in the window is right, and stops the jeweler before he can tell him what time it is. The jeweler says that he will fix his watch this afternoon, but Quentin takes it back and says he will get it fixed later.
Walking back out into the street, he buys two six-pound flat-irons; he chooses them because they are "heavy enough" but will look like a pair of shoes when they are wrapped up and he is carrying them around the Square
(85).
He takes a fruitless cable car ride, then gets off the car on a bridge, where he watches one of his friends rowing on the river. He walks back to the Square as the bell chimes the quarter hour (11:15), and he meets up with the Deacon and gives him the letter he has written to Shreve, asking him to deliver it tomorrow. He tells the Deacon that when he delivers the letter tomorrow Shreve will have a present for him. As the bell chimes the half-hour, he runs into Shreve, who tells him a letter arrived for him this morning. Then he gets on another car as the bells chime 11:45.
When he gets off the car he is near a run-down town on the Charles River, and he walks along the river until he comes across three boys fishing on a bridge over the river; he hides the flat irons under the edge of the bridge before striking up a conversation with the boys. They notice that he has a strange accent and ask if he is from Canada; he asks them if there are any factories in town (factories would have hourly whistles). He walks on toward the town, although he is anxious to keep far enough away from the church steeple's clock to render its face unreadable. Finally he arrives in town and walks into a bakery; there is nobody behind the counter, but there is a little Italian immigrant girl standing before it. A woman enters behind the counter and Quentin buys two buns. He tells the proprietress that the little girl would like something too; the proprietress eyes the girl suspiciously and accuses her of stealing something.
Quentin defends her and she extends her hand to reveal a nickel. The woman wraps up a five-cent loaf of bread for the girl, and Quentin puts some money on the counter and buys another bun as well. The woman asks him if he is going to give the bun to the girl, and he says he is. Still acting exasperated, she goes into a back room and comes out with a misshapen cake; she gives it to the girl, telling her it won't taste any different than a good cake. The girl follows Quentin out of the store, and he takes her to a drugstore and buys her some ice cream. They leave the drugstore and he gives her one of the buns and says goodbye, but she continues to follow him. Not knowing exactly what to do, he walks with her toward the immigrant neighborhood across the train tracks where he assumes she lives. She will not talk to him or indicate where she lives. He asks some men in front of a store if they know her, and they do, but they don't know where she lives either. They tell him to take her to the town marshal's office, but when he does the marshal isn't there.
Quentin decides to take her down to her neighborhood and hopefully someone will claim her. At one point she seems to tell him that a certain house is hers, but the woman inside doesn't know her. They continue to walk through the neighborhood until they come out on the other side, by the river.
Quentin gives a coin to the girl, then runs away from her along the river.
He walks along the river for a while, then suddenly meets up with the little girl again. They walk along together for a while, still looking for her house; eventually they turn back and walk toward town again. They come across some boys swimming, and the boys throw water at them. The hurry toward town, but the girl still won't tell him where she lives.
Suddenly a man flies at them and attacks Quentin; he is the little girl's brother. He has the town marshal with him, and they take him into town to talk to the police because they think he was trying to kidnap the girl. In town they meet up with Shreve, Spoade and Gerald, Quentin's friends, who have come into town in Gerald's mother's car. Eventually after discussing everything at length, the marshal lets Quentin go, and he gets into the car with his friends and drives away.
As they drive Quentin slides into a kind of trance wherein he remembers various events from his past, mostly to do with her precocious sexuality
(to be discussed later). While his is lost in this reverie the boys and
Gerald's mother have gotten out of the car and set up a picnic. Suddenly he comes to, bleeding, and the boys tell him that he just suddenly began punching Gerald and Gerald beat him up. They tell him that he began shouting "did you ever have a sister? Did you?" then attacked Gerald out of the blue. Quentin is more concerned about the state of his clothes than anything else. His friends want to take the cable car back to Boston without Gerald, but Quentin tells them he doesn't want to go back. They ask him what he plans to do (perhaps they suspect something about his suicidal plans). They go back to the party, and Quentin walks slowly toward the city as the twilight descends.
Eventually Quentin gets on a cable car. Although it is dark by now, he can smell the water of the river as they pass by it. As they pass the Harvard
Square post office again, he hears the clock chiming but has no idea what time it is. He plans to return to the bridge where he left his flatirons, but he has to wash his clothes first in order to carry out his plans correctly. He returns to his dorm room and takes off his clothes, meticulously washing the blood off his vest with gasoline. The bell chimes the half-hour as he does so. Back in his darkened room, he looks out the window for a while, then as the last chime of the three-quarters hour sounds, he puts his clothes and vest back on. He walks into Shreve's room and puts a letter and his watch in the desk drawer. He remembers that he hasn't brushed his teeth, so he goes back into his room and takes the toothbrush out of his bag. He brushes his teeth and returns the brush to the bag, then goes to the door. He returns for his hat, then leaves the room.
Quentin's memories:
Quentin's memories are not as clearly defined or as chronologically discernible as Benjy's. There are three important memories that obsess him.

Benjy's name change, 1900: Dilsey claims that Benjy can "smell what you tell him;" Roskus asks if he can smell bad luck, sure that the only reason they changed his name is to try to help his luck.
Quentin kisses Natalie, undated: Natalie, a neighbor girl, and Quentin are in the barn and it is raining outside. Natalie is hurt; Caddy pushed her down the ladder and ran off. Quentin asks her where it hurts and says that he bets he can lift her up. [a skip in time] Natalie tells him that something [probably kissing] is "like dancing sitting down" (135); Quentin asks her how he should hold her to dance, placing his arms around her, and she moans. Quentin looks up to see Caddy in the door watching them. Quentin tells her that he and Natalie were just dancing sitting down; she ignores him.
She and Natalie fight about the events that led to Natalie being pushed off the ladder and whose fault it was; Caddy claims that she was "just brushing the trash off the back of your dress" (136). Natalie leaves and Quentin jumps into the mud of the pigpen, muddying himself up to his waist. Caddy ignores him and stands with her back to him. He comes around in front of her and tells her that he was just hugging Natalie. She turns her back and continues to ignore him, saying she doesn't give a damn what he was doing.
