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“The king’s no friend to her, and has decreed that she not keep alive her brother’s seed; fearing some new shoot from their guilty stem, He wants her death to be the end of them; for her, the nuptial torch shall never blaze; He’s doomed her to be single all her days. Shall I take up her cause then, brave his rage, set a rebellious pattern for the age…” Hippolytus (talking about Aricia) |
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“I sucked that pride which seems so strange to you from an Amazonian mother” |
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Hippolytus discussing to his tutor Theramenes the proud persuasions that prevent him from feeling any interest in any woman. |
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“Before you’d lived as long as I have done, more than one tyrant, monsters more than one had felt your strength of arm, your sword’s keen blade…let me at long last show my courage…” |
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| Hippolytus to Theseus. he wants to prove to all the world he was his son. |
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| "You know how I, a lifelong enemy of love, gave thanks for Thesus'styranny, since he forbade what I was glad to shun. But then...but then I had not seen his son. Not that my eyes alone, charmed by his grace have made me love him for his form or face, mere natural gifts for which he seems to care but little, or of which he's unaware I find in him far nobler gifts than these-his father's strengths, without his frailties. I love, I own, a heart that's never bowed beneath love's yoke, but stayed aloof and proud. ...Ah but to move a heart that's firm as stone, to teach it pangs which it has never known, to bind my baffled captive in a chain. Against whose sweet constraint he strives in vain. |
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| Aricia to Ismene, her bosom friend, on her attraction to Hippolytus |
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| "The gods have robbed me of my wits. A rush of shame, Oenone, causes me to blush. I make my guilty torments all too plain. My eyes, despite me, fill with tears of pain" |
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| Phaedra, a "monster of lust" (text intro), is here a woman struggling against her nature, as she wrestles with her love she has for her stepson |
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| My husband still seems present to my view. I see him, I speak with him...Ah my lord, I feel crazed with a passion that that I can't conceal |
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Phaedra to Hippolytus in discussing her crazed love for her stepson. Everyone believes Theseus to be dead and Phaedra sees this as an oppurtunity to express her attraction and love to Hippolytus. |
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"I reign? You'd trust the state in my control, when reason rules no longer in my soul? When passions overwhelm me? when from the weight of shame I bear, I almost suffocate? When I am dying? |
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| Phaedra revealing the tension between passion and reason that occupies the play's main characters, here she discusses her lack of confidence in herself to Oenone of ruling the state. |
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| son of Aegeus and King of Athens. |
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| wife of Thesus, dies by drinking poison |
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| Princess of the Blood Royal of Athens. |
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- nurse of Phaedra, dies by suicide
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| son of Thesus and Antiope, queen of the Amazons. Dragged to death by his escaping chariot after facing a monster at sea |
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A simple young man who travels the world and experiences all of its joys and horrors. Throughout the novel, Candide acts as a test for the concept of philosophical optimism, or “all is for the best.” |
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| Baron of Thunder-ten-tronckh |
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| A vain, pompous man, living in the castle at Westphalia. He, along with his son, is considered a possible representation of Frederick the Great. |
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| The baron’s beautiful daughter, with whom Candide is in love. |
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A learned philosopher and tutor to the baron. He espouses the philosophy of philosophical optimism. (Candide) |
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| Anabaptist who saves the main characters |
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A chambermaid in the baron’s household; she has an affair with Pangloss and infects him with a disfiguring disease. (Candide) |
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| Candide’s faithful valet, who travels with him and eventually settles at the farm with the rest of the group. |
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| "How can you expect me to eat ham when I have killed the son of my Lord the Baron, and am now condemned to see the lovely Cunegonde for the rest of my life? Why should I drag out my miserable days, since I must exist far from her in the depths of despair and remorse?" |
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| Candide. Even in despair, Candide still seeks self preservation. Refers to grief of killing the Jesuit, brother of Cungeonde |
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| "...to be subjected to every sort of inslut and outrage, to be reduced, time and again, to borrowing a skirt in order to go have it lifted by some disgusting man, to be robbed by this fellow of what one has gained from that, to be shaken down by the police, and to have before one only the prospect of a hideous old age, a hospital, and a dunghill, you will conclude that I am one of the most miserable creatures in the world" |
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| Paquette to Candide discussing her life's pain and misfortunes experienced at the whole household of the lovely Cunegonde. |
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| Cunegonde is washing dishes on the shores of the Propontis, in the ohouse of a prince who has very few dishes to wash, she is a slave in the house of a king named Ragotski, to whom the great Turk allows three crowns a day in his exil. But worse than all this she has lost all her beauty and become horribly ugly. |
