A Tale of Two Cities - Summary

A Tale of Two Cities

Chapter-wise Summary  

 

Book 1:

Recalled to Life

 

Chapter 1: The Period

In 1775, England and France face social turmoil and contrasting extremes. The opening line famously describes it as "the best of times, the worst of times." England is intrigued by spiritualism, while its American colonies are rebelling. Meanwhile, France is suffering under an unjust monarchy, with economic and social crises affecting its citizens. Both nations are led by monarchs—England's king and plain queen, and France's king with a fair queen—who are largely detached from their people’s suffering.

In England, crime is rampant, and travelers on the roads fear robbery; people are advised to lock away their possessions when they leave home. Harsh punishments, including executions, are used in both countries to suppress unrest. In France, a young man is brutally punished for failing to kneel to monks: his hands are cut off, his tongue removed, and he is burned alive. All the while, trees destined to become guillotines are growing, and carts that will one day carry the condemned to their deaths rattle through the French countryside.

 

Chapter 2: The Mail

On a misty night, a mail coach makes its way from London to Dover. The passengers are tense, each suspicious that the others might be thieves. A horseman approaches in the dark, alarming the coachman and guard, who fear a robbery. The horseman turns out to be Jerry Cruncher, a messenger from Tellson’s Bank in London, who is looking for one of the passengers, Mr. Jarvis Lorry. He hands Mr. Lorry a note that reads: “Wait at Dover for Mam’selle.” Lorry sends Jerry back with the cryptic response: “Recalled to Life,” a message that leaves Jerry thoroughly puzzled.

 

Chapter 3: The Night Shadows

Jerry rides back to London, trying to make sense of the strange message, “Recalled to Life.” Meanwhile, Mr. Lorry dozes in the coach and is haunted by dreams of a man who has been "buried alive" for 18 years. In his dream, Lorry speaks to the ghostly figure, asking if he wants to be “recalled to life,” but the answer he hears is a weary and uncertain, “I can’t say.” This man, Mr. Lorry believes, is someone he is about to rescue from a long imprisonment.


Chapter 4: The Preparation

Mr. Lorry arrives in Dover and checks into a hotel, awaiting the arrival of a young lady, Lucie Manette. He reflects on Tellson's Bank, an old English institution with offices in both London and Paris, where he has worked for many years. When Lucie arrives, Lorry gently explains the situation to her. She is shocked to learn that her father, Dr. Manette, is alive, as she had believed he died when she was a baby. Lorry tells her that her father was secretly imprisoned in France for nearly two decades and has only recently been found. Lucie, overwhelmed, vows to bring him back to health. Lorry arranges for a companion, a tough but compassionate woman named Miss Pross, to assist Lucie on the journey.

 

Chapter 5: The Wine-Shop

In Paris, a cask of red wine spills onto the street outside Monsieur and Madame Defarge’s wine shop. The impoverished townspeople eagerly drink from the puddles, staining their faces and hands. A man dips his finger in the wine and writes “blood” on a wall, foreshadowing the coming revolution. The people’s desperation and suffering are visible everywhere. Mr. Lorry and Lucie arrive at the Defarges’ shop, where they observe that the townspeople call each other “Jacques”—a code name used by revolutionaries. Monsieur Defarge leads them to the attic of a dilapidated building nearby. As they make their way up through narrow, filthy corridors, Lucie feels faint from the stench and fear of meeting her father for the first time.

 

Chapter 6: The Shoemaker

In the small, dim room, they find Dr. Manette, a frail old man with wild white hair and beard, hunched over a shoe he is making. He doesn’t even recognize his own name, instead identifying himself by his prison cell, "One Hundred and Five, North Tower." Dr. Manette has taken up shoemaking as a way to cope with the years of isolation and trauma he endured in prison. Monsieur Defarge, who once served Dr. Manette, introduces Mr. Lorry, but the doctor barely remembers him. When Lucie enters the room, Dr. Manette glimpses the golden hair that reminds him of his beloved wife. Though disoriented, he begins to recognize something in Lucie’s face and hair, which resemble his wife's, and his memories start to surface.

Lucie gently holds her father, promising to care for him, and persuades him to come with her to England to start anew. As they prepare to leave, Dr. Manette clutches his shoemaking tools—a sign of the mental burden he still carries. Mr. Lorry and Lucie, together with the fragile Dr. Manette, set off for London, hoping to bring him peace and healing.

 


Book 2

The Golden Thread

Chapter 1: Five Years Later

The year is 1780, and Jerry Cruncher works for Tellson's Bank in London, performing odd jobs. At home, he argues with his wife, accusing her of praying against him and ruining his business. Despite her protests that she’s only blessing him, Jerry is convinced her prayers harm him and scolds her even for saying grace over meals. After breakfast, he heads to work and is soon sent out on a job, leaving his son, Young Jerry, who notices his father's fingers are always stained with rust. This rust foreshadows Jerry’s mysterious nighttime activities.

 

Chapter 2: A Sight

Jerry is sent to the Old Bailey courthouse, where Charles Darnay is on trial for treason. The scene at the Old Bailey is grim, filled with crime, disease, and an eager crowd awaiting the spectacle of a brutal execution, should Darnay be found guilty. The courtroom reeks of fumigating herbs and vinegar, yet disease often claims even judges’ lives here. Jerry waits for Mr. Jarvis Lorry’s orders as the trial begins. Darnay faces the horrifying prospect of being drawn and quartered if convicted. Observing the crowd’s bloodlust, Darnay scans the room and notices Lucie Manette and her father, both of whom will testify against him.

 

Chapter 3: A Disappointment

The trial begins with John Barsad accusing Darnay of collecting and passing on military secrets to France, though Barsad claims he’s never done anything suspicious himself. His servant, Roger Cly, backs this story, insisting he found incriminating papers in Darnay’s desk. Lucie and her father, Dr. Manette, testify about their encounter with Darnay on a ferry, and though she tries to help Darnay by revealing his confidential business, Lucie feels guilty, fearing her testimony might condemn him. Mr. Stryver, Darnay's lawyer, aggressively questions Barsad’s motives, suggesting Barsad is a liar and a spy. Stryver points out that his colleague, Sydney Carton, looks nearly identical to Darnay, casting doubt on Barsad’s ability to identify Darnay accurately. The jury, swayed by Stryver’s argument, declares Darnay “Acquitted,” and Jerry Cruncher hurries to deliver the news to Tellson’s Bank.

