A Tale of Two Cities Based on the Book by Charles Dickens
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A Tale of Two Cities - Walsh 76
A TALE OF TWO CITIES - WALSH 76. SCENE 19 (The scene shifts to the Manettes’ home in London. Lucie and Miss Pross enter. Lucie is upset. Miss Pross has to work hard to keep up.) MISS PROSS Miss Lucie! Miss Lucie! What on earth is wrong? LUCIE He has oppressed no man. He has imprisoned no man. Rather than harshly exacting payment of his dues, he relinquished them of his own free will. He left instructions to his steward to give the people what little there was to give. And for this service, he is to be imprisoned. MISS PROSS What are you talking about, Miss Lucie? LUCIE The decree. MISS PROSS What decree? There have been so many decrees I’ve lost count. LUCIE They are arresting emigrants. (The doorbell rings.) MISS PROSS But you remember what Mister Carton said, how unreliable the news is from France during these troubled times. LUCIE I must go to him. MISS PROSS You what? LUCIE If I leave now, there is a chance I may overtake him before he arrives in Paris. (Carton enters.) MISS PROSS Oh, Mister Carton! Thank goodness. Do talk some sense into her. A TALE OF TWO CITIES - WALSH 77. CARTON I, Miss Pross? When have I ever been known to talk sense? MISS PROSS She’s got it in her head to go to Paris! CARTON She... what? Lucie, you can’t be serious. LUCIE I am quite serious. Charles would do no less if our positions were reversed. CARTON Charles would not have let you go to Paris in the first place. -
A Tale of Two Cities by Charles Dickens
A Tale of Two Cities By Charles Dickens Book 2: The Golden Thread Chapter 11: A Companion Picture Sydney,” said Mr. Stryver, on that self-same night, or morning, to his jackal; “mix another bowl of punch; I have something to say to you.” Sydney had been working double tides that night, and the night before, and the night before that, and a good many nights in succession, making a grand clearance among Mr. Stryver’s papers before the setting in of the long vacation. The clearance was effected at last; the Stryver arrears were handsomely fetched up; everything was got rid of until November should come with its fogs atmospheric, and fogs legal, and bring grist to the mill again. Sydney was none the livelier and none the soberer for so much application. It had taken a deal of extra wet-towelling to pull him through the night; a correspondingly extra quantity of wine had preceded the towelling; and he was in a very damaged condition, as he now pulled his turban off and threw it into the basin in which he had steeped it at intervals for the last six hours. “Are you mixing that other bowl of punch?” said Stryver the portly, with his hands in his waistband, glancing round from the sofa where he lay on his back. “I am.” A Tale of Two Cities: Book 2, Chapter 11 by Charles Dickens “Now, look here! I am going to tell you something that will rather surprise you, and that perhaps will make you think me not quite as shrewd as you usually do think me. -
California State University, Northridge the Charms Of
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE CHARMS OF ASSUMPTION: ROLE PLAYING IN DICKENS'S LATER NOVELS A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in English by Patrick Byron Hunter January 1988 The Thesis o~Patrick Byron Hunter is approved: Lawrence Stewart California State University, Northridge ii ACKNOWLEDGMENTS I most especially thank Dr. Harry Stone, whose brilliant expertise as a Dickensian and meticulous attention as an advisor helped to create many of this thesis's virtues and none of its flaws. I also thank Valerie, my dearest friend, whose insight inspired me to begin this thesis and whose support enabled me to finish it. iii TABLE OF CONTENTS Acknowledgments •• . iii Abstract • • • • • . • v Chapters: I. Introduction . • • • 1 II. Dickens and Role Playing • . 