Thursday, May 20, 2010

GABRIELE LANCILLOTTO CASTELLI. Principe di Torremuzza. Siciliae populorum et urbium regum quoque et tyrannorum veteres nummi Saracenorum epocham antec

First edition, folio, 2 vols. in 1, pp. [8], 103; 20; text in double column; engraved vignette title-pp., engraved head- and tail-pieces, engraved initials, 116 engraved plates of coins by Garafalo and Melchior della Bella after Garafalo showing hundreds of examples (obverse and reverse); contemporary paste-paper boards backed in vellum; edges worn, half-title dusty, but in all a very nice copy printed on thick paper.

A little-known Sicilian-printed study of ancient Sicilian coinage. Castelli concentrates on the prolonged period of the Greek colonization of Sicily, from about 550 B.C. when the first Sicilian coins appeared to about 240 B.C. when most of Sicily became a Roman province after the first Punic War. The second volume was published 8 years later because Castelli kept finding additional hitherto undescribed coins. Just before his death he published a further supplement (1791) with 9 plates and 15pp.

THEOPHILUS SIEGFRIED BAYER. Theophili Sigefridi Bayeri Regiomontani. Historia Osrhoëna et Edessena ex nvmis illvstrata, in qua, Edessae vrbis, Osrhoën


Only edition, 4to, pp. [10], 362, [10]; printed in Roman, Greek, Syriac, and Arabic fonts; 7 engraved plates of numismatic interest; chronological tables in the text; without front free endpaper, but generally a very good copy in contemporary blue paper-covered boards backed in brown calf, red morocco label (faded to pink) on spine.


Histories of the Kingdoms of Osrhoena and Edessa (now Urfa) in Mesopotamia. Bayer, from the same family as the famous astronomer Johannes Bayer, was a renown polymath, philologist, orientalist, and classicist who lived for many years in St. Petersburg and was a founding member of the Russian Imperial Academy. He published many books on Oriental numismatics. The book is an overview of the history (until about 1400) of Edessa, which was the capital of a small kingdom that kept a relative independence between the Romans and the Persians. Once the Roman Empire fell, Edessa was contended between the Persians and the Byzantines and, later on, it was conquered by the Arabs. Subsequently, it fell to the Franks and then became part of the Turkish Empire. The coins represented in the plates are all from the period of the independent kingdom.


One of the first books printed at the printing office of the Russian Academy of Sciences in St. Petersburg, which began its activity in 1727.

Howards End by E.M. Forster

Howards End is E.M. Forster's symbolic exploration of the social, economic, and philosophical forces at work in England during the early years of the twentieth century. Written in 1910, the novel offers an extraordinarily insightful look at the life of England in the years preceding World War I. Preoccupied with the vast social changes sweeping his nation, which was then at the height of its Imperial world influence, Forster set out to address the question critic Lionel Trilling expressed as, "Who shall inherit England?"--meaning, which class of people would come to define the nation? To answer the question, he explores the lives of three different groups of people, each of which represents a particular social class or class aspect: the literary, cultural Schlegel family, who represent the idealistic and intellectual aspect of the upper classes; the materialistic, pragmatic Wilcox family, who represent the "solid" English work ethic and conventional social morality; and the impoverished Bast family, headed by a lower-middle-class insurance clerk who desperately hopes books will save him from social and economic desolation.

Forster explores these three groups by setting them against one another in relief, gradually intertwining their stories until they are inextricably linked. Helen Schlegel has a brief romance with Paul Wilcox; Margaret Schlegel befriends Ruth Wilcox, then marries Henry Wilcox after Ruth's death; Jacky Bast is revealed as a former lover of Henry; Helen has an affair with Leonard Bast and ultimately bears his child. In the end, Mrs. Wilcox's estate of Howards End--a former farm now within distant sight of the outskirts of London--comes to represent England as a whole, and the question of "Who shall inherit England?" symbolically centers around each character's relationship to Howards End. At the end of the novel, Margaret, Helen, Helen and Leonard's son, and Henry all live at Howards End; Henry makes provision for Margaret to inherit the house, suggesting that, like the characters of the novel, the classes of England are mixing beyond recognition, and will be forced to adapt to an England that they can all share.

In addition to the thematic role played by houses in the novel (the Schlegel house on Wickham Place also becomes an important symbol of their class and family identity), Forster explores the symbolic value of other objects and ideas, including money. Continually contrasting the "seen" with the "unseen"--the physical, material world of the Wilcoxes with the imaginative, spiritual world of the Schlegels--Forster posits the possibility that, ultimately, the universe has no meaning, that all of life is simply a struggle for subsistence, represented by toil for money. This is the core of Helen's realization at the performance of Beethoven's Fifth Symphony in Chapter 5, when she imagines "goblins" marching across the universe, observing that there is nothing great in human beings. However, Helen eventually realizes that the idea of death forces people to confront the idea of the unseen and forces them to look for meaning in their lives. In this regard, life is not merely a quest for enough money; money is an important part of life, because it enables leisure and security, but it is not all of life. Then again, Helen realizes this largely because she has money: It does no good for the doomed Leonard Bast.

***

After Helen Schlegel's brief romance with Paul Wilcox ends badly, the cultured, idealistic Schlegel family thinks it they will have nothing further to do with the materialistic, commerce-obsessed Wilcoxes. The Schlegels continue with their intellectual lives. At a performance of Beethoven's Fifth Symphony, they meet an impoverished insurance clerk named Leonard Bast, who regards them with general suspicion when Helen accidentally steals his umbrella. The Schlegels are shocked when the Wilcoxes move from their country estate of Howards End to a London flat opposite their home on Wickham Place in London. But Paul has left to win his fortune in Nigeria, and Helen is vacationing with her cousin Frieda in Germany, so there is little danger of an unpleasant scene. Margaret, Helen's older sister and the head of the family, even befriends Mrs. Wilcox; they go Christmas shopping together, and Margaret throws a luncheon for the ethereal, selfless Mrs. Wilcox.

When Mrs. Wilcox dies not long afterward, she leaves a handwritten note behind asking that Howards End be given to Margaret. But her pragmatic husband, Henry, a prominent businessman, and her greedy son Charles, a struggling businessman, refuse to act on the matter and never mention it to Margaret. One night, Margaret and Helen run into Henry, and they discuss the case of Leonard Bast; Henry warns them that Leonard's insurance company is doomed to failure, and they advise him to find a new job. But poor Leonard, who associates the Schlegels with all things cultural and romantic--he reads constantly, hoping to better himself--resents this intrusion into his business life and accuses them of trying to profit from his knowledge of the insurance industry.

Margaret and Henry develop a halting, gradual friendship. When the lease expires at Wickham Place, the Schlegels begin looking for another house (their landlord wants to follow the general trend and replace their house with a more profitable apartment building). Henry offers to rent them a house he owns in London, and when he shows it to Margaret, he suddenly proposes to her. She is surprised by her happiness, and after considering the proposal, she accepts.

