The people are becoming more bestial than those who oppressed them. While the oppressors were appathetic, these people crave blood and revenge. When I first heard that Charles was going to go to France, I had a feeling that something was bound to go wrong. What was the deal with the people who escorted him? Were they working for the rebels like Defarge because they delivered Darnay to a prison or were they working to get some extra coin from him?
It was kind of interesting that Defarge at first seemed concerned that Darnay left his wife to come into danger, but then said that he wouldn't help him. Is it really more honorable to be loyal to your country and liberty than to be loyal to what is right?
I was somewhat relieved to hear that Lucie and her father came into the picture during the last section because all didn't seem hopeless for Darnay. The people were like savages though. I pictured seeing them like tribal canibals, viciously grinding the stone to sharpen their weapons and then charging back to slay another prisoner. It's like their hunger has caused their insanity as they thirst for blood and revenge. Chills went down my spine when Lorry said, "they are...murdering the prisoners."
It's interesting how quickly the minds of the people changed when Mannette went out to them (which is a good thing, but still, they are easily persuaded by their loyalties). I hope that Mannette and the men get to Darnay on time. I want to read on to see if he makes it and to see what the Doctor left in his cell that Defarge found. I also want to see how Sydney Carton comes in to lay down his life for Darnay or another of Lucie's loved ones.
Sunday, November 23, 2008
Tuesday, November 18, 2008
A Tale of Two Cities: pg. 161-204
In the first section of our reading, Madame Defarge seems to be making shrouds with all of the knitting that she does, which foreshadows later events concerning the revolution because a shroud covers a corpse. I was somewhat worried when the Defarges were talking about Lucie's marriage to Darnay and how Charles's destiny "will lead him to the end that is to end him." Because Darnay is associated with the Marquis, he is to be killed; I really don't want this fate to befall him....
After Mannette has his relapse, he is speaking with Mr. Lorry, who refers to the Doctor in third person. This I found interesting because people still seem to do that today. When Mannette believes that he won't go into a relapse again and that the worst shock is over (figuring out Darnay's true identity the morning of the wedding), but I believe he is wrong and that the revolutionists will come after Darnay and his family....but Carton will save them.
I felt that Lucie hearing the echos became more forshadowing for the Revolution. She feels that something is closing in on her and she will die young (which, hopefully, she will be saved....sadly, perhaps at the cost of dear Mr. Carton's life...). I love how Lucie's children were fond of Carton because they can see his inner self, as children sometimes do.
The brutality of the beginning of the Revolution was gruesome...even though the people had been treated horribly by those people in higher authority. Madame Defarge always seems so composed and calm. Is there nothing that can break her? Nothing that can make her falter? She seemed to behead the governor with ease. What can possibly be going through the prisoners' heads at this point? They must be somewhat frightened (I think Dickens may have mentioned that), especially after seeing the seven heads hoisted up on sticks. Is this a symbol perhaps?
What is Defarge looking for in Mannette's cell? It was mentioned earlier in the story, but I don't think it told of the true identity of the object. What is the importance of this thing? Mannette wrote "DIG" on the wall, so he must've wanted someone to find it, so is it good that Defarge didn't? I'm interested to find out what that object was and what will become of the Doctor, his family/friends, and Carton....
After Mannette has his relapse, he is speaking with Mr. Lorry, who refers to the Doctor in third person. This I found interesting because people still seem to do that today. When Mannette believes that he won't go into a relapse again and that the worst shock is over (figuring out Darnay's true identity the morning of the wedding), but I believe he is wrong and that the revolutionists will come after Darnay and his family....but Carton will save them.
I felt that Lucie hearing the echos became more forshadowing for the Revolution. She feels that something is closing in on her and she will die young (which, hopefully, she will be saved....sadly, perhaps at the cost of dear Mr. Carton's life...). I love how Lucie's children were fond of Carton because they can see his inner self, as children sometimes do.