8 III. Expected Roles: Great Expectations •• • • • .18 IV. Behavioral Roles: Our Mutual Friend • • .34 v. The Impersonator . • • • ~ .45 VI. The Player Without a Role. • • .57 VII. Conclusion • • . .67 Works Cited. • • • • .70 iv ABSTRACT THE CHARMS OF ASSUMPTION: ROLE PLAYING IN DICKENS'S LATER NOVELS by Patrick Byron Hunter Master of Arts in English This thesis demonstrates how roles, or the facades which human beings project when interacting with others, provide an approach for understanding the characters and themes in Dickens's fiction written after 1857, from Little Dorrit to The Mystery of Edwin Drood. It argues that the characters in the author's final period desperately play roles to find fulfillment and also demonstrates how Dickens himself sought role playing to alleviate his own personal crises. ' ~ v The thesis approaches the fiction by categorizing roles into the two types: expected roles, or those roles demanded by society; and behavioral roles, or those structured, not by society, but by individuals. -
All the Year Round. a Weekly Journal
"THE STORY OF OUR LIVES FROM YEAR TO YEAR."---SHAKEsPEArE. ALL THE YEAR ROUND. A WEEKLY JOURNAL. CONDUCTED BY CHARLES DICKENS. WITH WHICH IS INCORPORATED HOUSEHOLD WORDS. SATURDAY, NOVEMBER 19, 1859. N°- 30.] [PRICE 2d. "In a word," said Madame Defarge, coming A TALE OF TWO CITIES. out of her short abstraction, "I cannot trust In Three Books. my husband in this matter. Not only do I feel By CHARLES DICKENS. since last night, that I dare not confide to him the details of my projects; but also I feel that if I delay, there is danger of his giving warning, BOOK THE THIRD. THE TRACK OF A STORM. and then they might escape." CHAPTER XIV. THE KNITTING DONE. "That must never be," croaked Jacques IN that same juncture of time when the Fifty- Three; "no one must escape. We have not Two awaited their fate, Madame Defarge held half enough as it is. We ought to have six darkly ominous council with The Vengeance and score a day." Jacques Three of the Revolutionary Jury. Not "In a word," Madame Defarge went on, in the wine-shop did Madame Defarge confer "my husband has not my reason for pursuing with these ministers, but in the shed of the this family to annihilation, and I have not his wood-sawyer, erst a mender of roads. The reason for regarding this Doctor with any sensi- sawyer himself did not participate in the bility. I must act for myself, therefore. Come conference, but abided at a little distance, hither, little citizen." like an outer satellite who was not to speak The wood-sawyer, who held her in the re- until required, or to offer an opinion until in- spect, and himself in the submission, of mor- vited. -
Cultural Hegemony in Charles Dickens's a Tale of Two Cities
International Journal of Literature and Arts 2014; 2(4): 98-103 Published online July 20, 2014 (http://www.sciencepublishinggroup.com/j/ijla) doi: 10.11648/j.ijla.20140204.13 ISSN: 2331-0553 (Print); ISSN: 2331-057X (Online) Cultural hegemony in Charles Dickens’s A Tale of Two Cities Meysam Ahmadi Department of English Language and Literature, College of Humanities, Boroujerd Branch, Islamic Azad University, Boroujerd, Iran Email address: [email protected] To cite this article: Meysam Ahmadi. Cultural Hegemony in Charles Dickens’s A Tale of Two Cities. International Journal of Literature and Arts. Vol. 2, No. 4, 2014, pp. 98-103. doi: 10.11648/j.ijla.20140204.13 Abstract: This study delineates the use of cultural hegemony in Charles Dickens’s A Tale of Two Cities (1859) through the vantage points of Italian critic Antonio Gramsci (1891-1937) who clarifies domination of the ruling class over ruled class. Cultural hegemony is the mastery of the middle class and governing groups among the lower divisions. Antonio Gramsci declares that the only means of keeping cultural hegemony by super leaders is not the handling of power and coercion; instead, consent, language, use of intellectual men and educational instruments are the ways regarding the implementation of cultural hegemony. In A Tale of Two Cities , Charles Dickens expresses the effects England and France, and manifests the tyrannical events of French Revolution. The beginning of A Tale of Two Cities asserts extreme tyranny and a violation of aristocrats as well as its ending through which the rebels punish sovereigns and the king after the French Revolution. -