Shouting "I'll make you give a damn," he smears mud on her dress as she slaps him. They tumble, fighting, on the grass, then sit up and realize how dirty they are. They head to the branch to wash the mud off themselves.
Caddy kisses a boy (1906): Quentin slaps Caddy and demands to know why she let the boy kiss her. With the red print of his hand rising on her cheek, she replies that she didn't let him, she made him. Quentin tells her that it is not for kissing that he slapped her, but for kissing a "darn town squirt" (134). He rubs her face in the grass until she says "calf rope."
She shouts that at least she didn't kiss a "dirty girl like Natalie anyway"
(134).
Caddy has sex with Dalton Ames, 1909: Caddy stands in the doorway, and someone [Quentin?] asks her why she won't bring Dalton Ames into the house.
Mother replies that she "must do things for women's reasons" (92). Caddy will not look at Quentin. Benjy bellows and pulls at her dress and she shrinks against the wall, and he pushes her out of the room. Sitting on the porch, Quentin hears her door slamming and Benjy still howling. She runs out of the house and Quentin follows her; he finds her lying in the branch.
He threatens to tell Father that he committed incest with her; she replies with pity. He tells her that he is stronger than she is, he will make her tell him. He adds that he fooled her; all the time she thought it was her boyfriends and it was Quentin instead. The smell of honeysuckle is all around them.
She asks him if Benjy is still crying. He asks her if she loves Dalton
Ames; she places his hand on her chest and he feels her heart beating there. He asks her if he made her do it, saying "Ill kill him I swear I will father neednt know until afterward and then you and I nobody need ever know we can take my school money we can cancel my matriculation Caddy you hate him dont you" (151). She moves his hand to her throat, where the blood is "hammering," and says "poor Quentin" (151). A moment later she says "yes
I hate him I would die for him Ive already died for him I die for him over and over again" (151). She looks at him and then says "you've never done that have you," to which Quentin responds "yes yes lots of times with lots of girls," but he is lying, and Caddy knows it; he cries on her shirt and they lie together in the branch (151). He holds a knife to her throat, telling her that he can kill her quickly and painlessly and then kill himself. She agrees and he asks her to close her eyes, but she doesn't, looking past his head at the sky.
He begins to cry; he cannot do it. She holds his head to her breast and he drops the knife. She stands up and tells him that she has to go, and
Quentin searches in the water for his knife. The two walk together past the ditch where Nancy's bones were, then she turns and tells him to stop [she is headed to meet Dalton Ames]. He replies that he is stronger than she is; she tells him to go back to the house. But he continues to follow her. Just past the fence, Dalton Ames is waiting for her, and she introduces them and kisses Dalton.
Quentin tells them that he is going to take a walk in the woods, and she asks him to wait for her at the branch, that she will be there soon. He walks aimlessly, trying to escape the smell of honeysuckle that chokes him, and lies on the bank of the branch. Presently Caddy appears and tells him to go home. He shakes her; she is limp in his hands and does not look at him. They walk together to the house, and at the steps he asks her again if she loves Dalton Ames. She tells him that she doesn't know. She tells him that she is "bad anyway you cant help it" (158).
Quentin fights with Dalton Ames, 1909: Quentin sees Dalton Ames go into a barbershop in town and waits for him to come out. He tells him "Ive been looking for you two or three days" and Dalton replies that he can't talk to him there on the street; the two arrange to meet at the bridge over the creek at one o'clock (158). Dalton is very polite to Quentin. Later, Caddy overhears Quentin telling T. P. to saddle his horse and asks him where he is going. He will not tell her and calls her a whore. He tells T. P. that he won't need his horse after all and walks to the bridge. Dalton is waiting for him there. Quentin tells him to leave town.
Dalton stares at him and asks if Caddy sent him. Quentin tells him that he, and only he, is asking Dalton to leave town. Dalton dismisses this, just wishing to know if Caddy is all right. Quentin continues to order him to leave, and Dalton counters with "what will you do if I dont leave"
(160). In response Dalton slowly and deliberately smokes a cigarette, leaning on the bridge railing. He tells Quentin to stop taking it so hard, that if he hadn't gotten Caddy pregnant some other guy would have. Shaking,
Quentin asks him if he ever had a sister, and he replies "no but theyre all bitches" (160). Quentin hits him, but Dalton catches him by both wrists and reaches under his coat for a gun, then turns him loose.
Dropping a piece of bark into the creek, Dalton shoots at it and hands the gun to Quentin. Quentin punches at him and he holds his wrists again, and
Quentin passes out. He asks Quentin how he feels and if he can make it home all right. He tells him that he'd better not walk and offers him his horse.
Quentin brushes him off and eventually he rides off. Quentin slumps against a tree. He hears hoofbeats and Caddy comes running. She thought that Dalton shot him. She holds his face with her hands and Quentin grabs her wrists.
She begs him to let her go so she can run after Dalton, then suddenly stops struggling. Quentin asks her if she loves him. Again she places his hand on her throat, and tells him to say his name. Quentin says "Dalton Ames," and each time he does he can feel the blood surging in her throat.
Quentin meets Herbert Head before Caddy's wedding, 1910: Herbert finds
Quentin alone in the parlor and attempts to get to know him better. He is smoking a cigar and offers one to Quentin. Herbert tells him that Caddy talked so much about him when they met that he thought she was talking about a husband or boyfriend, not a brother. He asks Quentin about Harvard, reminiscing about his own college days, and Quentin accuses him of cheating
[he has heard rumors about Herbert's cheating at cards]. Herbert jokingly banters back that Quentin is "better than a play you must have made the
Dramat" (108).
He tells Quentin that he likes him and that he is glad they are going to be friends. He offers to give him a hand and get him started in business, but
Quentin rejects his offer and challenges him. They begin to fight but stop when Herbert sees that his cigar butt has almost burned a spot into the mantel. He backs off and again offers Quentin his friendship and offers him some money, which Quentin rejects. They are just beginning to fight again when Caddy enters and asks Herbert to leave so she can talk to Quentin alone. Alone, she asks Quentin what he is doing and warns him not to get involved in her life again. He notices that she is feverish, and she tells him that she is sick. He asks her what she means and she tells him she is just sick and begs him not to tell anyone. Again he asks her what she means and tells her that if she is sick she shouldn't go through with the ceremony. She replies that she can and must and that "after that it'll be all right it wont matter" and begs him to look after Benjy and make sure that they don't send him to an asylum (112). Quentin promises.