 

Chapter 4: Congratulatory

After the trial, Lucie, Dr. Manette, and Mr. Lorry congratulate Darnay. Dr. Manette, though, has an uneasy reaction, sensing something familiar in Darnay. Sydney Carton joins them, though he’s disheveled and slightly drunk. Carton and Darnay dine together, during which Carton, bitter and self-loathing, admits his dissatisfaction with life. He resents Darnay, seeing him as a reminder of the success and happiness he feels he’s missed due to his own failures and dissolute lifestyle.

 

Chapter 5: The Jackal

Sydney Carton assists Stryver with legal cases, working tirelessly behind the scenes. Although Carton has great intelligence, he lacks the ambition to improve his life and is often in a state of depression. Stryver, who has a strong will and aims high, relies on Carton’s sharp mind but takes all the credit. In their conversation, Carton reveals he’s burdened by memories of his school days, during which he neglected his potential. They toast to Lucie, whom Carton secretly admires, but Carton’s thoughts quickly spiral into despair, realizing he may never achieve the life he desires.

 

Chapter 6: Hundreds of People

Four months after the trial, the Manettes have settled in Soho. Dr. Manette has restarted his medical practice, and Mr. Lorry is a frequent visitor. While waiting for the Manettes one afternoon, Lorry is disturbed by Dr. Manette’s old shoemaking tools, a painful reminder of his imprisonment. Miss Pross, Lucie’s loyal servant, worries about the many suitors who may disrupt Lucie’s life, though she believes her brother Solomon is the only man truly worthy of Lucie (despite his betrayal). During dinner, Darnay shares a story about a mysterious message found in the Tower of London by a prisoner, which unsettles Dr. Manette. Later, Lucie reflects on the sound of footsteps, suggesting they symbolize the many people destined to enter their lives, which foreshadows the coming turmoil of the French Revolution.

 

Chapter 7: Monseigneur in Town

In Paris, the powerful and arrogant Monseigneur holds a grand reception, revealing the disconnect between the French aristocracy and the suffering of the common people. After the party, the Marquis St. Evrémonde, a nobleman, travels through the streets at high speed, heedless of the danger to pedestrians. His carriage strikes and kills a child, and he dismisses the incident, tossing a coin to the grieving father, Gaspard, as compensation. When a coin is thrown back at him, the Marquis is enraged and calls the peasants "dogs." This event shows the cruelty and indifference of the aristocracy toward the poor, setting the stage for the coming revolution.

 

Chapter 8: Monseigneur in the Country

As the Marquis St. Evrémonde travels through the countryside to his chateau, he sees widespread poverty and suffering. The peasants live in terrible conditions, and they view the Marquis with fear and resentment. When the Marquis reaches a village, he stops to ask a road-mender about a man he saw clinging to the bottom of his carriage. The road-mender describes seeing the man, but they can’t figure out who he was or what he wanted.

The Marquis finally arrives at his chateau, feeling no sympathy for the suffering of the people. His only concern is his own comfort and power. That night, he waits for a visitor, who turns out to be his nephew, Charles Darnay. Darnay tells the Marquis that he despises the family’s cruel ways and wants to distance himself from their legacy. He renounces his inheritance and declares his desire to make his own way in the world. The Marquis is unmoved, viewing Darnay’s ideals as foolish. Later that night, while the Marquis sleeps, he is murdered in his bed by someone who leaves a note signed with the words “Drive him fast to his tomb. This, from Jacques.”


Chapter 9: The Gorgon’s Head

The next morning, the Marquis is found dead, stabbed through the heart. His body is discovered by his servants, and the countryside reacts with silent satisfaction, pleased that someone has avenged their suffering. Back in England, Charles Darnay, who has made a new life as a French teacher, proposes to Lucie Manette. He expresses his deep love for her and his wish to marry her. He also insists on confessing his true identity and family background to Dr. Manette. However, Dr. Manette asks him to keep it secret until the morning of the wedding. Darnay agrees out of respect.

 

Chapter 10: Two Promises

Lucie and her father have a heartfelt conversation in which Dr. Manette assures her that she should follow her heart and marry if it will make her happy. Dr. Manette is moved to tears, recalling the horrors of his past and his hopes for Lucie's future. Charles Darnay and Dr. Manette meet privately, and Darnay promises to be a good husband to Lucie. Dr. Manette seems troubled by Darnay’s true identity, yet he promises not to let it interfere with their marriage.

After Darnay leaves, Dr. Manette experiences a relapse, reverting to his shoemaking, a habit he developed during his years in prison. This lapse reveals how deeply scarred he is by his past trauma, but the next morning he returns to normal.

 

Chapter 11: A Companion Picture

Meanwhile, Sydney Carton visits Charles Darnay and shares a somewhat awkward, melancholy dinner with him. Carton reveals his own struggles with self-worth and admits his disappointment in life. Darnay attempts to be gracious, though he finds Carton's behavior off-putting and odd. Carton leaves Darnay's apartment feeling bitter and discontented, believing Darnay embodies everything he might have been if he had made better choices in life.

Carton’s encounter with Darnay fuels his own sense of failure and self-loathing. He returns to his lonely, dark apartment, reflecting on his wasted potential and regretting the choices that have led him to this point.

 

Chapter 12: The Fellow of No Delicacy

Mr. Stryver, a successful but somewhat arrogant lawyer, decides he wants to propose to Lucie Manette. Confident that he's the perfect match for her, he shares his intentions with his friend Mr. Jarvis Lorry at Tellson's Bank. However, Mr. Lorry, a practical and perceptive man, doubts that Lucie would accept Stryver’s proposal and subtly tries to dissuade him. Mr. Lorry even offers to discreetly gauge the Manettes' feelings about the match to prevent any embarrassment.