Shortly before Margaret and Henry are scheduled to be married, Henry's daughter Evie marries a man named Percy Cahill; the wedding is held at a Wilcox estate near Wales. After the party, which Margaret finds quite unpleasant, Helen arrives in a disheveled state, with the Basts in tow. She declares indignantly that Leonard has left his old company, found a new job, and been summarily fired; he is now without an income. Helen angrily blames Henry for his ill-considered advice. Margaret asks Henry to give Leonard a job, but when he sees Jacky Bast, he realizes that he had an affair with her 10 years ago, when she was a prostitute in Cyprus. Margaret forgives him for the indiscretion--it was before they even met--but she writes to Helen that there will be no job for Leonard.

Helen and the Basts have retired to a hotel in town, and after Jacky goes to sleep, Helen and Leonard stay up discussing Helen's philosophical observations about life. After Margaret's note arrives, a feeling of tragedy descends on their conversation, and they make love--an unwelcome development for both of them: Leonard is wracked with guilt, and Helen becomes pregnant. She leaves for Germany the following morning, and both she and Leonard recede from Margaret's life. Margaret and Henry are married, and plan to build a new home in Sussex.

After some time passes, however, Margaret begins to worry about her sister, and with Henry's help, she arranges a scheme to surprise her at Howards End, where Helen is going to collect some books. (The Schlegels' belongings are being stored at Howards End.) Here, Margaret sees Helen's advanced pregnancy, and is filled with love and tenderness for her sister. Helen asks to spend the night with Margaret at Howards End, but Henry refuses to let a "fallen woman" sleep in his home. When Margaret points out that Henry himself has committed a worse sexual indiscretion than Helen, Henry is outraged, and Margaret resolves to leave him, returning to Germany with Helen.

In the meantime, Leonard decides to confess to Margaret what happened, and he travels to Howards End the morning after Margaret and Helen sleep there. When he arrives, he is beaten by Charles Wilcox with the flat of a sword, and a bookcase falls on him. Leonard has a heart attack and dies. After the inquest, Charles is charged with manslaughter and sentenced to three years in prison. Henry is shattered, and comes to Margaret for help. Henry, Margaret, and Helen move into Howards End, where Helen and Henry learn to be friends and where Helen's son is born. Fourteen months later, they are still living there happily.

A Room with a View by E.M. Forster

The book depicts Lucy's struggles as she emerges as her own woman, growing from indecision to fulfillment. She struggles between strict, old-fashioned Victorian values and newer, more liberal mores. In this struggle Lucy's own idea of what is true evolves and matures. Her trip to Italy opens her sheltered eyes to ideas and people unlike those she has known growing up in the English countryside. She also notices how freely Italian classes seem to mix, and realizes that the social boundaries she has always regarded as fixed are actually arbitrary. Her experience with the Emersons shows her that there can be beauty in the things that are considered improper, and Charlotte's betrayal shows her that propriety is not always the best judge of what is true.

Having more clearly found herself in Italy, Lucy's real test lies at home, where she must confront her old familiar surroundings. She is still uncertain, however, and confused about what to think about her new experiences. That she missteps and becomes engaged to the pretentious and domineering Cecil shows her susceptibility to the pressures of society. As her bold piano playing suggests, she is cut out for a more daring life, if only she could cut herself away from the restricting social boundaries that engulf her. The Emersons, as free-thinking, modern, truth-loving people, are her deliverers from the grips of society. It is this freedom that allows her to see beyond the dictates of propriety that forbid her marriage to the lower-class George and, therefore, to follow her heart.

George is troubled by existential worries in Italy. He doesn't understand how life can be truly joyful and worthwhile when it is always shadowed by enigma, symbolized by the question mark that he hangs on the wall of his hotel. Lucy, though cautious, is loving by nature and enjoys life even when it challenges her understanding. The two are united by a shared appreciation for beauty, which might be captured in their love of views: Lucy adores the view of the Arno through the pension window, while George's first memory is of himself and his parents gazing at a view. Each possesses what the other needs: George finds simple joys staying with the Honeychurch family, while Lucy finds the courage to recognize her own individuality through her contact with the Emersons.

A Room with a View is one of Forster's early works, and is not as complex as the more mature Howard's End and Passage to India. However, its strength lies in its vivid cast of characters, humorous dialogue, and comedic play upon the manners of the day, and in Forster's engaging, sympathetic exploration of Lucy's character.

***

Lucy Honeychurch, a young upper middle class woman, visits Italy under the charge of her older cousin Charlotte. At their pension, or guesthouse, in Florence, they are given rooms that look into the courtyard rather than out over the river Arno. Mr. Emerson, a fellow guest, generously offers them the rooms belonging to himself and his son George. Although Charlotte is offended by Mr. Emerson's lack of tact and propriety, she finally does agree to the switch. Lucy is an avid young pianist. Mr. Beebe, watches her passionate playing and predicts that someday she will live her life with as much gusto as she plays the piano.

Lucy's visit to Italy is marked by several significant encounters with the Emersons. In Santa Croce church, George complains that his father means well, but always offends everyone. Mr. Emerson tells Lucy that his son needs her in order to overcome his youthful melancholy. Later, Lucy is walking in the Piazza Signoria, feeling dull, when she comes in close contact with two quarreling Italian men. One man stabs the other, and she faints, to be rescued by George. On their return trip home, he kisses her, much to her surprise. She keeps his rash behavior a secret.

On a country outing in the hills, Lucy wanders in search of Mr. Beebe and the supercilious chaplain, Mr. Eager. However, the Italian cab driver leads her instead to George, who is standing on a terrace covered with blue violets. George sees her and again kisses her, but this time Charlotte sees him and chastises him after they have resurnedreturned to the pension. She leaves with Lucy for Rome the next day.

The second half of the book centers on Lucy's home in Surrey, where she lives with her mother, Mrs. Honeychurch, and her brother, Freddy. A man she met in Rome, the snobbish Cecil Vyse, proposes marriage to her for the third time, and she accepts him. He disapproves of her family and the country people she knows, finding them coarse and unsophisticated. There is a small, ugly villa available for rent in the town, and as a joke, Cecil offers it to the Emersons, whom he meets by chance in a museum. They take him up on the offer and move in, much to Lucy's initial horror.

George plays tennis with the Honeychurches on a Sunday when Cecil is at his most intolerable. After the game, Cecil reads from a book by Miss Lavish, a woman who also stayed with Lucy and Charlotte at the pension in Florence. The novel records a kiss among violets, and Lucy realizes that Charlotte let the secret out. In a moment alone, George kisses her again. Lucy tells him to leave, but George insists that Cecil is not the right man for her, characterizing Cecil as controlling and appreciative of things rather than people. Lucy sees Cecil in a new light, and breaks off her engagement that night.