Caddy's wedding, 1910: Benjy is howling outside, and Caddy runs out the door to him, "right out of the mirror" (77).
Mother speaks, undated: Mother tells Father that she wants to go away and take only Jason, because he is the only child who loves her, the only child who is truly a Bascomb, not a Compson. She says that the other three children are her "punishment for putting aside [her] pride and marrying a man who held himself above [her]" (104). These three are "not [her] flesh and blood" and she is actually afraid of them, that they are the symbols of a curse upon her and the family. She views Caddy not merely as damaging the family name with her promiscuity but actually "corrupting" the other children (104).
Quentin's conversations with Father, undated (a string of separate conversations on the same theme): Quentin tells his father that he committed incest with Caddy; his father does not believe him. Father takes a practical, logical, if unemotional view of Caddy's sexuality, telling
Quentin that women have "a practical fertility of suspicion . . . [and] an affinity for evil," that he should not take her promiscuity to heart because it was inevitable (96). When Quentin tells him that he would like to have been born a eunuch so that he never had to think about sex, he responds "it's because you are a virgin: dont you see? Women are never virgins. Purity is a negative state and therefore contrary to nature. It's nature is hurting you not Caddy."
Quentin replies "that's just words" and father counters "so is virginity"
(116). Quentin insists that he has committed incest with Caddy and that he wants to die, but still Father won't believe him. Father tells him that he is merely "blind to what is in yourself to that part of general truth the sequence of natural events and their causes which shadows every mans brow even benjys . . . you cannot bear to think that someday it will no longer hurt you like this" (177). He claims that not even Caddy was really "quite worth despair," that Quentin will grow out of the pain he feels at her betrayal of his ideal (178).
Analysis of June Second, 1910:
From the very first sentence of the section, Quentin is obsessed with time; words associated with time like "watch," "clock," "chime," and "hour" occur on almost every page. When Quentin wakes he is "in time again, hearing the watch," and the rest of the day represents an attempt to escape time, to get "out of time" (76). His first action when he wakes is to break the hands off his watch in an attempt to stop time, to escape the "reducto absurdum of all human experience" which is the gradual progression toward death (76). Perversely taking literally his father's statement that "time is dead as long as it is being clicked off by little wheels; only when the clock stops does time come to life," he tears the hands off his watch, only to find that it continues to tick even without the hands (85). Throughout this section, Quentin tries to escape time in similar ways; he tries to avoid looking at clocks, he tries to travel away from the sound of school chimes or factory whistles. By the end of the section he has succeeded in escaping knowledge of the time (when he returns to school he hears the bell ringing and has no idea what hour it is chiming off), but he still has not taken himself out of time. In the end, as he knows throughout this section, the only way to escape time is to die.
Jean-Paul Sartre, in his analysis of this novel, sees Quentin's suicide as not merely a way of escaping time but of exploding time. His suicide is present in all the actions of the day, not so much a fate he could dream of escaping as "an immobile wall, a thing which he approaches backward, and which he neither wants to nor can conceive" (Sartre, 91). It is not a future but a part of the present, the point from which the story is told.
Quentin narrates the day's events in the past tense, as if they have already happened; the "present" from which he looks back at the day's events must be the moment of his death. As Sartre puts it:
Since the hero's last thoughts coincide approximately with the bursting of his memory and its annihilation, who is remembering? . . . . [Faulkner] has chosen the infinitesimal instant of death. Thus when Quentin's memory begins to unravel its recollections ("Through the wall I heard Shreve's bed- springs and then his slippers on the floor hishing. I got up . . . ") he is already dead (92).
In other words, time explodes at the instant of Quentin's suicide, and the events of this "infinitesimal instant" are recorded in this section. By killing himself, Quentin has found the only way to access time that is
"alive" in the sense that his father details, time that has escaped the clicking of little wheels.
But why does Quentin want to escape time? The answer lies in one of the conversations with his father that are recorded in this section. When
Quentin claims that he committed incest with Caddy, his father refuses to believe him and says:
You cannot bear to think that someday it will no longer hurt you like this
. . . it is hard believing to think that a love or a sorrow is a bond purchased without design and which matures willynilly and is recalled without warning . . . no you will not do that until you come to believe that even she was not quite worth despair perhaps (177-178).
Quentin's response to this statement is "i will never do that nobody knows what i know." His attempt to stop the progression of time is an attempt to preserve the rawness of the pain Caddy's promiscuity and marriage have caused him; he never wants to think of her as "not quite worth despair."
Like Benjy, Quentin is obsessed with an absent Caddy, and both brothers' sections are ordered around memories of her, specifically of her promiscuity. For both brothers, her absence is linked to her promiscuity, but for Quentin her promiscuity signals not merely her loss from his life but also the loss of the romantically idealized idea of life he has built for himself. This ideal life has at its center a valuation of purity and cleanness and a rejection of sexuality; Quentin sees his own developing sexuality as well as his sister's as sinful. The loss of her virginity is the painful center of a spiral of loss as his illusions are shattered.
Critics have read Quentin's obsession with Caddy's virginity as an antebellum-style preoccupation with family honor, but in fact family honor is hardly ever mentioned in this section. The pain that Caddy's promiscuity causes Quentin seems too raw, too intense, too visceral to be merely a disappointment at the staining family honor. And perhaps most importantly,
Quentin's response to her promiscuity, namely telling his father that he and she committed incest, is not the act of a person concerned with family honor. Rather it is the act of a boy so in love with his sister and so obsessed with maintaining the closeness of their relationship that he would rather be condemned by the town and suffer in hell than let her go. He is, in fact, obsessed with her purity and virginity, but not to maintain appearances in the town; he wants her forever to remain the unstained, saintly mother/sister he imagines her to be.