When Mr. Lorry returns and confirms that Lucie is unlikely to welcome Stryver's proposal, Stryver’s pride kicks in. Rather than feeling hurt, he convinces himself that he never really needed to marry Lucie and that the proposal was unimportant. This scene highlights Stryver’s arrogance and his ability to rationalize disappointment by pretending the idea was never that valuable to him in the first place.

 

Chapter 13: The Fellow of No Delicacy

Sydney Carton visits Lucie Manette and confesses his love for her, though he admits he does not expect her to feel the same way. Carton acknowledges his flaws and past mistakes, saying he has no hope of redemption. Lucie, deeply moved, listens with compassion. Carton swears that, despite his failures, he would do anything for her and those she loves. He tells Lucie that knowing her has stirred something good within him, but he sees no way to change his circumstances.

This encounter becomes a turning point for Carton, even though he believes his life is beyond repair. His love for Lucie sparks a desire to do something meaningful, even if he cannot change his life’s direction. Lucie is left feeling both sorrowful and touched by Carton’s vulnerability, recognizing a deeply wounded soul beneath his careless exterior.

 

Chapter 14: The Honest Tradesman

Jerry Cruncher and his son observe a chaotic funeral procession for Roger Cly, a spy despised by the crowd. The procession quickly devolves into a riot, with the mob destroying property and causing mayhem until soldiers arrive. Jerry stays behind at the cemetery, taking note of Cly’s grave. Later, under the cover of night, Jerry’s secret occupation as a “resurrection man” is revealed—he digs up graves to sell the bodies to surgeons for dissection. Young Jerry, who follows his father out of curiosity, is horrified when he sees his father and others exhuming a body. The next day, young Jerry asks if he could one day become a “resurrection man” like his father. Jerry, despite being abusive to his wife, is oddly pleased by his son’s interest in his shady line of work.

 

Chapter 15: Knitting

In Saint Antoine, Monsieur Defarge brings a visitor, the mender of roads, to the wine shop. The mender tells of the execution he witnessed: a man, who once sought justice for his murdered child, was publicly hanged as punishment for killing the cruel Marquis. This execution, and the placement of the gallows over the village’s drinking fountain, deeply angers the Jacques (the revolutionaries), who vow vengeance on the aristocracy. Madame Defarge adds the Marquis’s family to her encoded knitting, a record of those marked for death. Defarge later takes the mender of roads to witness the royal family’s procession, where he cheers enthusiastically to maintain the illusion of loyalty. Madame Defarge cryptically remarks that she’s knitting “shrouds,” symbolizing the death awaiting those in power as revolution brews.

 

Chapter 16: Still Knitting

The Defarges learn from a contact that a spy named John Barsad has been sent to observe their quarter. When Barsad visits the wine shop under the guise of a friendly chat, Madame Defarge quietly signals their visitors to leave by placing a rose in her headdress. Barsad attempts to extract information by casually bringing up Gaspard’s execution and discussing the oppressive state of the poor, but Madame Defarge keeps her responses vague and neutral. Barsad then mentions that Lucie Manette is to marry Charles Darnay, the new Marquis, hoping to provoke a reaction. Monsieur Defarge is visibly affected by this news, but Madame Defarge reassures him that both Barsad and Darnay are marked in her knitting, a symbolic death list, and that their fates are sealed.

 

Chapter 17: One Night

The evening before her wedding, Lucie speaks with her father, Dr. Manette, sharing her love for him and her sorrow at leaving him to start her new life with Darnay. Dr. Manette reveals his haunting memories from prison, recalling how he would look at the moon and wonder about the family he might never meet. Lucie’s devotion and assurances of her love bring him comfort and peace. That night, she enters her father’s room as he sleeps, silently praying for him and kissing him, symbolizing her deep connection and gratitude. This moment reinforces the bond between Lucie and her father, foreshadowing the challenges they will face together.

 

Chapter 18: Nine Days

The morning of the wedding brings joy but also hidden pain for Dr. Manette. Though he supports Lucie’s marriage, he is visibly distressed after the ceremony and isolates himself in his room. When Mr. Lorry returns later, he finds that Dr. Manette has relapsed into his old state, obsessively making shoes as he did during his imprisonment. Lorry and Miss Pross care for him in shifts, worried about his mental health but determined to keep Lucie unaware of his condition. For nine days, Dr. Manette remains lost in his shoemaking, showing no recognition of his surroundings, until he eventually recovers. His relapse reveals the psychological scars of his imprisonment and the weight of his past.

 

Chapter 19: An Opinion

On the tenth day, Dr. Manette returns to normal, though he seems unaware of how much time has passed. Mr. Lorry carefully asks the doctor, under the pretense of helping a “friend,” what might trigger such an episode. Dr. Manette acknowledges that trauma may cause one to revert to past coping mechanisms and explains that he truly cannot recall what happened during his relapse. Mr. Lorry suggests removing the tools associated with this behavior, for the sake of Lucie’s happiness. Though Dr. Manette is initially hesitant, he agrees, understanding that it might protect his peace of mind. Once Dr. Manette leaves to join Lucie and Darnay, Mr. Lorry and Miss Pross quietly destroy the shoemaking bench and tools, symbolically burying the painful memories of his imprisonment.

 

Chapter 20: A Plea

Sydney Carton has a heartfelt conversation with Charles Darnay. He admits to feeling directionless and regrets not living up to his potential. Carton asks Darnay to consider him a friend and allow him occasional visits to their family, although he promises not to intrude too often. Darnay agrees to this. Later, Darnay mentions this conversation to his wife, Lucie, describing Carton as a man given to carelessness. Lucie, however, sees the good in Carton and urges Darnay to treat him with kindness and respect, as Carton is “capable of good things.” Darnay agrees to honor Lucie’s request, showing her compassion towards Carton’s struggles.