The brutality of the beginning of the Revolution was gruesome...even though the people had been treated horribly by those people in higher authority. Madame Defarge always seems so composed and calm. Is there nothing that can break her? Nothing that can make her falter? She seemed to behead the governor with ease. What can possibly be going through the prisoners' heads at this point? They must be somewhat frightened (I think Dickens may have mentioned that), especially after seeing the seven heads hoisted up on sticks. Is this a symbol perhaps?
What is Defarge looking for in Mannette's cell? It was mentioned earlier in the story, but I don't think it told of the true identity of the object. What is the importance of this thing? Mannette wrote "DIG" on the wall, so he must've wanted someone to find it, so is it good that Defarge didn't? I'm interested to find out what that object was and what will become of the Doctor, his family/friends, and Carton....
Thursday, November 13, 2008
A Tale of Two Cities: pg 118-161
Out of the men that expressed their love for Miss Manette, I would have to say that Darnay may be the best one for her as he seems to be a kind and respectful gentleman. Carton was brave in coming to her and confessing his love, and I did feel some pity for him, but she shouldn't marry him in pity. Stryver, on the other hand, reminded me of Gaston from Beauty and the Beast because of his boastfulness and bulkiness--whether he was bulky from fat or muscle, I didn't totally understand. He thought any woman would think of him as a prize and that it would be a joy to Lucie for him to propose, which really reminded me of the part of Disney's Beauty and the Beast where Gaston goes to propose to Belle and already has the town outside and prepared for a wedding--which makes it more comical in both instances when the boastful men get turned down. I was about to applaud Mr. Lorry.
In the chapter titled "The Honest Tradesman"--which is very ironic--Young Jerry finally figures out that his "honorable" father, Mr. Cruncher, is not quite the honest tradesman he pretends to be. I believe that the casket, or his fear, seemingly following him and wanting to consume him after Young Jerry sees what his father is doing somewhat symbolizes how that image will never leave him. Having never seen anything in the like of what his father was doing, the image haunted his memory and I believe it made him lose even more of his innocence than what was already taken away by following Mr. Cruncher before.
At first, I was surprised that Young Jerry didn't help his mother when Jerry was beating her against the headboard of the bed, thinking that the son of this abuser would change after seeing that his father was more of an enemy than his mother was; but when the next day came and Young Jerry wanted still to be like his dear old dad, I figured that there may be no hope for his changing and Young Jerry seems doomed to be a clone of Mr. Cruncher.
I feel for Mrs. Cruncher. Perhaps women weren't so independent as they are today, or perhaps she feels weaker than her husband and child, but she's becoming a captive in her own household. At least she can probably pray when Young and old Jerry go to Tellson's, but it would be difficult, I believe, to be hindered by your own husband and son from doing something so important. What I want to see happen, though it's unlikely that it will, is Mrs. Cruncher standing up for herself and fighting back when he tries to abuse her. She doesn't deserve to be treated that way.
I didn't totally understand the part about all of the men named "Jaques." Most of what I gathered was that the mender of roads is joining them and he just put out a spectacle--he was acting right?-- of crying and rejoicing for royalty...something that may come into play later in the story it seems.
In the chapter titled "The Honest Tradesman"--which is very ironic--Young Jerry finally figures out that his "honorable" father, Mr. Cruncher, is not quite the honest tradesman he pretends to be. I believe that the casket, or his fear, seemingly following him and wanting to consume him after Young Jerry sees what his father is doing somewhat symbolizes how that image will never leave him. Having never seen anything in the like of what his father was doing, the image haunted his memory and I believe it made him lose even more of his innocence than what was already taken away by following Mr. Cruncher before.
At first, I was surprised that Young Jerry didn't help his mother when Jerry was beating her against the headboard of the bed, thinking that the son of this abuser would change after seeing that his father was more of an enemy than his mother was; but when the next day came and Young Jerry wanted still to be like his dear old dad, I figured that there may be no hope for his changing and Young Jerry seems doomed to be a clone of Mr. Cruncher.