Quentin did not, of course, commit incest with Caddy. And yet the encounters he remembers are fraught with sexual overtones. When Caddy walks in on Quentin and Natalie kissing in the barn, for instance, Quentin throws himself into the "stinking" mud of the pigpen. When this fails to get a response from Caddy, he wipes mud on her:
You dont you dont I'll make you I'll make you give a damn. She hit my hands away I smeared mud on her with the other hand I couldnt feel the wet smacking of her hand I wiped mud from my legs smeared it on her wet hard turning body hearing her fingers going into my face but I couldnt feel it even when the rain began to taste sweet on my lips (137).
Echoing the mud-stained drawers that symbolize her later sexuality, Quentin smears mud on Caddy's body in a heated exchange, feeling as he does so her
"wet hard turning body." The mud is both Quentin's penance for his sexual experimentation with Natalie and the sign of sexuality between Quentin and
Caddy.
The scene in the branch of the river is similarly sexual in nature. Quentin finds Caddy at the branch trying to wash away the guilt she finds; amid the
"suck[ing] and gurgl[ing]" waves of the water. When he asks her if she loves Dalton Ames, she places his hand on her chest and he feels her heart
"thudding" (150). He smells honeysuckle "on her face and throat like paint her blood pounded against my hand I was leaning on my other arm it began to jerk and jump and I had to pant to get any air at all out of that thick gray honeysuckle;" and he lies "crying against her damp blouse" (150).
Taking out a knife, he holds it against her throat and tells her "it wont take but a second Ill try not to hurt." She replies "no like this you have to push it harder," and he says "touch your hand to it" (151). In this scene we have the repetitive surging both of the water and of Caddy's blood beneath Quentin's hand. We have the two siblings lying on top of one another at the edge of this surging water, the pungent smell of honeysuckle
(which Quentin associates with sex throughout the section) so thick around them that Quentin has trouble breathing. We have a knife (a common phallic symbol) which Quentin proposes to push into Caddy's blood-flushed neck, promising he will "try not to hurt." Overall, the scene overflows with sexual metaphors; if the two do not actually commit incest, they certainly do share a number of emotionally powerful, sexually loaded moments.
Quentin's wish to have committed incest is not a desire to have sex with
Caddy; that would shatter his ideals of purity even more than her encounters with Dalton Ames. Nor is it, as we have determined, a way to preserve the family honor. Instead, it seems to be a way to keep Caddy to himself forever: "if it could just be a hell beyond that: the clean flame the two of us more than dead. Then you will have only me then only me then the two of us amid the pointing and the horror beyond the clean flame"
(116). Separated from the rest of the world by the "clean" purifying flames of hell, Quentin and Caddy could be alone together, forever burning away the sin of her sexuality. He would rather implicate himself in something as horrible as incest than leave Caddy to her promiscuity or lose her through her marriage to Herbert Head.
If time-words are the most frequently occurring words in this section, the second most frequent is the word "shadow." Throughout his journeys, Quentin is just as obsessed with his shadow as he is with time. For example, he walks on his shadow as he wanders through Cambridge: "trampling my shadow's bones . . . . I walked upon the belly of my shadow" (96). When asked what the significance of shadows was in this section, Faulkner replied "that shadow that stayed on his mind so much was foreknowledge of his own death, that he was - Death is here, shall I step into it or shall I step away from it a little longer? I won't escape it, but shall I accept it now or shall I put it off until next Friday" (Minter, qtd. in Martin, 6). This explanation certainly seems to fit some of Quentin's thoughts; for example, at one point, he imagines drowning his shadow in the water of the river, just as he will later drown himself: "my shadow leaning flat upon the water, so easily had I tricked it . . . . if I only had something to blot it into the water, holding it until it was drowned, the shadow of the package like two shoes wrapped up lying on the water.
Niggers say a drowned man's shadow was watching for him in the water all the time" (90). Here Quentin imagines his drowned shadow beckoning him from the river, drowned before him and waiting for him to follow suit.
Like his shadow mirroring his motions and emotions, certain aspects of his day's travels mirror his life and the troubled state of his mind. Most obvious among these is his encounter with the Italian girl he calls
"sister" and the reaction of her brother Julio. Calling this little girl
"little sister" or "sister" ironically recalls Caddy, whom Quentin at one point calls "Little Sister Death." But whereas his suicidal mission is caused by the fact that he cannot hold on to Caddy, here he cannot get rid of this "little sister," who follows him around the town and will not leave him. Then when Julio finds them, he accuses Quentin stealing her, just as
Quentin feels Dalton Ames and Herbert Head have stolen Caddy from him.
Julio is not the only character to mirror Quentin, though. As Edmond Volpe points out, Dalton Ames himself is a foil for Quentin, the embodiment of the romantic ideal he has cast for himself:
Quentin's meeting with Dalton is a disaster. His conception of himself in the traditional role of protector of women collapses, not only because he fails to accomplish his purpose [of beating Dalton up] but because he is forced to recognize his own weakness. Dalton is actually a reflection of
Quentin's vision of himself: calm, courageous, strong, kind. The real
Quentin does not measure up to the ideal Quentin, just as reality does not measure up to Quentin's romantic vision of what life should be (113).
Quentin is in actuality the "obverse reflection" of himself, a man who does not live up to his own ideals, who fails to protect his sister from a villain who turns out to be as chivalrous and Quentin is weak.
Thus at the "infinitesimal instant" of his death, Quentin is a man whose disillusionment with his shattered ideals consumes him. His death, one of the "signs" Roskus sees of the bad luck of the Compson family, is one step in the gradual dissolution of the family, a degeneration that will pick up speed in the sections to come.
Summary of April Sixth, 1928:
Beginning with the statement "once a bitch always a bitch," this section reads as if Jason is telling the reader the story of his day; it is more chronological and less choppy than Quentin's or Benjy's sections, but still unconventional in tone. Jason and his mother in her room waiting for
Quentin to finish putting on her makeup and go down to breakfast. Mother is concerned that Quentin often skips school and asks Jason to take care of it. Both Jason and his mother are manipulative and passive-aggressive, mother complaining about the ailments she suffers and the way her children betrayed her, Jason countering with statements like "I never had time to go to Harvard or drink myself into the ground. I had to work. But of course if you want me to follow her around and see what she does, I can quit the store and get a job where I can work at night" (181). Jason goes down to the kitchen, where Quentin is begging Dilsey for another cup of coffee.