Chapter 21: Echoing Footsteps

Years pass, and Lucie’s family grows with the birth of her daughter, little Lucie, though she also loses a son. Carton frequently visits, becoming particularly close to little Lucie. These moments of family life are described as full of love and warmth. However, a sense of foreboding lingers in the background, with echoes of footsteps hinting at ominous events to come.

At the same time in France, the storming of the Bastille marks the start of the French Revolution. The revolutionaries, led by Defarge and Madame Defarge, seize control of the prison. Defarge searches the North Tower, where Dr. Manette was once held, and finds the initials “A.M.” etched into the wall. The mob captures the prison governor, and Madame Defarge brutally kills him as a symbol of rebellion against the aristocracy. The revolution is underway, with the revolutionaries parading through Paris with the governor’s head on a pike.

 

Chapter 22: The Sea Still Rises

The revolution gains momentum, and the starving people of Saint Antoine become a powerful force. News spreads that an official named Foulon, who callously suggested the hungry should “eat grass,” has been captured. Defarge and the crowd hunt him down, force-feed him grass, and hang him. After a couple of failed attempts, they finally succeed, displaying his head on a pike with grass stuffed in his mouth as a form of dark justice. They also kill Foulon’s son-in-law, parading both men’s heads as symbols of revenge against oppression. Despite their ongoing struggles, the people find a grim sense of satisfaction and unity in their revolt.

 

Chapter 23: Fire Rises

The revolutionary spirit spreads beyond Paris. In the villages, peasants begin attacking the estates of the aristocrats. One night, a mysterious figure meets the mender of roads in the village where the Marquis once ruled, and they conspire to burn the Marquis’s chateau. As the chateau is engulfed in flames, villagers celebrate, ringing bells and refusing to help extinguish the fire. Gabelle, a tax collector and the current representative of the Marquis, narrowly escapes death by hiding on his roof. The chapter ends with an image of France ablaze, as peasants across the country rise up against their oppressors.

 

Chapter 24: Drawn to the Loadstone Rock

Three years later, the French Revolution is in full swing. Many aristocrats have fled France, some seeking refuge in England and coming to Tellson’s Bank to manage their affairs. Charles Darnay, who has renounced his family’s title, meets with Mr. Lorry at the bank, discussing the volatile situation in France. Mr. Lorry is preparing to travel to Tellson’s Paris branch despite the risks, and Darnay expresses concern for his friend’s safety. During this visit, Darnay notices a letter addressed to his true identity, the heir to the Evremonde estate.

The letter is from Gabelle, who has been imprisoned by revolutionaries and faces execution. He begs Darnay to save him, as he’s being punished solely for remaining loyal to the Evremonde family. Feeling a deep responsibility, Darnay decides to secretly return to France to rescue Gabelle. He realizes this is a dangerous mission but believes he has no choice, though he hides his intentions from Lucie and Dr. Manette. Before departing, Darnay leaves letters for them explaining his absence and begins his journey, driven by a sense of duty to his former servant.

  

Book 3

The Track of a Storm


Chapter 1: In Secret

In 1792, Charles Darnay travels to Paris, but his journey is interrupted when he is detained at the city’s gates. A group of drunken patriots forces him to go with them, and upon arrival, Darnay is arrested as an "emigrant Evrémonde." Despite his efforts to explain, he is taken to La Force prison, marked for imprisonment in secret, and left in a solitary, dark cell. The growing political unrest fills him with dread, and he thinks of his family as he waits for an uncertain fate.

 

Chapter 2: The Grindstone

Mr. Lorry, now in Paris, witnesses a grindstone being used by revolutionaries to sharpen weapons for executions. Lucie and Dr. Manette arrive, deeply distressed by Darnay’s imprisonment. Lucie is desperate for comfort, but her father, while trying to calm her, reflects on the violence surrounding them. Dr. Manette tries to use his connections to help Darnay, but the revolution’s chaos makes it difficult. Outside, the grindstone symbolizes the relentless bloodshed, and Lucie holds on to the hope that Darnay will be saved.

 

Chapter 3: The Shadow

Lucie’s plea for mercy for her husband is met with cold indifference from Madame Defarge, who represents the harsh spirit of the revolution. Madame Defarge expresses her resentment toward the aristocracy, showing no compassion for Lucie’s distress. Her unyielding bitterness casts a dark shadow over Lucie’s hope for a peaceful resolution, symbolizing the relentless vengeance driving the revolution.


Chapter 4: Calm in Storm

Dr. Manette continues to work tirelessly to help Darnay, using his influence at the Tribunal to secure his temporary release. Despite the horrors of the revolution, which include the executions of the royal family, Dr. Manette remains a source of strength for Lucie. His determination helps her cope with the storm of emotions and fear. Lucie, though shaken by the violence around them, finds some comfort in her father’s steadfast efforts.

 

Chapter 5: The Wood-Sawyer

Lucie’s daily life becomes more difficult as she tries to keep her family safe. One day, she encounters a wood-sawyer, a man who makes light of the executions with a chilling joke about using his "little guillotine" to behead people. Lucie is disturbed, but she does her best to keep peace with him. Meanwhile, the revolution intensifies, and Lucie sees the tumbrils—cartloads of condemned prisoners—making their way to the guillotine, reminding her of the ever-present threat of death hanging over Paris.

 

Chapter 6: Triumph

Charles Darnay’s name is on the list of prisoners to be taken before the Tribunal. After waiting in the Conciergerie, he is called before the court. Despite a hostile crowd and charges against him, Darnay defends himself, explaining that he gave up his title and station for a better life in England and returned to help a fellow citizen, Gabelle. Dr. Manette testifies in his favor, and the Tribunal acquits Darnay. The crowd celebrates his reprieve, but the revolution’s violence continues, and Darnay is relieved to be with his family.

 

Chapter 7: A Knock at the Door

Despite Darnay’s acquittal, the next evening armed men arrive at the Manettes' home to arrest him once again. Dr. Manette, who had been confident after the trial, is shocked. The men explain that Darnay has been denounced by the Defarges and another unknown person. Lucie is terrified, but Dr. Manette, though distressed, feels he has done all he can. Darnay is once again taken to the Conciergerie, marking the beginning of his uncertain fate.