However, Lucy will not believe that she loves George; she wants to stay unmarried and travel to Greece with some elderly women she met in Italy, the Miss Alans. She meets old Mr. Emerson by chance, who insists that she loves George and should marry him, because it is what her soul truly wants. Lucy realizes he is right, and though she must fly against convention, she marries George, and the book ends with the happy couple staying together in the Florence pension again, in a room with a view.

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The Prince by Niccolò Machiavelli

The most revolutionary aspect of The Prince is its separation of politics and ethics. Classical political theory traditionally linked political law with a higher, moral law. In contrast, Machiavelli argues that political action must always be considered in light of its practical consequences rather than some lofty ideal.

Another striking feature of The Prince is that it is far less theoretical than the literature on political theory that preceded it. Many earlier thinkers had constructed hypothetical notions of ideal or natural states, but Machiavelli treated historical evidence pragmatically to ground The Prince in real situations. The book is dedicated to the current ruler of Florence, and it is readily apparent that Machiavelli intends for his advice to be taken seriously by the powerful men of his time. It is a practical guide for a ruler rather than an abstract treatise of philosophy.

Machiavelli’s book also distinguishes itself on the subject of free will. Medieval and Renaissance thinkers often looked to religion or ancient authors for explanations of plagues, famines, invasions, and other calamities; they considered the actual prevention of such disasters to be beyond the scope of human power. In The Prince, when Machiavelli argues that people have the ability to shield themselves against misfortune, he expresses an extraordinary confidence in the power of human self-determination and affirms his belief in free will as opposed to divine destiny.

Since they were first published, Machiavelli’s ideas have been oversimplified and vilified. His political thought is usually—and unfairly—defined solely in terms of The Prince. The adjective “Machiavellian” is used to mean “manipulative,” “deceptive,” or “ruthless.” But Machiavelli’sDiscourses, a work considerably longer and more developed than The Prince, expounds republican themes of patriotism, civic virtue, and open political participation.

***

MACHIAVELLI COMPOSED The Prince as a practical guide for ruling. This goal is evident from the very beginning, the dedication of the book to Lorenzo de’ Medici, the ruler of Florence. The Prince is not particularly theoretical or abstract; its prose is simple and its logic straightforward. These traits underscore Machiavelli’s desire to provide practical, easily understandable advice.

The first two chapters describe the book’s scope. The Prince is concerned with autocratic regimes, not with republican regimes. The first chapter defines the various types of principalities and princes; in doing so, it constructs an outline for the rest of the book. Chapter III comprehensively describes how to maintain composite principalities—that is, principalities that are newly created or annexed from another power, so that the prince is not familiar to the people he rules. Chapter III also introduces the book’s main concerns—power politics, warcraft, and popular goodwill—in an encapsulated form.

Chapters IV through XIV constitute the heart of the book. Machiavelli offers practical advice on a variety of matters, including the advantages and disadvantages that attend various routes to power, how to acquire and hold new states, how to deal with internal insurrection, how to make alliances, and how to maintain a strong military. Implicit in these chapters are Machiavelli’s views regarding free will, human nature, and ethics, but these ideas do not manifest themselves explicitly as topics of discussion until later.

Chapters XV to XXIII focus on the qualities of the prince himself. Broadly speaking, this discussion is guided by Machiavelli’s underlying view that lofty ideals translate into bad government. This premise is especially true with respect to personal virtue. Certain virtues may be admired for their own sake, but for a prince to act in accordance with virtue is often detrimental to the state. Similarly, certain vices may be frowned upon, but vicious actions are sometimes indispensable to the good of the state. Machiavelli combines this line of reasoning with another: the theme that obtaining the goodwill of the populace is the best way to maintain power. Thus, theappearance of virtue may be more important than true virtue, which may be seen as a liability.

The final sections of The Prince link the book to a specific historical context: Italy’s disunity. Machiavelli sets down his account and explanation of the failure of past Italian rulers and concludes with an impassioned plea to the future rulers of the nation. Machiavelli asserts the belief that only Lorenzo de’ Medici, to whom the book is dedicated, can restore Italy’s honor and pride.

From my perspective there are few gospel of power offered by him in this book:

Machiavelli believes that good laws follow naturally from a good military. His famous statement that “the presence of sound military forces indicates the presence of sound laws” describes the relationship between developing states and war in The Prince. Machiavelli reverses the conventional understanding of war as a necessary, but not definitive, element of the development of states, and instead asserts that successful war is the very foundation upon which all states are built. Much of The Prince is devoted to describing exactly what it means to conduct a good war: how to effectively fortify a city, how to treat subjects in newly acquired territories, and how to prevent domestic insurrection that would distract from a successful war. But Machiavelli’s description of war encompasses more than just the direct use of military force—it comprises international diplomacy, domestic politics, tactical strategy, geographic mastery, and historical analysis. Within the context of Machiavelli’s Italy—when cities were constantly threatened by neighboring principalities and the area had suffered through power struggles for many years—his method of viewing almost all affairs of state through a military lens was a timely innovation in political thinking.

To remain in power, a prince must avoid the hatred of his people. It is not necessary for him to be loved; in fact, it is often better for him to be feared. Being hated, however, can cause a prince’s downfall. This assertion might seem incompatible with Machiavelli’s statements on the utility of cruelty, but Machiavelli advocates the use of cruelty only insofar as it does not compromise the long-term goodwill of the people. The people’s goodwill is always the best defense against both domestic insurrection and foreign aggression. Machiavelli warns princes against doing things that might result in hatred, such as the confiscation of property or the dissolution of traditional institutions. Even installations that are normally valued for military use, such as fortresses, should be judged primarily on their potential to garner support for the prince. Indeed, only when he is absolutely sure that the people who hate him will never be able to rise against him can a prince cease to worry about incurring the hatred of any of his subjects. Ultimately, however, obtaining the goodwill of the people has little or nothing to do with a desire for the overall happiness of the populace. Rather, goodwill is a political instrument to ensure the stability of the prince’s reign.

Machiavelli often uses the words “prowess” and “fortune” to describe two distinct ways in which a prince can come to power. “Prowess” refers to an individual’s talents, while “fortune” implies chance or luck. Part of Machiavelli’s aim in writing The Prince is to investigate how much of a prince’s success or failure is caused by his own free will and how much is determined by nature or the environment in which he lives. Machiavelli applies this question specifically to the failure of past Italian princes. In Chapter XXV, Machiavelli discusses the role of fortune in determining human affairs. He attempts to compromise between free will and determinism by arguing that fortune controls half of human actions and leaves the other half to free will. However, Machiavelli also argues that through foresight—a quality that he champions throughout the book—people can shield themselves against fortune’s vicissitudes. Thus, Machiavelli can be described as confident in the power of human beings to shape their destinies to a degree, but equally confident that human control over events is never absolute.