Dilsey tells her she will be late for school, and Jason says he will fix that, grabbing her by the arm.
Her bathrobe comes unfastened and she pulls it closed around her. He begins to take off his belt, but Dilsey stops him from hitting her. Mother comes in, and Jason puts down the belt. Quentin runs out of the house. In the car on the way to town, Quentin and Jason fight about who paid for her schoolbooks - Caddy or Jason. Jason claims that Mother has been burning all of the checks Caddy sends. Quentin tells Jason that she would tear off any dress that he paid for and grabs the neck of her dress as if she will tear it. Jason has to stop the car and grab her wrists to stop her. He tells her that she is a slut and a bad girl, and she replies that she would rather be in hell than in his house. He drops her off at school and drives on to his job at the farm goods store.
At the store, old Job, a black worker, is unloading cultivators, and Jason accuses of him of doing it as slowly as he possibly can. He has mail; he opens a letter with a check from Caddy. The letter asks if Quentin is sick and states that she knows that Jason reads all her letters. He goes out to the front of the store and engages in a conversation with a farmer about the cotton crop. He tells him that cotton is a "speculator's crop" that "a bunch of damn eastern jews" get farmers to grow so that they can control the stock market (191). He goes to the telegraph office, where a stock report has just come in (Jason has invested in the cotton crop) - the cotton stock is up four points. He tells the telegraph operator to send a collect message to Caddy saying "Q writing today" (193).
He goes back to the store and sits at his desk, reading a letter from his girlfriend Lorraine, who is basically a prostitute he keeps in Memphis. She calls Jason her "daddy." He burns her letter, commenting "I make it a rule never to keep a scrap of paper bearing a woman's hand, and I never write them at all" (193). Then he takes out Caddy's letter to Quentin, but before he can open it some business interrupts him. He recalls the day of his father's funeral; he remembers saying that Quentin wasted his chance at
Harvard, learning only "how to go for a swim at night without knowing how to swim," Benjy is nothing but a "gelding" that should be rented out as a circus sideshow, Father was a drunk who should have had a "one-armed strait jacket," and Caddy is a whore (196-197).
Uncle Maury patted Mother's arm with expensive black gloves at the funeral, and Jason noted that the flowers on the grave must have cost fifty dollars.
He also remembers the day that Father brought baby Quentin home; Mother would not let her sleep in Caddy's old room, afraid she will be contaminated by the atmosphere in there. She also declares that nobody in the house must ever say Caddy's name again. On the day of the funeral,
Caddy appeared in the cemetery and begged Jason to let her see the baby for just one minute, and she would pay him fifty dollars; later she changes this to one hundred dollars. Jason smugly remembers how he took the baby in a carriage and held her up to the window as he drove past Caddy; this fulfilled his agreement to the letter. Later she showed up in the kitchen, accusing him of backing out of their agreement. He threatened her and told her to leave town immediately. She made him promise to treat Quentin well and to give her the money that she sends for her.
Jason's boss, Earl, comes up to the front of the store and tells Jason he is going out for a snack because they won't have time to go home for lunch; a show is in town and there will be too much business. Jason finally opens
Caddy's letter to Quentin, and inside is a money order for fifty dollars, not a check. He looks around in the office for a blank check; every month he takes a fake check home to mother to burn and cashes the real check. But the blank checks are all gone. Quentin comes in and asks if a letter has come for her. He taunts her, then finally gives her the letter, without the money in it. She reaches out for the money order, but he will not give it to her. He tells her she has to sign it without looking at it. She asks how much it is for, and he tells her it is for ten dollars. She says he is lying, but he will not give it to her until she agrees to take ten dollars for it. She takes the money and leaves, upset.
Earl returns and again tells Jason not to go home to lunch; Jason agrees and leaves. First he goes to a print shop to get a blank check. The print shop doesn't have any, and finally Jason finds a checkbook that was a prop at an old theater. He goes back to the store and puts the check in the letter, gluing the envelope back to look unopened. As he leaves again, Earl tells him not to take too much time. He goes to the telegraph office and checks up on the stock market, then goes home for lunch. He goes up to
Mother's room and gives her the doctored letter. Instead of burning it right away she looks at it for a while. She notices that it is drawn on a different bank than the others have been, but then burns it. Dilsey is not ready with lunch yet because she is waiting for Quentin to come home; finally she puts it on the table and they eat. Jason hands Mother a letter from Uncle Maury; it is a letter asking her to lend him some money for an investment he would like to make.
Jason takes Mother's bankbook with him and returns to town. He goes to the bank and deposits the money from Caddy and his paycheck, then returns to the telegraph office for an update; the stock is down thirteen points. He goes back to the store, where Earl asks him if he went home to dinner.
Jason tells him that he had to go to the dentist's. A while later he hears the band from the show start playing. He argues with Job about spending money to go to a show like that. Suddenly he sees Quentin in an alley with a stranger with a red bow tie. It is still 45 minutes before school should let out. He follows them up the street, but they disappear. A boy comes up and gives Jason a telegram: the market day closed with cotton stocks down.
He goes back to the store and tells Earl that he has to go out for a while.

He gets in his car and goes home. Gasoline gives him headaches, and he thinks about having to bring some camphor with him when he goes back to the store. He goes into his room and hides the money from Caddy in a strongbox in his room. Mother tells him to take some aspirin, but he doesn't. He gets back in his car and is almost to town when he passes a Ford driven by a man with a red bow tie. He looks closer and sees Quentin inside. He chases the
Ford through the countryside, his headache growing by the second. Finally he sees the Ford parked near a field and gets out to look for them; he is sure they are hiding in the bushes somewhere having sex. The sun slants directly into his eyes, and his headache is pounding so hard he can't think straight. He reaches the place where he thinks they are, then hears a car start up behind him and drive off, the horn honking. He returns to his own car and sees that they have let the air out of one of his tires. He has to walk to the nearest farm to borrow a pump to blow it back up.