 

Chapter 8: A Hand at Cards

Miss Pross and Jerry Cruncher encounter Solomon Pross, Miss Pross’s long-lost brother, in a wine shop. He now goes by the name Barsad and is revealed to be a spy. Jerry and Miss Pross are surprised by this revelation. Later, Sydney Carton meets with Barsad and blackmails him, revealing his past as an English spy. Carton uses the information to force Barsad to help him, as Darnay’s life is once again in jeopardy. Carton expresses his concern about Dr. Manette’s safety and plots to use Barsad to his advantage, preparing for the next steps.

 

Chapter 9: The Game Made

Mr. Jarvis Lorry is shocked to learn that Jerry Cruncher has been involved in body snatching. Jerry defends his actions, claiming that he’s simply earning a living and that even doctors might engage in dishonest practices. Lorry warns Jerry to repent and stop, though Jerry suggests a shift in his work toward becoming a gravedigger. Meanwhile, Sydney Carton and Jarvis Lorry have a heartfelt conversation. Carton tells Lorry that if things go wrong for Darnay, he can access the prisoner once. He advises Lorry not to tell Lucie about their conversation. Carton then leaves for La Force prison, where he meets a wood-sawyer who talks about recent executions. Carton later buys some items from a pharmacist, reflecting on the deaths around him. He recalls the Bible verse about resurrection and crosses the Seine to the better part of town, contemplating his life. At the Tribunal, Darnay is denounced by Monsieur Defarge, Madame Defarge, and Dr. Manette. A paper from Dr. Manette, detailing the crimes of the Evrémonde family, is read out, leading to Darnay’s condemnation to death.

Chapter 10: The Substance of the Shadow

The paper written by Dr. Manette recounts his tragic experiences with the Evrémonde brothers, detailing the abuse and death of a peasant family at their hands. The paper describes the horrible treatment of a young woman and her husband, leading to the boy’s death, and how the doctor witnessed it all. Dr. Manette’s letter denounces the Evrémondes and their crimes, leading to the doctor's imprisonment for ten years. The Tribunal reacts with fury as Darnay is condemned to die, and Madame Defarge rejoices, urging Dr. Manette to save his own life by condemning Darnay.

 

Chapter 11: Dusk

Lucie and Charles Darnay share a heartbreaking final moment before his execution, filled with love and farewells. Darnay expresses his understanding of Dr. Manette’s pain, given the doctor’s past sufferings. Afterward, Lucie faints, and Carton helps her, promising to be there for her. Lucie’s daughter clings to Carton, asking him to save her family. Carton visits Dr. Manette, asking him to use his influence, but realizes the futility of their efforts. Lorry tells Carton that there’s no hope left for Darnay.

 

Chapter 12: Darkness

Sydney Carton decides to visit the neighborhood of Saint Antoine, staying sober and preparing for what is to come. He overhears Madame Defarge and others discussing their desire to eradicate the Evrémonde family entirely. Madame Defarge reveals that the family she seeks revenge on is her own, as the Evrémondes were responsible for her family’s destruction. Carton, moved by her words, considers taking drastic action but decides against it. He returns to Tellson's Bank, where Lorry tells him that Dr. Manette is deeply distraught over the situation. Carton lays out a plan to help Lucie and her family, suspecting that Madame Defarge will continue to gather evidence against them.

Atlantis—A Lost Sonnet by Evan Boland

 

 Atlantis—A Lost Sonnet: An Exploration of Loss and Memory

 

About the Poet

Introduction to the Poem

Structure

Language and Imagery

Line by Line Explanation

Literary Devices

Themes

Critical Analysis

 

Evan Boland

Eavan Aisling Boland (1944–2020) was an Irish poet, author, and professor. Her expressive verse delved into familiar domestic themes, exploring both the isolation and beauty of womanhood, marriage, and motherhood. Boland's work grappled with Irish national identity and the role of women in Irish history. She taught at Stanford University from 1996 and received the Lannan Literary Award for Poetry. Her notable poetry collections include "Night Feed," "Against Love Poetry," and "A Woman Without a Country".

In addition to her poetry, Eavan Aisling Boland also authored insightful essays on literature and literary criticism. Her work often explored themes of memory, identity, and the impact of history on personal narratives. Boland’s distinctive voice continues to resonate with readers, capturing the essence of Irish experience and the complexities of womanhood.

Atlantis - A Lost Sonnet

Eavan Boland’s poem “Atlantis—A Lost Sonnet” delves into themes of loss, grief, and memory, using the mythical island of Atlantis as a metaphor. The poem suggests that Atlantis, though likely mythical, represents more than a physical place—it embodies the irretrievable losses we grapple with. Just as the island was said to be covered by the sea and lost, our own losses remain submerged, haunting us. Boland’s poignant conclusion—“they gave their sorrow a name and drowned it”—captures the human need to find meaning in our grief, even when faced with the unattainable.

Structure

Eavan Boland’s poem “Atlantis—A Lost Sonnet” defies the traditional sonnet structure. While it is loosely categorized as a sonnet, Boland takes creative liberties. The poem discards the formal iambic pentameter meter, opting for an easy flow with enjambed line endings, abrupt stops, and caesurae. There is no strict rhyme scheme. Structurally, it consists of a four-lined quatrain followed by three three-lined tercets. The final stanza can be seen as either a long final line or a couplet with two lines of different lengths, creating a fifteenth line. Within this concise framework, Boland explores loss, grief, and memory. Her thoughtful tone suggests an internal dialogue, as if she is contemplating her own thoughts and reaching an imaginative yet mournful conclusion.