Machiavelli defines virtues as qualities that are praised by others, such as generosity, compassion, and piety. He argues that a prince should always try to appear virtuous, but that acting virtuously for virtue’s sake can prove detrimental to the principality. A prince should not necessarily avoid vices such as cruelty or dishonesty if employing them will benefit the state. Cruelty and other vices should not be pursued for their own sake, just as virtue should not be pursued for its own sake: virtues and vices should be conceived as means to an end. Every action the prince takes must be considered in light of its effect on the state, not in terms of its intrinsic moral value.

Machiavelli asserts that a number of traits are inherent in human nature. People are generally self-interested, although their affection for others can be won and lost. They are content and happy so long they are not victims of something terrible. They may be trustworthy in prosperous times, but they will quickly turn selfish, deceitful, and profit-driven in times of adversity. People admire honor, generosity, courage, and piety in others, but most of them do not exhibit these virtues themselves. Ambition is commonly found among those who have achieved some power, but most common people are satisfied with the status quo and therefore do not yearn for increased status. People will naturally feel a sense of obligation after receiving a favor or service, and this bond is usually not easily broken. Nevertheless, loyalties are won and lost, and goodwill is never absolute. Such statements about human nature are often offered up as justifications for the book’s advice to princes. While Machiavelli backs up his political arguments with concrete historical evidence, his statements about society and human nature sometimes have the character of assumptions rather than observations.

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This Side of Paradise by F. Scott Fitzgerald

This Side of Paradise is a work of a young author, and possesses some fundamental flaws, both structural and thematic. But it is a truly important work, both in the life of its author, F. Scott Fitzgerald, and for the course of twentieth-century American history and fiction. The novel contains a number of autobiographical elements and made an enormous impact on the later life of its author--who may never have written anything else if not for its success. The book was successful not only because of Fitzgerald's lyrical and graceful writing, but more importantly as a telling portrait of a new era in American history.

Fitzgerald was born Francis Scott Key in 1897 (named for the Star Spangled Banner lyricist to whom he was distantly related), and attended an Eastern boarding school, where he did not excel in athletics or academics, but did exhibit an early penchant for writing and producing plays. He was admitted to Princeton University, where he maintained his academic mediocrity but indulged and expanded his love of literature through his friendships and his prominent role in the Triangle Club, a Princeton theater group. Without earning his degree, Fitzgerald enlisted in the army in 1917 and, afraid that he would die in the war, rapidly dashed off a novel entitled "The Romantic Egotist" which was praised, but rejected, by publishers.

Fitzgerald was stationed in Alabama, where he met the wild Southern belle Zelda Sayre, with whom he instantly fell in love. He revised and submittedThe Romantic Egotist again, but again met with rejection. The war ended without Scott having to go overseas. His romance continued, but Zelda refused to marry into poverty, insisting that Scott display an ability to earn money first. After a failed career in advertising in New York, Zelda broke off the engagement, and Fitzgerald returned to Minnesota to complete the novel. Adding to and revising The Romantic Egotist, Fitzgerald completedThis Side of Paradise. Upon its acceptance by a publisher in 1919, Zelda agreed to marry him.

This novel achieved enormous success and established Fitzgerald as the chronicler of the new post-war youth of America--of flappers, alcohol, and the Jazz Age. Zelda and Scott Fitzgerald, barely funded by the sale of Fitzgerald's critically though not commercially successful stories and novels, enjoyed an extravagant and often Bacchic lifestyle in the post World War I American boom era of the 1920's. They spent a great deal of time in Europe among an elite class of artists, royalty, and wealthy American expatriates. In the late 1920's, the Fitzgeralds spent time on the Southern coast of France, known as the Riviera. Their hosts were Gerald and Sara Murphy, who were central among a social set that included such notables as Picasso.

In this world in 1925, Scott finished what is widely considered his masterpiece, The Great Gatsby. But at this time, the Fitzgeralds' decadent lifestyle took a toll on them, both financially and emotionally. Zelda's sanity suffered, and she was forced to seek expert and expensive psychological treatments in Switzerland. Fitzgerald was forced to abandon novel writing to pay the medical bills. Zelda's battle with mental illness is depicted inTender Is the Night, Fitzgerald's last complete novel, in the character of Nicole Diver. While the heroine of the novel recovers, Zelda sadly did not, remaining in institutions the rest of her days. Fitzgerald moved around a lot, spending some time working as a scriptwriter in Hollywood. He died in 1940 with all of his novels out of print, thinking himself a failure.

A great deal of the material Fitzgerald employed to write This Side of Paradise came from his own experiences up to that time. The main character, Amory Blaine, is, in many ways, a thinly veiled Fitzgerald. This semi-autobiographical literary technique is one that Fitzgerald employed often throughout his career, and for which he often met strong criticism. However, in the particular case of This Side of Paradise, the most commercially successful of the author's novels, the technique met with popular acclaim. Fitzgerald managed to capture a period of American history and a portrait of the new youth culture (which involved drinking and casual kissing) in a way that few, if any, authors at the time were able. Though in many ways a product and an embodiment of his times, Fitzgerald was able to see through the glamour of the lifestyle to make incisive commentaries on its moral vacuity.

*****

This Side of Paradise chronicles the life of Amory Blaine from his childhood up through his early twenties. Born the son of a wealthy and sophisticated woman, Beatrice, Amory travels the country with his mother until he attends the fictitious St. Regis prep school in New England. He is handsome, quite intelligent though lazy in his schoolwork, and he earns admission to Princeton. Though initially concerned with being a success on campus, after failing a class he gives himself over to idleness; he prefers to learn through reading and discussions with friends than through his classes.

Toward the end of his college career, America enters World War I and Amory dutifully enlists, forgoing his degree. During his time overseas, Beatrice passes away. Upon his return to America, Amory meets the young debutante Rosalind Connage, the sister of his college friend Alec. The two fall deeply in love, but because of his family's poor investments, Amory has little money, and Rosalind does not wish to marry into poverty. Despite Amory's best efforts to earn money at an advertising agency, Rosalind breaks off their engagement in order to marry a wealthier man, devastating Amory. He goes on a three week drinking binge, which is finally terminated by the advent of the Prohibition.

Amory's quest for self-knowledge begins to be realized. He has a short summer romance with the wild Eleanor. Soon after, Alec is caught with a girl in his hotel room, and Amory takes the blame. Amory then discovers that his last close tie, the dear friend of his mother and his father figure, Monsignor Darcy, has passed away. Further, the family finances have left him almost no money. He decides to walk to Princeton and is picked up along the way by the wealthy father of a friend who died in the war. Amory expounds his new socialist principles and then continues to walk to Princeton. He arrives late at night, pining for Rosalind. Amory reaches his hands to the sky and says "I know myself, but that is all--"

*****

Around the time of its publication, Fitzgerald referred to This Side of Paradise as a "quest novel." In some respects a character study more than a quest novel, the book chronicles Amory Blaine's attempt to make peace with himself and his place in the world. The three primary elements that influence Amory on his road to self-realization are convention, women, and money. As each of the three fails him, he comes closer to achieving his goal.