He returns to town, stopping in a drugstore to get a shot for his headache and the telegraph office; he has lost $200 on the stock market. Then he goes back to the store. A telegram has arrived from his stockbroker, advising him to sell. Instead he writes back to the broker, telling him he will buy. The store closes, and he drives home to the sounds of the band playing. At home, Quentin and Mother are fighting upstairs, and Luster asks him for a quarter to go to the show. Jason replies that he has two tickets already that he won't be using. Luster begs him for one, but he tells him he will only sell it to him for a nickel. Luster replies that he has no money, and Jason burns the tickets in the fireplace. Dilsey puts supper on the table for him and tells him that Quentin and Mother won't be coming to dinner.
Jason insists that they come unless they are actually sick. They come down. At dinner, he offers Quentin an extra piece of meat and tells her and
Mother that he lent his car to a stranger who needed to chase around one of his relatives who was running around with a town woman. Quentin looks guilty. Finally she stands up and says that if she is bad, it is only because Jason made her bad. She runs off and slams the door. Mother comments that she got all of Caddy's bad traits and all of Quentin's too;
Jason takes this to mean that Mother thinks Quentin is the child of Caddy and her brother's incestuous relationship. They finish dinner, and Mother locks Quentin into her room for the night. Jason retires to his room for the night, still ruminating on the "dam New York jew" that is taking all of his money (263).
Analysis of April Sixth, 1928:
Jason's section appears more readable and more conventional; its style, while still stream-of-consciousness, is more chronological in progression, with very few jumps in time. It reads more like a monologue than a string of loosely connected events, like Benjy's and Quentin's sections were.
Critics have claimed that the book progresses from chaos to order, from timelessness to chronology, from pure sensation to logical order, and from interiority to exteriority as it travels from Benjy's world of bright shapes and confused time through Jason's rigorously ordered universe to the third-person narrative of the fourth section. This third section represents a shift into the public world from the anguished interiority of Benjy and
Quentin, and a shift into "normal" novelistic narrative as Jason recounts the story of the events of the day.
The first sentence of each section reveals a lot about the tone and themes of that particular part; this is especially true with Quentin's and Jason's section. In Quentin's section, the first sentence draws the reader into his obsession with being caught "in time" and includes two of the most common symbols in the section: time and shadows. Jason's section begins "once a bitch always a bitch, what I say," introducing both Jason's irrational anger not only toward his sister and her daughter, but toward the world in general, and also the rigorous logic that runs through this section (180).
Jason's world is dominated by logic. Once a bitch, always a bitch; like mother, like daughter. Caddy was a whore, so is her daughter. He is furious at Caddy for ruining his chances at getting a job, and the way she ruined his chances was to bear an illegitimate daughter; therefore the way he will get revenge on her and simultaneously recoup the money he lost is through this same daughter. Caddy should have gotten him a job, but instead she had
Quentin; therefore it is his right to embezzle the money she sends to
Quentin in order to make up for the money he lost when he lost the job.
Jason's logic takes the form of literalism. Caddy is responsible for getting him money, no matter where it comes from. She sends money each month for Quentin's upkeep; he keeps Quentin clothed, housed and fed, so the money should go to him. He himself claims that he "make[s] it a rule never to keep a scrap of paper bearing a woman's hand," and yet he keeps the money from the checks Caddy sends him; this act fits into his system of logic because he cashes the checks, literally getting rid of her handwriting while keeping the money. He allows his mother to literally burn the checks she sends, but only after he has cashed them in secret. When
Caddy gives him 100 dollars to "see [Quentin] a minute" he grants her request to the letter, holding the baby up to the carriage window as he drives by, literally allowing Caddy only a minute's glimpse (203-205). When
Luster can't pay him a nickel for tickets to the show, he burns the tickets rather than give then to him (255). All of these acts fit into a rigid and literally defined logical order with which Jason structures his life.
Some readers see Jason's logic as a sign that he is more "sane" than the rest of his family. He is not retarded like Benjy or irrationally distraught like Quentin. He is able to live his life in a relatively normal way, with a logical order to both his narrative and his daily activities.
However, Jason is just as blind, just as divorced from reality as his brothers. Like them, he tries to control his life through a strictly defined order, and when this is disrupted he collapses into irrationality.
Benjy's system of order is the routine of everyday life, disrupted on a grand scale when Caddy leaves and on a small scale when Luster turns the horses the wrong way or changes the arrangement of his "graveyard."
Quentin's system of order is the honor and purity he saw in himself and
Caddy when they were young, disrupted when Caddy loses her virginity and leaves him. Jason's system of order is the rigidity of his logic, most of which has to do with money, and with this he tries to control the world around him. This system is disrupted when he loses his job opportunity
(Quentin gets a career boost in going to Harvard, so should Jason get a career boost from Herbert Head), and again when Quentin refuses to come to dinner, skips school, or runs away with his money. For each brother, the systems he has established help to control everyday life, and the way they do so is by controlling Caddy. As long as she is motherly to Benjy, virginal to Quentin, and profftable to Jason, their worlds are in order.
But these controlling mechanisms are inflexible, breaking down entirely as soon as Caddy or her daughter defies them.
Each brother remains irrationally connected with the past, particularly with memories of Caddy. Benjy relives his memories of Caddy all the time, making no distinction between the present and the past. Quentin goes through the routines of life washed in a sea of memories of Caddy. And
Jason, for all he seems to have cut himself off from her entirely by refusing to mention her name, is perhaps the closest of all to her. Not only is he surrounded by reminders of her in the shape of her daughter and her money, but he is also constantly reminded of her in his anger. It has been eighteen years since she lost him his job opportunity, and yet he remains as angry with her as he ever was. Certainly this is no way to forget her, nor is it any more "sane" than his brothers.
Nor is Jason even a particularly good businessman, for all he obsesses about money. In the course of this one day he loses $200 in the stock market, for example; he has been warned that the market is in a state of flux and yet he leaves town on a wild goose chase when he should be watching the market and deliberately defies his broker's advice by buying when he should sell. He is rude and spiteful to his boss, which is certainly not the best way to succeed in business. He buys a car even though he knows that gasoline gives him headaches. And perhaps the clearest indication of his bad business sense is the fact that when Quentin steals his savings in the fourth section, she steals $7000. This is the money that he has been embezzling from Caddy and Quentin, and Caddy has been sending him $200 a month for fifteen years. By this point he should have amassed upwards of $30,000; where did it all go? Even though he thinks of little else besides money, he is not capable of handling it properly.