Language and Imagery

The poet employs distinct language and vivid imagery to convey its themes. The poem is presented in the first-person voice, likely that of the poet herself. Boland uses accessible and colloquial language as if she is sharing her thoughts aloud. The lines flow easily, breaking away from the rigid formality of traditional sonnets. There is no strict rhyme scheme, allowing her to focus on content rather than rhyme patterns. Line endings are enjambed, creating a fluid movement from one thought to the next. This twisting effect mirrors the shifting perspectives—from speculation about Atlantis and mythology to the present day and back again. The central image is that of the lost city of Atlantis, serving as a metaphor for human loss and grief. Just as the mythical city was submerged and lost, our own losses remain hidden beneath the surface. Boland captures this theme with poignant simplicity, leaving us with an abrupt, melancholic ending.

Line by Line Explanation

"How on earth did it happen, I used to wonder

that a whole city—arches, pillars, colonnades,

not to mention vehicles and animals—had all

one fine day gone under?"

The poet begins the poem by expressing disbelief and wonder at how an entire city, complete with its structures, vehicles, and animals, could vanish suddenly. This sets a tone of mystery and astonishment. The vivid imagery of "arches, pillars, colonnades" conjures a picture of a grand, bustling city that was once full of life but is now lost. The phrase "one fine day gone under" captures the suddenness and the completeness of the city's disappearance, emphasizing the scale of the loss and the enigma surrounding it.

"I mean, I said to myself, the world was small then.

Surely a great city must have been missed?

I miss our old city —"

Here the poet reflects on the seeming impossibility of such an event going unnoticed. The assertion that "the world was small then" suggests a time when events would be more noticeable due to a perceived smaller, more interconnected world. The speaker's personal connection to the lost city emerges with the line "I miss our old city," revealing a sense of nostalgia and personal loss. This contrast between the physical loss of a city and the emotional connection to it deepens the poem's sense of longing and highlights the personal impact of this disappearance.

"white pepper, white pudding, you and I meeting

under fanlights and low skies to go home in it. Maybe

what really happened is this:"

The poem continues to explore the speaker's memories, focusing on specific sensory details like "white pepper" and "white pudding," which symbolize purity and hope. The imagery of meeting "under fanlights and low skies" evokes intimate and cherished moments shared with a loved one. The phrase "to go home in it" implies a deep sense of comfort and belonging associated with the old city. This stanza not only paints a vivid picture of the past but also conveys the speaker's yearning for the lost city's emotional and personal significance.

"the old fable-makers searched hard for a word

to convey that what is gone is gone forever and

never found it.

And so, in the best traditions of

where we come from, they gave their sorrow a name

and drowned it."

The speaker discusses how ancient storytellers struggled to articulate the permanence of loss. The "old fable-makers" symbolize those who create myths and stories to make sense of the world. Their inability to find a word that fully captures the finality of loss led them to name their sorrow "Atlantis" and metaphorically drown it. This metaphor suggests a deliberate act of overcoming or burying their grief, emphasizing the weight of the emotional burden. The act of naming and drowning their sorrow reflects a coping mechanism to deal with profound loss, capturing the themes of memory, loss, and the human tendency to mythologize the past.

Literary Devices

Eavan Boland's poem "Atlantis" uses a variety of literary devices to convey its themes of loss, memory, and the human response to grief. Here are the key literary devices used in the poem:

        1. Imagery

Imagery is vividly employed throughout the poem to create a sensory experience for the reader. Descriptions like "arches, pillars, colonnades" and "white pepper, white pudding" paint a vivid picture of the lost city and the speaker’s cherished memories. These images help readers visualize the grandeur of the city and the intimate moments the speaker recalls.

        2. Metaphor

The city of Atlantis itself is a powerful metaphor for something lost forever. By likening the vanished city to Atlantis, Boland evokes the myth of the submerged, unreachable utopia, symbolizing irretrievable loss. Another metaphor is "they gave their sorrow a name and drowned it," suggesting how people cope with grief by personifying it and then attempting to bury it.

        3. Contrast

Boland uses contrast to highlight the differences between past and present, and between what was expected and what actually happened. For instance, the contrast between the bustling, detailed imagery of the city and the stark reality of its disappearance emphasizes the sudden and complete nature of the loss. Additionally, the contrast between the speaker’s nostalgic memories and the current reality underscores the theme of irretrievable loss.

        4. Understatement (Litotes)

The phrase "the world was small then" is an example of understatement. It implies that the world seemed more connected and manageable in the past, making the disappearance of an entire city even more incomprehensible. This understatement serves to emphasize the enormity and the improbability of the loss.

        5. Symbolism

Various elements in the poem carry symbolic meaning. "White pepper" and "white pudding" symbolize purity and hope, adding a layer of emotional significance to the speaker's memories. The city of Atlantis symbolizes the ultimate lost paradise, representing things from the past that can never be recovered.

        6. Repetition

The repetition of the speaker’s wonder and disbelief at the city's disappearance in the first and second stanzas reinforces the theme of incomprehensible loss. It also emphasizes the speaker's ongoing struggle to understand and come to terms with what has been lost.

        7. Personification

The act of giving "sorrow a name and drowned it" personifies sorrow, treating it as a tangible entity that can be named and dealt with. This personification highlights the human need to make sense of and manage grief in a tangible way.

        8. Allusion

The poem alludes to the myth of Atlantis, a legendary city said to have sunk into the ocean. This allusion enriches the poem by connecting the speaker’s personal loss to a broader, mythic context, suggesting that the experience of losing something precious is universal and timeless.

By employing these literary devices, Boland effectively conveys the emotional depth and complexity of dealing with loss and memory. The vivid imagery and metaphors make the abstract concepts of grief and nostalgia tangible, while the use of contrast and understatement highlights the profound impact of the lost city on the speaker’s life.

 

Themes in "Atlantis"

         1. Loss and Nostalgia

The poem centers on the profound theme of loss, illustrated by the mysterious disappearance of an entire city. The speaker's nostalgia for the lost city, coupled with vivid memories of past experiences, captures the universal human experience of longing for what is irretrievably gone.

        2. Memory and the Passage of Time

Memory plays a significant role as the speaker recalls details like "white pepper, white pudding" and moments spent "under fanlights and low skies." These memories highlight how the past continues to shape the present and how the passage of time deepens the sense of loss.