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| Cacambo to Candide discussing Cunegonde's current enslavement |
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"to make Better" society can be improved through appropriate human actions. |
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"All events are linked together in the best of possible worlds; for after all, if you had not been driven from a fine castle by being kicked in the backside for love of Cunegonde, if you hadn't been sent before the inquisition, if you hadn't traveled across America on foot, if you hadn't given a good sword thrust to the baron, if you hadn't lost all your sheep from the good land of ElDorado, you wouldn't be sitting here eating candied citron and pistachios." |
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| Pangloss to Candide. The whole story through Pangloss is of the opinion that this is the best of worlds. Candide struggles to accept this. He accepts this quote by Pangloss but follows it up with "...but we must cultivate our garden..." |
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"Wherever nature led: more like a man flying from something that he dreads, than one who sought the thing he loved. For nature then (the coarser pleasures of my boyish days, and their glad animal movements all gone by) to me was all in all." |
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| William Wordsworth's reflection in "A few Lines composed above Tintern Abbey". His recollections of this natureal beauty have helped sustain him in the confusion and weariness of city life. Recollection of youthful experience that brought a great presence. |
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| "IN nature and the language of the sense, the anchor of my purest thoughts, the nurse, the guide, the guardian of my heart, and soul, of all my moral being." |
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| Wordsworth. Pastoor called these, pure feelings, almost worshipful of nature |
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| "For thou art with me here upon the banks of this fair river, though my dearest Friend, My dear, dear Friend; and in thy voice I catch the language of my former heart, and read my former pleasures in the shooting lights of thy wild eyes!"...My dear sister! and this prayer I make, knowing that Nature nver did betray the heart that loved her, 'tis her privelage... |
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| Wordsworth Reflecting upon his sister |
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| "I am a sick man...I am a spiteful man. I am a most unpleasent man. I think my liver is diseased. Then again, I don't know a thin about my illness. I'm not being treated and never have been, though I respect both medicine and doctors. Besides I'm extremely superstitous..." |
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| Underground man talking about his illness introducing "notes from Underground". He explains that, in modern society, all conscious and educated men should be as miserable as he is. He has become disillusioned with all philosophy. He has appreciation for the sublime, Romantic idea of “the beautiful and lofty,” but he is aware of its absurdity in the context of his narrow, mundane existence. |
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| "he wants to hold onto those most fantastic dreams, his own indecent stupidity solely for the purpose of assuring himself that men are still men and not piano keys, and that even if the laws of nature play upon them with their own hands, they're still threatened by being overplayed until they won't possibly desire anything more than a schedule." |
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The Underground Man. We have need to have our existence acknowledged. |
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| He is extremely alienated from the society in which he lives. He feels himself to be much more intelligent and “conscious” than any of the people he meets. However, he is aware that his consciousness often manifests itself as a skepticism that prevents him from having confidence in any of his actions. This skepticism cripples him and keeps him from participating in “life” as other people do. The Underground Man constantly analyzes and second-guesses every thought and feeling he has. He is therefore incapable of making decisions about anything. |
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| A young prostitute whom the Underground Man tries to rescue after sleeping with her at a brothel. Liza is somewhat shy and innocent despite her profession, and she responds emotionally to the Underground Man’s efforts to convince her of the error of her ways. She is naturally loving and sympathetic, but she also has a sense of pride and nobility. |
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| "Man loves to create and build roads; that's indisputable. But why is he also so passionately fond of destruction and chaos?" |
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| THe Underground man's thoughts on man and his attachment to destruction. This is connected to the idea that man loves suffering and is compelled to inflict it's consequences upon others. This freedom of choice to inflict suffering or create is what makes us human. |
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| After all, perhaps man likes something other than well being. Perhaps he loves suffering just as much? Perhaps suffering is just as advantageous to him as wellbeing? Man sometimes loves suffering terribly, to the point of passion, and that's a fact." |
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| Underground Man discussing man's love for suffering |
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| "Consciousness fro example is infinitely higher than two times two, there's nothing left, not merely nothing to do, but nothing to learn. Then the only thing possible will be to plug up your five senses and plunge into contemplation. |
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| 2 times 2=5 is an expression of free will. Science means to the Underground Man the victory of the doctrine of fatality of iron necessity, of determinism, and thus finally of death. Humanity would become an "organ stop", a piano key, if deterministic science were valid. |
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| Ivan Ilych's life had been most simple and most ordinary and therefore most terrible. |