Mrs. Compson spends much of the novel telling Jason that he is different from Quentin and Benjy, that he is a Bascomb at heart. And yet, underneath the sadism, money-grubbing and isolation, Jason is surprisingly similar to his brothers. He is just as obsessed with Caddy as they are, and her sexuality shatters his world just as much as theirs.
Summary of April Eighth, 1928:
The section opens with Dilsey standing on the stoop of her house in her church clothes, then going back inside to change into her work clothes. It is raining and gray outside. Dilsey goes into the kitchen and brings some firewood with her; she can barely walk. She begins to make breakfast and
Mrs. Compson calls her from upstairs; she wants her to fill her hot water bottle. Dilsey struggles up the stairs to get the hot water bottle, saying that Luster has overslept after the night's reveries. She goes outside and calls Luster; he appears from the cellar looking guilty and she tells him to get some firewood and take care of Benjy. He brings in a huge armful of firewood and leaves. A while later, Mrs. Compson calls her again, and she goes out to the stairs. Mrs. Compson wants to know when Luster will be up to take care of Benjy.
Dilsey begins to slowly climb the stairs again, while Mrs. Compson inquires whether she had better go down and make breakfast herself. When
Dilsey is halfway up the stairs, Mrs. Compson reveals that Benjy is not even awake yet, and Dilsey clambers back down. Luster emerges from the cellar again. She makes him get another armful of wood and go up to tend
Benjy. The clock strikes five times, and Dilsey says "eight o'clock" (274).
Luster appears with Benjy, who is described as big and pale, with white- blonde hair cut in a child's haircut and pale blue eyes. She sends Luster up to see if Jason is awake yet; Luster reports that he is up and angry already because one of the windows in his room is broken. He accuses Luster of breaking it, but Luster swears he didn't.
Jason and Mrs. Compson come to the table for breakfast. Although Mrs.
Compson usually allows Quentin to sleep in on Sundays, Jason insists that she come and eat with them now. Dilsey goes upstairs to wake her. Mrs.
Compson tells him that the black servants are all taking the afternoon off to go to church; the family will have to have a cold lunch. Upstairs Dilsey calls to Quentin, but receives no answer. Suddenly, Jason springs up and mounts the stairs, shouting for Quentin. There is still no response and he comes back down to snatch the key to her room from his mother. He fumbles at the lock and then finally opens the door. The room is empty. Jason runs to his own room and begins throwing things out of the closet. Mrs. Compson looks around Quentin's note for a suicide note, convinced that history is repeating itself. In his room, Jason finds that his strongbox has been broken into. He runs to the phone and calls the sheriff, telling him that he has been robbed, and that he expects the sheriff to get together a posse of men to help him search for Quentin. He storms out.
Luster comments that he bets Jason beat Quentin and now he is going for the doctor. Dilsey tells him to take Benjy outside. Luster tells her that he and Benjy saw Quentin climb out her window and down the pear tree last night. Dilsey goes back to her cabin and changes into her church clothes again. She calls for Luster and finds him trying to play a saw like one of the players did at the show last night. She tells him to get his cap and to come with her; they meet up with Frony and head to church, Benjy in tow.
Dilsey carries herself with pride among the other blacks, and some of the children dare each other to touch Benjy. They take their seats as the mass starts.
The sermon will be delivered by a visiting preacher, Reverend Shegog. The preachers process in, and Reverend Shegog is so slight and nondescript as to attract no attention. But when he speaks, he holds their attention.
First he speaks without accent "like a white man," describing the
"recollection and the blood of the Lamb," then when this doesn't have much of an effect, he modulates into black dialect and delivers the same sermon again, describing the major events of Jesus' life and his resurrection.
When he finishes, Benjy is rapt with attention and Dilsey is quietly weeping. As the leave the church, she states "I've seed de first en de last
. . . . I seed de beginning, en now I sees de endin" (297).
They return to the house. Dilsey goes up to Mrs. Compson's room and checks on her; Mrs. Compson, still convinced that Quentin has killed herself, asks
Dilsey to pick up the Bible that has fallen off the bed. Dilsey goes back downstairs and prepares lunch for the family, commenting that Jason will not be joining them.
Meanwhile, Jason is in his car driving to the sheriff's. When he gets there, nobody is prepared to leave as Jason requested. He enters the station, and the sheriff tells him that he will not help him find Quentin, because it was her own money she stole and because Jason drove her away.
Jason drives away toward Mottson, the town where the traveling show will be next. He begins to get a headache and remembers that he has forgotten to bring any camphor with him. By the time he gets to Mottson he cannot see very well; he finds two Pullman cars that belong to the show and he enters one. Inside is an old man, and he asks him where Quentin and her boyfriend are. The man becomes angry and threatens him with a knife.
Jason hits him on the head and he slumps to the floor. He runs from the car, and the old man comes out of the car with a hatchet in his hand. They struggle, and Jason falls to the ground. Some show people haul him to his feet and push him away. One of the men tells him that Quentin and her boyfriend aren't there, that they have left town. Jason goes back to his car and sits down, but he can't see to drive. He calls to some passing boys, asking if they will drive him back to Jackson for two dollars; they refuse. He sits a while longer in the car. A black man in overalls comes up to him and says that he will drive him for four dollars, but Jason refuses, then eventually acquiesces.
Back at the house, Luster takes Benjy out to his "graveyard," which consists of two blue glass bottles with jimson weeds sticking out of them.
Luster hides one of the bottles behind his back, and Benjy starts to howl;
Luster puts it back. He takes Benjy by the golf course and they watch the men playing. When one of them yells "caddie," Benjy begins to cry again.