Charles Dickens
Charles Dickens A Tale of Two Cities (1859) It was the best of times, it was the worst of times, Intro Horner it was the age of wisdom, it was the age of foolishness… Spring ‘ 06 This piece of fiction is based on many actual historical events. The Plot The action of A Tale of Two Cities takes place over a period of about eighteen years, beginning in 1775, and ending in 1793. Some of the story takes place earlier, as told in the flashbacks. It centers around the years leading up to French Revolution and culminates in the Jacobin Reign of Terror. It tells the story of two men, Charles Darnay and Sydney Carton, who look very alike but are entirely different in character. Darnay is a romantic descended from French aristocrats, while Carton is a cynical English barrister. The two are in love with the same woman, Lucie Manette: one will love her from afar and make a courageous sacrifice for her and the other will marry her. Lucie Manette Charles Darnay Sydney Carton In France after more than seventeen years of unjust imprisonment, Dr. Alexandre Manette (Lucie’s father) is released from the infamous Bastille, setting into motion this time spanning story of revenge and resurrection. Upon his release, Manette is sheltered and cared for by an old servant, Ernest Defarge, the wine vendor and his wife Madame Defarge. Madame Defarge The Setting London, England Paris, France Conflict In his dual focus on the French Revolution and the individual lives of his characters, Dickens draws many comparisons between the historical developments taking place and the characters’ triumphs and travails. -
A Tale of Two Cities
A Tale of Two Cities CHARLES DICKENS A Tale of Two Cities is set before and during the French Revolution, and examines the harsh con- 1859 ditions and brutal realities of life during this difficult time. While the conditions before the revolution were deplorable, things were far from ideal afterward as the violence toward, and oppression of, one class was reversed once the poor overthrew the nobility. In the end, the only glimmer of hope comes with the heroic sacrifice of Sydney Carton, as he gives his life for the good of others. According to Dickens’s Preface, the inspira- tion for the story came from two sources. The first was Wilkie Collins’s play The Frozen Deep, in which two rivals unknowingly embark on the same doomed Arctic expedition, and one ends up dying to save his rival. The second was Thomas Carlyle’s The French Revolution: A History. The details in the portions of A Tale of Two Cities that take place in France closely echo Carlyle’s work, and critics have noted that Carlyle’s account seems to be Dickens’s only source of historical information. One of the most-discussed aspects of A Tale of Two Cities is the ambivalence with which Dickens seems to regard the revolution and the revolutionaries. Although he clearly under- stands why the French people rose up to over- throw their government and seize power for themselves, he seems troubled by the manner in which this occurred. The violence and brutality 494 ATaleofTwoCities THE NEW ERA BEGAN; THE KING WAS TRIED, DOOMED, AND BEHEADED; THE REPUBLIC OF LIBERTY, EQUALITY, FRATERNITY, OR DEATH, DECLARED FOR BIOGRAPHY VICTORY OR DEATH AGAINST THE WORLD IN ARMS; THE Charles Dickens BLACK FLAG WAVED NIGHT AND DAY FROM THE GREAT Charles Dickens, one of England’s most famous TOWERS OF NOTRE DAME; THREE HUNDRED THOUSAND and beloved authors, was born February 7, 1812 MEN, SUMMONED TO RISE AGAINST THE TYRANTS OF in Portsmouth, England. -
Tale of Two Cities Manual