Several times in the novel, Amory reflects on what has influenced his development most. The initial influence is his unconventional mother, Beatrice. He tries to correct her influence by trying to fit in and behave conventionally at school. He attends school in the Midwest, then boarding school, and finally Princeton, trying hard to fit in at each. When he is finally successful, he discovers an emptiness in conformity. Amory abandons conformity half-way through Princeton, and gets back on the path of rediscovering who he is.

From a very early age, Amory is both attracted to and repelled by romantic involvement with women. After several failed loves, and after the war, he falls deeply in love with Rosalind, and she with him. But, refusing to marry someone without great wealth, Rosalind breaks Amory's heart. He tries love again with Eleanor, and may have been happy with her, but feels that having had his heart broken, he is incapable of love. Finally, he abandons women as a source of inspiration. He lost himself in Rosalind and only finds himself again without her.

Though quite wealthy while growing up, because of his family's bad investments and his mother's dying bequeathment to the church, Amory finds himself penniless by the novel's end. Without his wealth to fall back on, Amory is forced to look harder for meaning in his life. He realizes that he hates poverty and even goes so far as to preach socialism, hoping that he might land himself on top if a revolution took place. With no money, Amory has to look deep within himself for guidance.

Eventually, having discarded or lost convention, love, and money, Amory experiences a deep self-realization, and comes to see his own selfishness. In the final line of the novel he claims that now, finally, he knows himself, "but that is all--" This line consummates the quest of the entire book.

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The Jungle by Upton Sinclair

UPTON SINCLAIR WAS BORN on September 20, 1878, in Baltimore, Maryland. His family had once belonged to the southern aristocracy but, at Sinclair’s birth, the family hovered near poverty. Sinclair graduated from high school early and enrolled in the City College of New York at the age of fourteen. When he was fifteen, he began writing to support himself and help pay his college expenses. During his college years, Sinclair encountered socialist philosophy, the influence of which is evident in his writing throughout his life, and became an avid supporter of the Socialist Party. After he graduated from college, he enrolled in Columbia University as a graduate student in1897.

Sinclair published five novels between 1901 and 1906, but none of them generated much income. Late in 1904, the editors of the popular socialist newspaper Appeal to Reason sent Sinclair to Chicago to examine the lives of stockyard workers. He spent seven weeks in the city’s meatpacking plants, learning every detail about the work itself, the home lives of workers, and the structure of the business. The Jungle was born from this research and was first published in serial form in Appeal to Reason. The first few publishers whom Sinclair approached told him that his novel was too shocking, and he financed a first publication of the book himself. Eventually, however, Sinclair did find a willing commercial publisher, and in 1906, The Jungle was published in its entirety.

With the instant success of The Jungle, Sinclair took his place in the ranks of the “muckrakers,” a term that Theodore Roosevelt coined in 1906 to refer to a group of journalists who devoted themselves to exposing the ills of industrialization. The Jungle raised a public outcry against the unhealthy standards in the meatpacking industry and provoked the passage of The Pure Food and Drug Act of 1906. No novel since Harriet Beecher Stowe’sUncle Tom’s Cabin, first published in 1851, had made such a social impact. The novel’s success satisfied Sinclair’s financial concerns but not his political motivations for writing it. Sinclair had intended the novel to elicit sympathy for the working class and build support for the Socialist movement. His readership, however, was more moved by the threat of tainted beef than the plight of the worker. Sinclair tried to translate the success of The Jungle into large-scale social change by building a utopian colony in New Jersey with the profits from the novel, but the colony burned down four months after its inception.

In 1911, Sinclair divorced his first wife and married Mary Craig Kimbrough, a writer. They moved to California, where Sinclair continued to write in support of socialism. During the Great Depression, Sinclair organized the End Poverty in California movement. In 1934, he ran as a democrat in an unsuccessful campaign to become California’s governor. During the1940s, he returned to writing fiction. He enjoyed a revival in popularity and won a Pulitzer Prize for Dragon’s Teeth, a novel dealing with Nazism in Germany.

Sinclair and his wife moved to a small town in Arizona in the 1950s. After Kimbrough died in 1961, Sinclair married again. His third wife died in 1967,and Sinclair died in 1968. Though he published more than eighty books after The Jungle, he is most remembered for this novel. In the aftermath of the Soviet Union, the Warsaw Pact, and the Berlin Wall, the novel’s idealistic glorification of socialism may seem naïve, but the novel remains an important social record of the psychology of American capitalism in the early twentieth century.

The main theme of The Jungle is the evil of capitalism. Every event, especially in the first twenty-seven chapters of the book, is chosen deliberately to portray a particular failure of capitalism, which is, in Sinclair’s view, inhuman, destructive, unjust, brutal, and violent. The slow annihilation of Jurgis’s immigrant family at the hands of a cruel and prejudiced economic and social system demonstrates the effect of capitalism on the working class as a whole. As the immigrants, who initially possess an idealistic faith in the American Dream of hard work leading to material success, are slowly used up, tortured, and destroyed, the novel relentlessly illustrates that capitalism is to blame for their plight and emphasizes that the characters’ individual stories are the stories of millions of people. The Jungle is not a thematically nuanced or complicated novel: capitalism is simply portrayed as a total evil, from its greedy destruction of children to its cynical willingness to sell diseased meat to an unsuspecting public. Sinclair opts not to explore the psychology of capitalism; instead, he simply presents a long litany of the ugly effects of capitalism on the world.

In Sinclair’s view, socialism is the cure for all of the problems that capitalism creates. When Jurgis discovers socialist politics in Chapter 28,it becomes clear that the novel’s attack on capitalism is meant to persuade the reader of the desirability of the socialist alternative. When socialism is introduced, it is shown to be as good as capitalism is evil; whereas capitalism destroys the many for the benefit of the few, socialism works for the benefit of everyone. It is even speculated that a socialist state could fulfill Christian morality. Again, there is no nuance in the book’s polemic: The Jungle’s goal is to persuade the reader to adopt socialism. Every aspect of the novel’s plot, characterization, and conflict is designed to discredit the capitalist political system and illustrate the ability of a socialist political system to restore humanity to the downtrodden, exploited, and abused working class.

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JURGIS RUDKUS AND ONA LUKOSZAITE, a young man and woman who have recently immigrated to Chicago from Lithuania, hold their wedding feast at a bar in an area of Chicago known as Packingtown. The couple and several relatives have come to Chicago in search of a better life, but Packingtown, the center of Lithuanian immigration and of Chicago’s meatpacking industry, is a hard, dangerous, and filthy place where it is difficult to find a job. After the reception, Jurgis and Ona discover that they are more than a hundred dollars in debt to the saloonkeeper. In Lithuania, custom dictates that guests at a wedding-feast leave money to cover the cost, but in America, many of the impoverished immigrants depart from the feast without leaving any money. Jurgis, who has great faith in the American Dream, vows that he will simply work harder to make more money.