Frustrated, Luster repeats Caddy's name over and over, making him cry even louder. Dilsey calls them and they go to her cabin. Dilsey rocks Benjy and strokes his hair, telling Luster to go get his favorite slipper. When he begins to cry again, Dilsey asks Luster where T. P. is (T. P. is supposed to take Benjy to the graveyard as he does every Sunday). Luster tells her that he can drive the surrey instead of T. P., and she makes him promise to be good. They put Benjy into the surrey and hand him a flower to hold, and
Luster climbs into the driver's seat.
Dilsey takes the switch away from him and tells him that the horse knows the way. As soon as they are out of sight of the house, Luster stops the horse and picks a switch from the bushes along the road, then climbs back into the driver's seat, carrying himself like royalty. They approach the square and pass Jason in his car by the side of the road. Luster, carried away in his pride, turns the horse to the left of the statue in the square instead of to the right, breaking the pattern that Benjy is used to. Benjy begins to howl. As his voice gets louder and louder, Jason comes running and turns the horse around. When the objects they pass begin to go in the right direction again, Benjy hushes.
Analysis of April Eighth, 1928:
Readers commonly refer to this section of the novel as "Dilsey's section," although it is narrated in the third person. Dilsey plays a prominent role in this section, and even if she does not narrate this section, she serves a sort of moral lens through which to view the other characters in the section and, in fact, in the novel as a whole. The section contrasts
Dilsey's slow, patient progress through the day with Jason's irrational pursuit of Quentin and Mrs. Compson's self-centered flightiness. As we watch Dilsey slowly climb up the stairs as Mrs. Compson watches to tend to
Benjy, only to discover halfway up that he isn't even awake yet, we begin to sympathize with this wizened old woman. As we see her tenderly wiping
Benjy's mouth as he eats, we come to see her as the only truly good person in the book. Even Caddy, the object of Benjy and Quentin's obsessions, was not as selflessly kind or as reliable as Dilsey. Throughout the course of the section, she is witness to any number of the Compson family's flaws, yet she never judges them.
The only statement she makes that resembles a judgement is her concern that
Luster has inherited the "Compson devilment." Instead she stands calmly in the midst of the chaos of the disintegrating household, patiently bearing what she is dealt "like cows do in the rain" (272). Unlike any of the
Compson family, Dilsey is capable of extending outside herself and her own needs. Each of the brothers is selfish in his own way; Benjy because he cannot take care of himself and relies on her to, Quentin because he is too wrapped up in his ideals, Jason because of his greed and anger. Mrs.
Compson is even worse, passive-aggressively manipulating the members of the family as she lies in her sickbed. And Miss Quentin is too troubled and lonely to sympathize with anyone else. Dilsey, however, in her kindness, ungrudgingly takes care of each family member with tenderness and respect.
In her selflessness, Dilsey conforms to the Christian ideal of goodness in self-sacrifice; therefore it is not surprising that the section takes place on Easter Sunday. This section of the novel resounds with biblical allusions and symbols and revolves around the sermon delivered by Reverend
Shegog at Dilsey's church. The sermon profoundly affects Dilsey, who leaves the church in tears. Perhaps this is because the sermon seems to describe perfectly the disintegrating Compson family. Benjamin is the youngest son described as being "sold into Egypt" in the Appendix to the novel; here
Shegog lectures on the Israelites who "passed away in Egypt" (295).
Matthews notes that Jason is a "wealthy pauper" (11), fitting Shegog's description: "wus a rich man: whar he now, O breddren? Wus a po man: whar he now, O sistuhn?" (295). He has embezzled thousands of dollars from his sister, yet he lives like a poor man. Even Mrs. Compson, Matthews claims, is described in Shegog's sermon: "I hears de weepin en de lamentation of de po mammy widout de salvation en de word of God" (296). Matthews even suggests that Quentin is implied in the voice of one congregation member that rises "like bubbles rising in water" (11).
Much has been made of the religious symbolism in this chapter. Aside from
Shegog's sermon there is Benjy's age: he is 33 years old, the age Christ was when he died. Like Christ, or like a priest, he is celibate. And he seems to be one of the only "pure" members of the family, incapable of doing anything evil merely because of his handicaps. But he is not the only
Christlike member of the family. Quentin, the daughter of the woman whose brother wanted to remember her as both virginal and motherly, has an unknown father, just as Christ, the son of the Virgin Mary, had no earthly father.
Like Christ, Quentin suffers a misunderstood and mistreated existence. But most compelling is the fact of her disappearance on Easter Sunday. Just as the disciples found Christ's tomb empty, the wrappings from his body discarded on the floor, Jason opens Quentin's room to find it empty: "the bed had not been disturbed. On the floor lay a soiled undergarment of cheap silk a little too pink, from a half open bureau drawer dangled a silk stocking" (282). If Quentin is a Christ figure, however, she seems to have a very un-Christlike effect on her family. Whereas the pure and virginal
Christ's disappearance signaled the end of death and the beginning of new life in heaven, the promiscuous Quentin's disappearance signals the destruction of her family.
Other elements of the section seem more apocalyptic: there is Shegog's name, for instance, which sounds much like the Gog and Magog mentioned in the Book of Revelation. There is the story's preoccupation with the end of the Compson family: Jason is the last of the Compsons, and he is childless, his house literally rotting away. And finally there is Dilsey's comment that she has seen the first and the last, the beginning and the end: although the meaning of this statement is unclear, she seems to be discussing the end of the Compson family as well as her life, and perhaps the end of the world. Dilsey has borne witness to the alpha and the omega of the Compson family.
Nevertheless, none of this religious symbolism is particularly well- developed. It is impossible to tell who, if anyone, is the Christ figure in this Easter story. It is impossible to know what will happen to Quentin, or if the family will really dissolve as Dilsey seems to think it will. Nor is it particularly clear why Reverend Shegog's sermon has such an effect on
Dilsey or what his actual message is; he has seen the recollection and the blood of the Lamb, but why is this important? What should the congregation do about it? What can they do in order to see this themselves?
The problem with this last section is that it doesn't satisfactorily bring the story of the Compson family to a close. The reader is left with a glimpse of the family's psychology and slow demise, but no real answers, no redemption. We don't know what will happen to the family or its servants: will Jason send Benjy to Jackson? Will Dilsey die? Will Quentin get away?
John Matthews has pointed out that the story doesn't really end but keeps repeating itself.

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