         3. The Search for Meaning

The poem reflects on the human need to find meaning in the face of loss. The speaker mentions "the old fable-makers" who struggled to convey the permanence of loss, symbolizing the collective human effort to understand and cope with grief through storytelling and myth-making.

        4. Maternal Instinct

Although not overtly about motherhood, the poem can be read through a maternal lens. The speaker’s yearning for the lost city and the memories associated with it can be seen as a metaphor for the protective and nurturing instincts of a mother. This theme resonates with Boland's broader body of work, which often explores maternal themes and the complexities of familial relationships.

        5. Myth and Reality

The poem blurs the lines between myth and reality by alluding to the legendary city of Atlantis. This theme emphasizes how myths help people process real-life emotions and experiences. The use of Atlantis as a metaphor for loss and longing suggests that creating and engaging with myths allows humans to articulate and manage their deepest sorrows.

"Atlantis" by Eavan Boland intricately weaves themes of loss and nostalgia, memory and the passage of time, the search for meaning, maternal instinct, and the interplay of myth and reality. These themes collectively offer a poignant meditation on the permanence of loss and the enduring power of memory and myth in the human experience.

Critical Analysis

Eavan Boland’s poem "Atlantis—A Lost Sonnet" masterfully intertwines themes of loss, memory, and myth to explore the enduring human quest for meaning amidst the permanence of absence. Through vivid imagery and reflective language, Boland captures the universal experience of longing for what is irretrievably lost, drawing on the myth of Atlantis to deepen the emotional resonance of her reflections.

The poem opens with the speaker pondering the sudden disappearance of an entire city, "arches, pillars, colonnades," and everything within it, creating a sense of bewilderment and awe. This initial contemplation sets the tone for the poem, emphasizing the incomprehensibility of such a vast and sudden loss. The speaker’s repetition of the idea—wondering how "a whole city" could vanish—underscores the disbelief and the magnitude of the loss being described.

In the subsequent lines, the speaker reflects on the past with a sense of nostalgia, recalling details like "white pepper, white pudding," and meeting "under fanlights and low skies." These specific, sensory memories anchor the poem in a tangible reality, highlighting the contrast between the concrete past and the abstract, elusive present. The phrase "The world was small then" suggests a time when everything seemed more manageable and close-knit, enhancing the sense of a lost intimacy and simplicity.

As the poem progresses, Boland delves deeper into the theme of loss. The speaker mentions "the old fable-makers" who struggled to find a word to convey the permanence of what is gone, emphasizing the inadequacy of language in the face of profound loss. This struggle to articulate the ineffable reflects a universal human experience, where words often fall short of capturing the depth of our emotions.

Boland's use of myth in the poem is particularly poignant. By referencing Atlantis, she draws on a powerful symbol of a lost, perfect world, submerged and unreachable. This myth serves as a metaphor for the speaker's own lost world, suggesting that some aspects of our past, much like Atlantis, are irretrievably gone and exist only in memory and imagination. The act of "giving their sorrow a name and drowning it" implies a deliberate attempt to manage grief by creating myths, which provide a structure for understanding and coping with loss.

          The poem also touches on the theme of maternal instinct, albeit subtly. The speaker’s yearning for the lost city and the associated memories can be seen as a metaphor for the protective and nurturing instincts of a mother. This reading aligns with Boland’s broader body of work, which often explores themes of motherhood and the complexities of familial relationships.

          Boland’s language throughout the poem is both lyrical and evocative, capturing the emotional intensity of the speaker’s reflections. The use of imagery, such as "arches, pillars, colonnades," and "fanlights and low skies," creates a vivid picture of the lost city, enhancing the sense of nostalgia and loss. The poem’s reflective tone invites readers to contemplate their own experiences of loss and the ways in which they seek to make sense of it.

"Atlantis—A Lost Sonnet" by Eavan Boland is a profound meditation on loss, memory, and the human quest for meaning. Through the interplay of myth and reality, Boland explores the enduring impact of what is irretrievably gone and the ways in which we cope with such losses. The poem's evocative imagery and reflective language create a poignant and resonant exploration of the universal experience of longing for the past and the struggle to articulate the depth of our emotions.


Yangtze by Sarah Howe


Yangtze: Sarah Howe's Journey of Identity and Memory

 

About the Poet

The Title

Line-by-Line Explanation

Critical Analysis

 

Sarah Howe

Image DescriptionSarah Howe, born in 1983 in the United Kingdom to a British father and Chinese mother, is a distinguished Chinese-British poet, editor, and researcher in English literature. Her multicultural background profoundly influences her work, infusing it with themes of identity, displacement, and cultural duality. Having lived in China until the age of eight before migrating to the UK, Howe's poetry often reflects the complexities of her bicultural heritage. Educated in both the UK and the US, Howe has faced discrimination due to her Chinese heritage, an experience that informs her exploration of belonging and otherness in her writing.

Her first full poetry collection, "Loop of Jade," won the T.S. Eliot Prize, marking a historic achievement as the first debut collection to receive this honor. In addition to her poetic work, Howe founded the online poetry journal Prac Crit and has made significant contributions to contemporary poetry as a post-modern poet with a keen eye for blending personal narrative with broader cultural commentary.


About the Poem

"Yangtze" is the concluding poem in Sarah Howe’s acclaimed collection "Loop of Jade," published in 2015. This poem serves as a reflective journey back to mainland China, encapsulating Howe's experiences and memories of the country she left as a child. Written in a style that balances dense, descriptive language with a simple, evocative mode reminiscent of haiku, "Yangtze" explores themes of identity, cultural heritage, and environmental change. Through its vivid imagery and poignant reflections, the poem addresses the profound transformations wrought by modernization on the Yangtze River and its surroundings.

The poem delves into the duality of Howe’s Chinese and British identities, symbolized by the half-built bridge, and the haunting presence of submerged traditions and lost communities. The refrain "journeying is hard" underscores the physical, mental, and social challenges of navigating one’s path in life, capturing the essence of the poet's exploration of belonging and displacement. Through "Yangtze," Howe invites readers to reflect on the complexities of cultural identity and the enduring impact of environmental and societal changes.