A Tale of Two Cities Charles Dickens Assessment Manual THE EMC MASTERPIECE SERIES Access Editions SERIES EDITOR Robert D. Shepherd EMC/P aradigm Publishing St. Paul, Minnesota Staff Credits: For EMC/Paradigm Publishing, St. Paul, Minnesota Laurie Skiba Eileen Slater Editor Editorial Consultant Shannon O’Donnell Taylor Jennifer J. Anderson Associate Editor Assistant Editor For Penobscot School Publishing, Inc., Danvers, Massachusetts Editorial Design and Production Robert D. Shepherd Charles Q. Bent President, Executive Editor Production Manager Christina E. Kolb Sara Day Managing Editor Art Director Kim Leahy Beaudet Tatiana Cicuto Editor Compositor Sara Hyry Editor Laurie A. Faria Associate Editor Sharon Salinger Copyeditor Marilyn Murphy Shepherd Editorial Consultant Assessment Advisory Board Dr. Jane Shoaf James Swanson Educational Consultant Educational Consultant Edenton, North Carolina Minneapolis, Minnesota Kendra Sisserson Facilitator, The Department of Education, The University of Chicago Chicago, Illinois ISBN 0–8219–1726–9 Copyright © 1998 by EMC Corporation All rights reserved. The assessment materials in this publication may be photocopied for classroom use only. No part of this publication may be adapted, reproduced, stored in a retrieval system, or transmit - ted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, with - out permission from the publisher. Published by EMC/Paradigm Publishing 875 Montreal Way St. Paul, Minnesota 55102 Printed in the United States of America. 10 9 8 7 6 5 4 3 2 1 xxx 03 02 01 00 99 98 Table of Contents Notes to the Teacher . 2 ACCESS EDITION ANSWER KEY Answers for Book I, Chapters 1–6 . 6 Answers for Book II, Chapters 1–6 . -
Furies of the Guillotine: Female Revolutionaries In
FURIES OF THE GUILLOTINE: FEMALE REVOLUTIONARIES IN THE FRENCH REVOLUTION AND IN VICTORIAN LITERARY IMAGINATION A Thesis Presented to the faculty of the Department of History California State University, Sacramento Submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in History by Tori Anne Horton FALL 2016 © 2016 Tori Anne Horton ALL RIGHTS RESERVED ii FURIES OF THE GUILLOTINE: FEMALE REVOLUTIONARIES IN THE FRENCH REVOLUTION AND IN VICTORIAN LITERARY IMAGINATION A Thesis by Tori Anne Horton Approved by: __________________________________, Committee Chair Dr. Mona Siegel __________________________________, Second Reader Dr. Rebecca Kluchin ____________________________ Date iii Student: Tori Anne Horton I certify that this student has met the requirements for format contained in the University format manual, and that this thesis is suitable for shelving in the Library and credit is to be awarded for the thesis. __________________________, Department Chair ___________________ Dr. Jeffrey Wilson Date Department of History iv Abstract of FURIES OF THE GUILLOTINE: FEMALE REVOLUTIONARIES IN THE FRENCH REVOLUTION AND IN VICTORIAN LITERARY IMAGINATION by Tori Anne Horton The idea of female revolutionaries struck a particular chord of terror both during and after the French Revolution, as represented in both legislation and popular literary imagination. The level and form of female participation in the events of the Revolution varied among social classes. Female participation during the Revolution led to an overwhelming fear of women demanding and practicing democratic rights in both a nonviolent manner (petitioning for education, demanding voting rights, serving on committees), and in a violent manner (engaging in armed protest and violent striking). The terror surrounding female democratic participation was manifested in the fear of the female citizen, or citoyenne. -
English Round Between How a Word/Phrase Should 2017 – Senior Division Coaches Practice Be Pronounced and What You See
Students: Throughout this competition, foreign Indiana Academic Super Bowl names and words may be used. If there are any discrepancies English Round between how a word/phrase should 2017 – Senior Division Coaches Practice be pronounced and what you see A Program of the Indiana Association of School Principals on the screen, the screen supersedes what is spoken. SD-CP-E-1 SD-CP-E-2 The opening sentence of A Tale of Two The epigraph to “Don Juan: Dedication” is “Difficile est proprie communia dicere.” Which of the Cities, offers examples of each of the following BEST translates that sentence? following EXCEPT _______ A. It is appropriate to tell the truth as one laughs. A. antithesis B. It is difficult to speak of the universal specifically. B. metonymy C. It is desirable to use one’s gifts for the good of C. parallelism the community. D. It is sufficient to combine well-chosen words D. polysyndeton in a well-ordered line. 1 SD-CP-E-3 SD-CP-E-4 In Dickens’ A Tale of Two Cities, Jarvis Lorry protests, “Feelings! I have no time for them, no change of them.” In the first stanza of “Don Juan: Dedication,” Byron However, the truth that he does have feelings is BEST says Southey “turned out a Tory.” In fact, he was a supported by the way he ________ Tory Member of Parliament. A Tory is understood to support each of the following EXCEPT _______ A. observes the intricately carved frame of the pier-glass in the room in which Lucie sits A. -