Jurgis, who is young and energetic, quickly finds work, as do Marija Berczynskas, Ona’s cousin, and Jonas, the brother of Ona’s stepmother, Teta Elzbieta. The family signs an agreement to buy a house, but it turns out to be a swindle; the agreement is full of hidden costs, and the house is shoddy and poorly maintained. As the family’s living expenses increase, even Ona and young Stanislovas, one of Teta Elzbieta’s children, are forced to look for jobs. Jobs in Packingtown involve back-breaking labor, however, conducted in unsafe conditions with little regard for individual workers. Furthermore, the immigrant community is fraught with crime and corruption. Jurgis’s father, Dede Antanas, finds a job only after agreeing to pay another man a third of his wages for helping him obtain the job. But the job is too difficult for the old man, and it quickly kills him.

Winter is the most dangerous season in Packingtown and even Jurgis, forced to work in an unheated slaughterhouse in which it is difficult to see, risks his life every day by simply going to work. Marija is courted by Tamoszius, a likable violinist, but the couple is never able to marry because they never have enough money to hold a wedding. Marija’s factory closes down and she loses her job. Distressed about the terrible conditions of his family members’ lives, Jurgis joins a union and slowly begins to understand the web of political corruption and bribery that makes Packingtown run. Hoping to improve his lot, Jurgis begins trying to learn English. Marija regains her job, but she is fired when she complains about being cheated out of some of her pay. Ona is now pregnant, and her job has become increasingly difficult for her. Her supervisor, Miss Henderson, oversees a prostitution ring, and most of the other girls at the factory are made to be prostitutes. Ona gives birth to a healthy boy, whom she and Jurgis name Antanas after Jurgis’s late father, but she is forced to return to work only seven days later.

In Packingtown, any mishap can bring ruin upon a family. Jurgis sprains his ankle and is forced to spend nearly three months in bed, unable to work. Even though poor working conditions caused the accident, the factory simply cuts off Jurgis’s pay while he recuperates. Unable to tolerate the misery, Jonas abandons the family, disappearing without a word. Kristoforas, the youngest son of Teta Elzbieta, dies of food poisoning. Jurgis at last recovers and returns to work, but the factory refuses to give him his job back. After a long, frustrating search for employment, Jurgis is forced to take a job at the fertilizer plant, the foulest place in all of Packingtown. He begins to numb himself with alcohol.

Ona is pregnant again. One night, she doesn’t return home from work, and Jurgis discovers that Phil Connor, her boss, kept her after work and forced her to sleep with him. Jurgis attacks Connor and is arrested. After an unfair trial, Jurgis is sentenced to a month in prison; the family will again be forced to scrape by without his wages. In prison, Jurgis befriends a criminal named Jack Duane. When he is released, Jurgis discovers that his family has been evicted from its home and is living at the run-down boardinghouse in which they first stayed when they arrived in Chicago. When he enters the boardinghouse, he finds Ona screaming; she is prematurely in labor, and the effort of giving birth kills her and the child. In agony, Jurgis disappears on a drinking binge.

At last, Teta Elzbieta convinces Jurgis to think of his son, and he again begins searching for a job. Through the philanthropy of a wealthy woman who takes an interest in the family, Jurgis finds a good job at a steel mill. He dedicates himself to Antanas and feels renewed hope in life. But his hopes are shattered when Antanas drowns in the mud-logged street. In despair, Jurgis abandons his surviving family members and wanders the countryside as a tramp.

In the winter, Jurgis returns to Chicago, where he finds a job digging freight tunnels. After injuring himself at work, he is forced to spend some time in the hospital. When he is released, he has no money and cannot find work, so he becomes a beggar. One night, a wealthy young man named Freddie Jones gives him a one-hundred-dollar bill, but when Jurgis asks a bartender to change it for him, the man cheats him, giving him ninety-five cents back. Jurgis attacks the man and is again sent to jail. In prison, he meets Jack Duane again. When the two men are released, Jurgis becomes Duane’s partner, and the two commit burglaries and muggings. Jurgis is eventually recruited to work for the corrupt political boss, Mike Scully. When a series of strikes hits Packingtown, Jurgis crosses the picket lines, undermining the efforts of the union but making a great deal of money as a scab.

One day, Jurgis sees Phil Connor again and attacks him. He is again sent to prison and, because Connor is a crony of Mike Scully, Jurgis’s meager political connections do not help him. After being released, he is forced to live on charity. By this time, Jurgis has completely lost touch with his family. One day, however, he meets an old acquaintance who tells him how to find Marija. He learns that Marija has become a prostitute to help support Teta Elzbieta and the children. She is also addicted to morphine. Jurgis wants to see Teta Elzbieta again but not until he finds a good job.

One night, his spirit all but crushed by privation and misery, Jurgis wanders into a socialist political rally, in which an orator delivers a speech that fills Jurgis with inspiration. Jurgis joins the socialist party and embraces its ideal that the workers—not a few wealthy capitalists—should own factories and plants. Jurgis finds a job as a porter at a socialist-run hotel and is reunited with Teta Elzbieta. He attends a socialist rally in which the speaker sums up Jurgis’s new beliefs: if more people convert to socialism, the speaker declares, then “Chicago will be ours!”

The Idiot by Fyodor Dostoevsky

Prince Lev Nikolayevich Myshkin, a fair-haired young man in his late twenties and a descendant of one of the oldest Russian lines of nobility, arrives in St. Petersburg on a November morning. He has spent the last four years in a Swiss clinic for treatment of his "idiocy" and epilepsy.

Myshkin's only relation in St. Petersburg is the very distant Lizaveta Prokofyevna Yepanchin. Madame Yepanchin is the wife of General Yepanchin, a wealthy and respected man in his late fifties. The prince makes the acquaintance of the Yepanchins, who have three daughters, Alexandra, Adelaida, and Aglaya, the latter being the youngest and the most beautiful.

General Yepanchin has an ambitious and rather vain assistant by the name of Gavril Ardalyonovich Ivolgin (nicknamed Ganya) whom Myshkin also meets during his visit to the household. Ganya, though he is actually in love with Aglaya, is in the midst of trying to marry Anastassya Filippovna Barashkov, an extraordinarily beautiful "fatal woman" who was once the mistress of the aristocrat Totsky. Totsky has promised Ganya 75,000 rubles if he marries the "fallen" Nastassya Filippovna. As Myshkin is so innocent and naïve, Ganya openly discusses the subject of the proposed marriage in front of the prince.

The prince rents a room in the Ivolgin apartment, also occupied by Ganya, his sister, Varvara Ardalyonovna (Varya); his mother, Nina Alexandrovna; teenage brother, Nikolai (Kolya); his father, General Ivolgin; and another lodger by the name of Ferdyshchenko.

Nastassya Filippovna arrives and attempts to insult Ganya's family, which has refused to accept her as a possible wife for Ganya. Myshkin, however, stops her, putting her behavior to shame. Suddenly a rowdy crowd of drunks and rogues arrives, headed by Parfyon Semyonovich Rogozhin, a dark-haired twenty-seven-year-old who is passionately in love with Nastassya Filippovna. Rogozhin promises to bring 100,000 rubles to Nastassya Filippovna's birthday party scheduled for that evening at which she is to announce whether she will marry Ganya or not.