I feel for Mrs. Cruncher. Perhaps women weren't so independent as they are today, or perhaps she feels weaker than her husband and child, but she's becoming a captive in her own household. At least she can probably pray when Young and old Jerry go to Tellson's, but it would be difficult, I believe, to be hindered by your own husband and son from doing something so important. What I want to see happen, though it's unlikely that it will, is Mrs. Cruncher standing up for herself and fighting back when he tries to abuse her. She doesn't deserve to be treated that way.
I didn't totally understand the part about all of the men named "Jaques." Most of what I gathered was that the mender of roads is joining them and he just put out a spectacle--he was acting right?-- of crying and rejoicing for royalty...something that may come into play later in the story it seems.
Wednesday, November 5, 2008
A Tale of Two Cities: pg. 82-118
Dickens begins these chapters somewhat describing the setting. For example, when Mr. Lorey is on his way to Dr. Manette's house, the scenery is of a beutiful Sunday that is quiet. Dickens states "A quainter corner than the corner where the Doctor lived, was not to be found in London." The quietness of the surroundings gives the passage somewhat of a tone of peace and serenity--like walking through a park on a bright, sunny, Spring day.
Another example of setting description occurs when Mr. Lorey enters the house and sees Lucie's decorations of the house. The rooms have simple accessories of no value, but they are inviting and interesting, which somewhat makes the rooms seem like a personification of Lucie. Everything is arranged carefully and delicately and are pleasant, which is somewhat of the effect Lucie has on others (like in the courtroom when most thought of her as beautiful). Dickens states that "the very chairs and tables seemed to ask [Mr. Lorey], with something of that peculiar expression which he knew so well by this time, whether he approved?" Almost directly pointing to the Doctor's daughter, the "expression" of the rooms reminds readers of the way Dickens repeatedly stated Lucie's peculiar expression of her forehead.
The story Darnay tells about the letters and words carved on the cell wall gives another instance of setting that evokes some questions. Most of the words were "dates, names, complaints, and prayers," but it may have been somewhat interesting to read some of them. But more importantly, the letters "D.I.G." were thought to mean the word "dig," so after workers dug beneath the stone of the cell, they found the ashes of paper and "a small leathern case or bag." After hearing this, Dr. Manette becomes "ill" and doesn't comment on the strangeness of the story. The people thought that the prisoner who wrote "dig" had been executed, but upon seeing Manette's reaction, it seems that the doctor did it while imprisoned or at least knows something about it...adding to the mystery of this book.
Another example of setting description occurs when Mr. Lorey enters the house and sees Lucie's decorations of the house. The rooms have simple accessories of no value, but they are inviting and interesting, which somewhat makes the rooms seem like a personification of Lucie. Everything is arranged carefully and delicately and are pleasant, which is somewhat of the effect Lucie has on others (like in the courtroom when most thought of her as beautiful). Dickens states that "the very chairs and tables seemed to ask [Mr. Lorey], with something of that peculiar expression which he knew so well by this time, whether he approved?" Almost directly pointing to the Doctor's daughter, the "expression" of the rooms reminds readers of the way Dickens repeatedly stated Lucie's peculiar expression of her forehead.
The story Darnay tells about the letters and words carved on the cell wall gives another instance of setting that evokes some questions. Most of the words were "dates, names, complaints, and prayers," but it may have been somewhat interesting to read some of them. But more importantly, the letters "D.I.G." were thought to mean the word "dig," so after workers dug beneath the stone of the cell, they found the ashes of paper and "a small leathern case or bag." After hearing this, Dr. Manette becomes "ill" and doesn't comment on the strangeness of the story. The people thought that the prisoner who wrote "dig" had been executed, but upon seeing Manette's reaction, it seems that the doctor did it while imprisoned or at least knows something about it...adding to the mystery of this book.
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