Line-by-line Explanation

"The moon glimmers

in the brown channel.

Strands of mist

wrap the mountainsides

crowded with firs.

Declining cliffs

sink beneath vast water."

The opening lines set a serene yet sombre tone, describing a tranquil moonlit scene along the Yangtze River. The "brown channel" contrasts with the glimmering moon, hinting at the pollution and environmental changes in the river. The imagery of mist wrapping the mountainsides and the cliffs sinking into the water evokes a sense of natural beauty intertwined with a quiet, ominous decline.

"By remote paths,

twisting pines.

Far downstream

two sides

of a half-built bridge

fail to meet."

The poet introduces the theme of incompletion and fragmentation with the image of a half-built bridge. The "twisting pines" and "remote paths" evoke a sense of isolation and inaccessibility. The unfinished bridge symbolizes unfulfilled promises and the gap between tradition and progress, as well as the disconnect between different parts of society or between past and future.

"Our crude boat

chugging

points to Chongqing.

As someone I now forget

once said

journeying is hard."

Here, the poem shifts to a personal perspective, with the speaker aboard a "crude boat" heading to Chongqing. The repetitive sound of the boat "chugging" underscores the laborious nature of the journey. The mention of a forgotten source for the quote "journeying is hard" introduces a reflective tone, suggesting the challenges and uncertainties of travel and life.

"My face greets

the evening breeze

I listen –

the dream of a place."

These lines capture a moment of calm and introspection. The speaker's sensory engagement with the evening breeze and the act of listening suggests a connection to nature and a contemplative state. "The dream of a place" alludes to an idealized or remembered location, hinting at nostalgia and the elusiveness of such dreams.

"A cormorant dives

by trembling light.

From the white

eyelet of a star

the sound of ripples."

Here, the poet uses haiku-like imagery to depict a delicate, fleeting moment in nature. The cormorant's dive and the trembling light create a sense of movement and fragility. The "white eyelet of a star" producing the "sound of ripples" blends visual and auditory senses, emphasizing the interconnectedness of natural elements and the subtle beauty of the scene.

"A fisherman

skirting shore

in his high-prowed skiff

crossing bamboo oars

comes up with a jolt –

nets catch not fish

but the wizened finger

of a submerged branch

for below

a sunken valley persists –"

The narrative resumes with a detailed description of a fisherman's encounter with the submerged landscape. The "wizened finger of a submerged branch" suggests remnants of a once-thriving ecosystem now underwater. The "sunken valley" evokes the profound transformation of the river's environment, hinting at human impact and loss.

"slick bare trunks

furred in wafting fronds

have water for sky,

ghost forest.

Roots rot deep in the hill

where buried rock

is still dry."

The poet continues the underwater imagery, describing the "ghost forest" with "slick bare trunks" and "wafting fronds." The reversal of "water for sky" highlights the unnatural state of the submerged trees. The imagery of roots rotting while buried rock remains dry suggests the ongoing decay and disconnection from the original ecosystem.

"Windows film,

doors drift open

in the empty concrete

shells of houses

towns that once

held hundreds

of thousands

slowly filling with

what, what is it

they fill with?"

The poem shifts to the abandoned human settlements, depicting the "empty concrete shells of houses" and ghost towns that once held large populations. The repetition of "what, what is it they fill with?" underscores the uncertainty and the haunting absence in these spaces, inviting readers to ponder the consequences of displacement and environmental change.

"Someone I now forget

once said

journeying is hard.

The moon glimmers

in the brown channel."

The refrain "Someone I now forget once said journeying is hard" reappears, reinforcing the theme of memory and the difficulty of the journey. The return to the image of the moon glimmering in the brown channel creates a cyclical structure, linking the poem's end to its beginning and emphasizing the persistence of these issues.

 

Critical Analysis

Sarah Howe's poem "Yangtze," the concluding piece in her acclaimed collection "Loop of Jade" (2015), encapsulates the poet's reflective journey back to mainland China, where she lived until the age of eight. Howe, a Chinese-British poet with a unique bicultural perspective, shares her nuanced exploration of the country through personal memory and broader cultural and environmental landscapes.

The poem opens with the moon's reflection on the Yangtze River, setting a serene yet melancholic tone. The image of the moon glimmering in the "brown channel" hints at the pollution and environmental degradation of the river, contrasting natural beauty with underlying decay. "Strands of mist" and "twisting pines" evoke a timeless, mythical landscape steeped in legend and half-memories.

Howe’s writing reflects her dual heritage and resulting sense of duality. The half-built bridge symbolizes the incomplete connection between her Chinese and British identities and the clash between tradition and modernity. This image of the bridge that "fail[s] to meet" underscores fragmentation and unfulfilled potential. Similarly, submerged trees represent sinking Chinese traditions and cultural essence, leading to an inability to fully understand oneself.

The poem’s structure, reminiscent of haiku with precise, transparent diction and free verse, mirrors the river's natural flow. Fluidity is emphasized by avoiding symmetry and seamlessly transitioning between scenes. Howe’s use of minimal punctuation and an asterisk after the fifth stanza creates a deliberate rhythm, allowing pauses for reflection, akin to natural pauses in a journey.

The refrain "journeying is hard," possibly echoing Li Po, reminds us of physical, mental, and social challenges in navigating life's path. This refrain, coupled with repetitive imagery of the glimmering moon and brown channel, creates a loop reflecting cyclical memory and experience. The inability to recall who said "journeying is hard" points to fragmentation and wandering from roots, common in diasporic experiences.

Howe’s vivid, haunting depiction of the Yangtze River's environmental impact includes a "ghost forest" of submerged trees. The fisherman's net catching a "wizened finger of a submerged branch" highlights changes from hydroelectric plants like the Three Gorges Dam, evoking loss and displacement for nature and affected communities. The poem's elegiac tone mourns this while capturing the river’s resilience and enduring beauty.