Among the guests at the party are Totsky, General Yepanchin, Ganya, Ferdyshchenko, Ptitsyn—a usurer friend of Ganya's who is a suitor to Varya Ivolgin—and a few others. With the help of Kolya, Prince Myshkin arrives as well, though uninvited. Following the prince's advice, Nastassya Filippovna refuses Ganya's proposal. Rogozhin arrives with the promised 100,000 rubles, but suddenly Myshkin himself offers to marry Nastassya Filippovna, announcing that he has recently learned he has a large inheritance. Though shocked at such a generous offer by an honest and generous heart, Nastassya Filippovna only deems herself worthy of being with Rogozhin, so she leaves the party with Rogozhin and his gang.

Prince Myshkin spends the next six months following Nastassya Filippovna as she runs from Rogozhin to the prince and back. Myshkin's inheritance turns out to be smaller than expected, and it shrinks further as he satisfies the claims of creditors and alleged relatives, many of which are fraudulent. Finally, the Prince returns to St. Petersburg and visits Rogozhin's house, which is a dark and dreary place. They discuss religion and exchange crosses.

However, later that day, Rogozhin attempts to stab Myshkin in the hall of the prince's hotel, but the prince is saved when he has a sudden epileptic fit. Several days later, Myshkin leaves for Pavlovsk, a nearby town popular for summer residence among St. Petersburg nobility. The prince rents several rooms from Lebedev, a rogue functionary. Most of the novel's characters—the Yepanchins, the Ivolgins, Varya and her husband Ptitsyn, and Nastassya Filippovna—spend the summer in Pavlovsk as well.

Burdovsky, a young man who claims himself to be the son of Myshkin's late benefactor, Pavlishchev, comes to the prince and demands money from him as a "just" reimbursement for Pavlishchev's support of the Prince. Burdovsky is supported by a group of insolent young men who include the consumptive seventeen-year old Hippolite Terentyev, a friend of Kolya Ivolgin. Although Burdovsky's claim is obviously fraudulent—he is not Pavlishchev's son at all—Myshkin is ready and willing to help Burdovsky financially.

The prince spends much of his time at the Yepanchins'. Soon, those around him realize that he is in love with Aglaya and that she most likely returns his feelings. However, a haughty, willful, and capricious girl, she refuses to admit her love for Prince Myshkin, and often even openly mocks him. Aglaya's family begins to treat him as her fiancé, and they even hold a dinner party with many renowned guests who are members of Russian high society.

Myshkin, during the course of an agitated and ardent speech on religion and the future of aristocracy, accidentally breaks a beautiful Chinese vase. Later in the evening he has a mild epileptic fit. The guests and the family are convinced that the seemingly sickly prince is not a good match for Aglaya.

Aglaya, however, does not renounce Myshkin, and even arranges a meeting between herself and Nastassya Filippovna, who has been writing letters to Aglaya to convince her to marry Myshkin. During this meeting, the two women force the Prince to choose between his romantic love for Aglaya and his compassionate pity-love for Nastassya Filippovna. Myshkin hesitates briefly, which prompts Aglaya to run off, breaking all hope of an engagement between them. Nastassya Filippovna wishes to marry the Prince again, but in the end she proves unable to bring herself to do so, instead running off with Rogozhin at the last minute.

The Prince follows the two to St. Petersburg the next day and finds that Rogozhin has stabbed Nastassya Filippovna during the night. The two men keep vigil over her body, which Rogozhin has laid out in his study. The epilogue relates that Rogozhin is sentenced to fifteen years of hard labor in Siberia, that Prince Myshkin loses his mind and returns to the Swiss sanitarium, and that Aglaya leaves Russia with a Polish count who lies to her and soon abandons her.

What happens when the ideal human being comes into the real world? In Dostoevsky's view, the ideal man does not bring good, but rather his own goodness is inverted and manipulated, leading to the destruction of both himself and his ideal. The world that Prince Myshkin enters is one of moral corruption and decay, with money as the object of principal importance. In this world, money not only makes one a better human being (Ganya, for example, believes it can cure his mediocrity), but it can also obtain one a beautiful bride (the various men bid for Nastassya Filippovna). No one deems Prince Myshkin a good husband for Aglaya, while nearly everyone considers Ptitsyn—an emblem of mediocrity who has enriched himself through usury—la most respectable match. Beautiful, intelligent women such as Nastassya Filippovna, are dishonored and consequently destroyed.

The world of the novel is also full of drunks (Lebedev, General Ivolgin, Ferdyshchenko, Rogozhin and his company) and rogues (Lebedev, Doktorenko, Keller, Ferdyshchenko and others). Practically everyone else, such as the Ptitsyns and the Ivolgins, is ordinary. High society is full of superficial nothings along with others—such as General Yepanchin—who have behaved in an obsequious manner to these nothings in order to gain a high position. Though Myshkin is infinitely morally superior to the world he enters, his effect on this world is ultimately zero—a mix of positive and negative. Though Myshkin attempts to help those around him, he drives several of them—General Ivolgin, Nastassya Filippovna, Aglaya—to destruction. The failure of Myshkin's compassion to save those about whom he cares most, especially Nastassya Filippovna, drives him to insanity.

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The Brothers Karamazov by Fyodor Dostoevsky

IN HIS YOUTH, Fyodor Pavlovich Karamazov is a coarse, vulgar man whose main concerns are making money and seducing young women. He marries twice and has three sons: Dmitri, the child of his first wife, and Ivan and Alyosha, children of his second wife. Fyodor Pavlovich never has any interest in his sons, and when their mothers die, he sends them away to be brought up by relatives and friends. At the beginning of the novel, Dmitri Karamazov, who is now a twenty-eight-year-old soldier, has just returned to Fyodor Pavlovich’s town. Fyodor Pavlovich is unhappy to see Dmitri because Dmitri has come to claim an inheritance left to him by his mother. Fyodor Pavlovich plans to keep the inheritance for himself. The two men swiftly fall into conflict over the money, and the coldly intellectual Ivan, who knows neither his father nor his brother well, is eventually called in to help settle their dispute. The kind, faithful Alyosha, who is about twenty, also lives in the town, where he is an acolyte, or apprentice, at the monastery, studying with the renowned elder Zosima. Eventually Dmitri and Fyodor Pavlovich agree that perhaps Zosima could help resolve the Karamazovs’ quarrel, and Alyosha tentatively consents to arrange a meeting.