Monsters Most Dreadful: Institutions in a Tale of Two Cities
Monsters Most Dreadful: Institutions in A Tale of Two Cities by Natalie Kopp, Westerville South High School Resurrection, in a variety of forms, arises as a central motif throughout Charles Dickens’ A Tale of Two Cities. Repeatedly, individuals are “recalled to life” by someone who loves them—Lucie Manette brings her father back after he has been “buried alive for eighteen years” (20); she gives testimony that helps save her husband-to-be from almost certain death by the English courts; Sydney Carton gives his life to save Lucie’s family, resurrecting them; and, in turn, Lucie’s family recalls Carton to life through their memories for years to come. Examples abound of loving individuals who, in recalling and being recalled, create a legacy for themselves and their principles. But what about the powerful institutions that ensnare the lives of all these individuals? What ensures their longevity? Writing the novel in a time of political unrest and fear of revolution in England (just a decade after the European revolutions of 1848), Dickens devotes considerable detail to creating portraits of such institutions as the French aristocracy, the new French Republic, the British and French court systems, and Tellson’s Bank. Through these portrayals, he sends a message to his country and to future societies about the fate of such institutions: A group or institution that depersonalizes and does not respect individuals will ultimately die out, while a group that honors such basic human virtues as empathy, love, and compassion will live on. Individual virtues can be quite easily overshadowed by group dynamics, but Dickens makes it clear that love and empathy are so essential to the human spirit that, so long as there are individuals who will stand up for these virtues, no group or society can sustain itself without them. -
A Tangible Resistance WORDS and PHOTOGRAPHS: Leanne Fischler
005 PROTEST A tangible resistance WORDS AND PHOTOGRAPHS: Leanne Fischler WHISPER Revolutions have always played a vital part in shaping the way our society and political systems are run today. Yet behind every revolution there are secret objects, ingeniously shaped by raw necessity, to guide, unite, hide and inspire. 005 PROTEST Above Solidarnosc badge and moc resistor Image courtesy of V&A London hildren love the idea of secrets; Social movements is the art of hiding messages communication in history amongst these: chess puzzles, lovers ‘kisses’ more than a tool of communication between book, also called “Disobedient they allow them to know something are one of the in plain sight. It is the art of through the literature of the at the end of letters, and knitted jumpers. the revolutionaries, Madame Defarge’s Objects”, Flood and Grindon Cabove other people, yet why are primary engines whispering your secret in a Victorian poets. In his study Before the advances of digital knitting itself is turned from something described their choice of title as secret communications needed in today’s producing our crowded room. “Cowley’s Lemmon: Secrecy cryptography, intelligence agencies had domestic into an object full of horrific, inspired by normal, every day adult society? When people feel a lack of culture and politics, Objects have always been and Interpretation in The to use physical objects to convey their fastidious secrecy. things that are used in new and and this is no less openness in a political situation, when used as part of revolutions, for Mistress” he describes the communications and signals.