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| This line comes from Chapter II of the novel, and is among the most famous in Russian literature. While a simple life is generally considered a virtue, Ivan's life is simple in the wrong way. He is a conformist. His values, desires, and behavior are wholly determined by the opinions and expectations of his social superiors. He chooses his friends based upon their social standing. He decides to marry because it is considered the right thing to do. Ivan's life is terrible because it is a life devoid of true freedom, of true individuality. Ivan does not use his own reason to direct his moral life. Rather, he imbibes his beliefs from aristocrats. In a sense, Ivan is a robot. |
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| He wept on account of his helplessness, his terrible loneliness, the cruelty of man, the cruelty of God, and the absence of God. Why has THou done all this? Why hast thou brought me here? Why dost thou torment me so terribly...Go on! Strike me! But what is it for? What have I done to Thee? What is it for?...Maybe I did not live as I ought to have done?...Why and for what purpose is there all this horror? |
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| Reflects Ivan Ilyich's inward turmoil in questioning his pain and turmoil. |
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| Praskovya Fedorovna Golovina |
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| Ivan's wife and the mother of his children. Praskovya's behavior toward others is artificial and self-interested. While feigning sympathy and concern for Ivan during his illness, her real attitude is one of hostility and impatience for his death. |
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Poor peasent, nurse to Ivan.He possesses the qualities that, more than any other, produce a joyful existence: a sense of compassion for and empathy with fellow human beings. Unlike the other characters in the novel, Gerasim interacts with people in an authentic and reflective way. Because the well-being of others is a matter of deep personal importance to him, Gerasim is able to connect with people in a way that breaks down isolation and creates meaningful bonds. |
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| Ivan's son. Vasya is the youngest member of the Golovin household. Sensitive and quiet, Vasya has not yet been corrupted by the beliefs and values of his parents' social world. He is capable of forming empathetic bonds with other people, and he is the only other person, besides Gerasim, who truly understands Ivan and his condition. |
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| Ivan's daughter. Lisa is very much like her mother. Selfish and easily annoyed, Lisa resents any influence that distracts her from her own contentment. Her father's suffering inconveniences her more than anything else. |
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Hedda is the daughter of the famous General Gabler; as a child she was used to luxury and high-class living. As the play begins, she is returning from her honeymoon with Jürgen Tesman, a scholar with good prospects but not as much money as Hedda is accustomed to. Her married name is Hedda Tesman. Hedda is an intelligent, unpredictable, and somewhat dishonest young woman who is not afraid to manipulate her husband and friends. |
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| - Tesman is an amiable, intelligent young scholar. He tries very hard to please his young wife, Hedda, and often does not realize that she is manipulating him. In fact, he often seems foolish for his age, and when he annoys Hedda, the audience has reason to sympathize with her. Tesman is hoping for a professorship in history. |
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| Aunt Julle, is the aunt of Jürgen Tesman. After Tesman's parents died, Aunt Julle raised him. She is well-meaning, and she is constantly hinting that Tesman and Hedda should have a baby. Aunt Julle tries to get along with Hedda, but the difference in their class backgrounds is painfully apparent. Aunt Julle lives with the ailing Aunt Rina, another aunt of Tesman's. |
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There are e as many truths as there are points of view. |
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| "You are reason and your wife is instinct . You are playing a game where you have been given parts and in which you are not just yourself but the puppet of yourself. |
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| Producer in "Six Characters" describing to the Leading Actor the idea of the play where there is no reality. He is simply a puppet of himself |
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| "You know very well, as a man of theatre, that life is full of all sorts of odd things which have no need at all to pretend to be real because they are actually true." |
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| Six Characters. Father to the producer |
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| "What I'm saying is that you really must be mad to do things the opposite way around: to create situations that obviously aren't true and try to make them seem to be really happening. But then I suppose that sort of madness is the only reason for your profession." |
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| Father to Producer in "Six Characters" |
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| "Wait a minute! Why do you want to spoil a miracle by being factual. Can't you see this is a miracle of reality, that is born, brought to life, lured here, reproduced just for the sake of this scene, with more right to be alive here than you have? Perhaps it has more truth than you have yourselves. |
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| Father to actors, specifically leading actress in Six Characters |
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| "Now try to imagine that we, as you see us here, that we have no other reality outside this illusion...Isn't it obvious? What other reality is there for us? What for you is an illusion you create, for us is our only reality. But it's only true for us, it's true for others as well...Do you really know who you are?...What if I told you that that wasn't true:what if I told you that you were me? |
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| Father to Producer in Six Characters |
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