At the monastery, Alyosha’s worst fears are realized. After Fyodor Pavlovich makes a fool of himself by mocking the monks and telling vulgar stories, Dmitri arrives late, and Dmitri and Fyodor Pavlovich become embroiled in a shouting match. It turns out that they have more to quarrel about than money: they are both in love with Grushenka, a beautiful young woman in the town. Dmitri has left his fiancée, Katerina, to pursue Grushenka, while Fyodor Pavlovich has promised to give Grushenka 3,000rubles if she becomes his lover. This sum is significant, as Dmitri recently stole 3,000 rubles from Katerina in order to finance a lavish trip with Grushenka, and he is now desperate to pay the money back. As father and son shout at each other at the monastery, the wise old Zosima unexpectedly kneels and bows his head to the ground at Dmitri’s feet. He later explains to Alyosha that he could see that Dmitri is destined to suffer greatly.

Many years previously, Fyodor Pavlovich Karamazov fathered a fourth son with a retarded mute girl who lived in town as the village idiot. The girl died as she gave birth to the baby, who was taken in by servants of Fyodor Pavlovich and forced to work as a servant for him as well. Fyodor Pavlovich never treats the child, Smerdyakov, as a son, and Smerdyakov develops a strange and malicious personality. He also suffers from epilepsy. Despite the limitations of his upbringing, however, Smerdyakov is not stupid. He enjoys nothing more than listening to Ivan discuss philosophy, and in his own conversations, he frequently invokes many of Ivan’s ideas—specifically that the soul is not immortal, and that therefore morality does not exist and the categories of good and evil are irrelevant to human experience.

After the humiliating scene in the monastery, the rest of Alyosha’s day is only slightly less trying. Dmitri sends Alyosha to break off Dmitri’s engagement with Katerina. Alyosha then argues about religion with Ivan in front of the smirking Fyodor Pavlovich. Alyosha also gets caught in the middle of another explosion between Dmitri and Fyodor Pavlovich over Grushenka, in the course of which Dmitri throws Fyodor Pavlovich to the ground and threatens to kill him. But despite the hardships of his day, Alyosha is so gentle and loving that he is concerned only with how he might help his family. After tending his father’s wounds, he returns to the monastery for the night.

The next day, Alyosha visits Katerina. To his surprise, Ivan is with Katerina, and Alyosha immediately perceives that Ivan and Katerina are in love. Alyosha tries to convince them that they should act on their love for one another, but they are both too proud and cold to listen. Alyosha has dinner with Ivan, and Ivan explains to him the source of his religious doubt: he cannot reconcile the idea of a loving God with the needless suffering of innocent people, particularly children. Any God that would allow such suffering, he says, does not love mankind. He recites a poem he has written called “The Grand Inquisitor,” in which he accuses Christ of placing an intolerable burden upon humanity by guaranteeing that people have free will and the ability to choose whether or not to believe in God.

That evening, Alyosha again returns to the monastery, where the frail Zosima is now on his deathbed. Alyosha hurries to Zosima’s cell, and arrives just in time to hear his final lesson, which emphasizes the importance of love and forgiveness in all human affairs. Zosima dies stretching his arms out before him, as though to embrace the world.

Many of the monks are optimistic that Zosima’s death will be accompanied by a miracle, but no miracle takes place. If anything, Zosima’s corpse begins to stink more quickly than might have been expected, which is taken by Zosima’s critics to mean that he was corrupt and unreliable in life. Sickened by the injustice of seeing the wise and loving Zosima humiliated after his death, Alyosha allows his friend Rakitin to take him to see Grushenka. Although Rakitin and Grushenka hope to corrupt Alyosha, just the opposite happens, and a bond of sympathy and understanding springs up between Grushenka and Alyosha. Their friendship renews Alyosha’s faith, and Alyosha helps Grushenka to begin her own spiritual redemption. That night, Alyosha has a dream in which Zosima tells him that he has done a good deed in helping Grushenka. This dream further strengthens Alyosha’s love and resolve, and he goes outside to kiss the ground to show his passion for doing good on Earth.

Dmitri has spent two days unsuccessfully trying to raise the money to pay Katerina the 3,000 rubles he owes her. No one will lend him the money, and he has nothing to sell. At last he goes to Grushenka’s house, and when she is not there, he is suddenly convinced that she has gone to be with Fyodor Pavlovich. He rushes to Fyodor Pavlovich’s house, but finds that Grushenka is not there. While prowling on the grounds, Dmitri strikes Fyodor Pavlovich’s old servant, Grigory, leaving him bloody and unconscious. Then he flees. He returns to Grushenka’s house, and learns from her maid that Grushenka has gone to rejoin a lover who abandoned her several years ago. Dmitri now decides that his only course of action is to kill himself. But he decides to see Grushenka one last time before he does so.

A few minutes later, Dmitri strides into a shop, with his shirt bloody and a large wad of cash in his hand. He buys food and wine, and travels out to see Grushenka and her lover. When Grushenka sees the two men together, she realizes that she really loves Dmitri. Dmitri locks the other man in a closet, and Dmitri and Grushenka begin to plan their wedding. But the police suddenly burst in and arrest Dmitri. He is accused of the murder of his father, who has been found dead. Due to the large amount of evidence against Dmitri, including the money suddenly found in his possession, he will be made to stand trial. Dmitri says that the money was what he had left after spending half of the 3,000 rubles he stole from Katerina, but no one believes him. Dmitri is imprisoned.

Meanwhile, Alyosha befriends some of the local schoolboys. He meets a dying boy named Ilyusha, and arranges for the other boys to come visit him every day. Alyosha helps Ilyusha’s family as the young boy nears death, and he is universally adored by all the schoolboys, who look to him for guidance.

Ivan talks to Smerdyakov about Fyodor Pavlovich’s death, and Smerdyakov confesses to Ivan that he, and not Dmitri, committed the murder. But he says that Ivan is also implicated in the crime because the philosophical lessons Smerdyakov learned from Ivan, regarding the impossibility of evil in a world without a God, made Smerdyakov capable of committing murder. This statement causes Ivan to become consumed with guilt. After returning home, Ivan suffers a nervous breakdown in which he sees a devil that relentlessly taunts him. The apparition vanishes when Alyosha arrives with the news that Smerdyakov has hung himself.

At the trial, Dmitri’s case seems to be going well until Ivan is called upon to testify. Ivan madly asserts that he himself is guilty of the murder, throwing the courtroom into confusion. To clear Ivan’s name, Katerina leaps up and shows a letter she received from Dmitri in which he wrote that he was afraid he might one day murder his father. Even after the letter is read, most of the people in the courtroom are convinced of Dmitri’s innocence. But the peasants on the jury find him guilty, and he is taken back to prison to await his exile in Siberia.

After the trial, Katerina takes Ivan to her house, where she plans to nurse him through his illness. She and Dmitri forgive one another, and she arranges for Dmitri to escape from prison and flee to America with Grushenka. Alyosha’s friend Ilyusha dies, and Alyosha gives a speech to the schoolboys at his funeral. In plain language, he says that they must all remember the love they feel for one another and treasure their memories of one another. The schoolboys, moved, give Alyosha an enthusiastic cheer.

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