WEBVTT 00:01.067 --> 00:01.797 WAI CHEE DIMOCK: For now, I just want to 00:01.800 --> 00:04.670 give you some biographical 00:04.667 --> 00:11.527 details that might be a kind of interesting parallel to 00:11.533 --> 00:14.833 basically the entire body of work by 00:14.833 --> 00:16.933 Fitzgerald that we're seeing. 00:16.933 --> 00:21.503 Last time, we already saw that Fitzgerald was married to 00:21.500 --> 00:22.770 Zelda Sayer. 00:24.933 --> 00:33.403 And she was basically the social center in Montgomery, 00:33.400 --> 00:36.270 Alabama where he was stationed. 00:36.267 --> 00:41.997 So he referred to her as the first American flapper. 00:42.000 --> 00:45.830 So obviously that has resonances for the story 00:45.833 --> 00:49.933 "Bernice Bobs Her Hair." We know that that is where he 00:49.933 --> 00:51.573 gets part of his inspiration. 00:56.333 --> 00:58.803 And he has other stories about flappers. 00:58.800 --> 01:01.630 As we know, he has a whole collection called Flappers and 01:01.633 --> 01:02.633 Philosophers. 01:02.633 --> 01:09.733 So Zelda has been there pretty much from quite early on in 01:09.733 --> 01:11.073 the short stories. 01:11.067 --> 01:15.327 But really, the work in which Zelda has the most important 01:15.333 --> 01:18.873 presence is Tender is the Night. 01:18.867 --> 01:21.727 So just some interesting details, 01:21.733 --> 01:24.433 some interesting parallels. 01:24.433 --> 01:27.973 Some of you might have been surprised that Nicole refers 01:27.967 --> 01:34.497 to Dick as Captain Diver when she writes to him from the 01:34.500 --> 01:35.970 sanatorium. 01:35.967 --> 01:39.867 And it's not really very well accounted for, because Dick, 01:39.867 --> 01:43.567 in fact, did not really fight. 01:43.567 --> 01:48.067 He was considered too valuable to be lost in battle. 01:48.067 --> 01:52.397 So he was in Switzerland, and he was not in combat. 01:52.400 --> 01:56.770 But Nicole refers to him as Captain Diver. 01:56.767 --> 01:59.867 And in turns out that this is a kind of interesting personal 01:59.867 --> 02:04.797 connection to Fitzgerald's own life and 02:04.800 --> 02:06.500 his relation to Zelda. 02:06.500 --> 02:10.830 It turns out that in the Fitzgerald collection that I 02:10.833 --> 02:13.503 was talking about last time at the University of South 02:13.500 --> 02:19.530 Carolina, they have a couple of very prized items in that 02:19.533 --> 02:20.533 collection. 02:20.533 --> 02:26.333 One is this briefcase saying "F. Scott Fitzgerald, Fifth 02:26.333 --> 02:27.403 Avenue." 02:27.400 --> 02:30.630 And the other is this hip flask with an 02:30.633 --> 02:32.773 inscription from it. 02:32.767 --> 02:37.527 And it turns out that this is a gift from Zelda to Scott 02:37.533 --> 02:40.303 before they were married, when they were just courting. 02:40.300 --> 02:43.500 And this is the inscription on that flask. 02:43.500 --> 02:45.230 "To 1st Lt. 02:45.233 --> 02:51.003 F. Scott Fitzgerald, 65th Infantry, Camp Sheridan, 02:51.000 --> 02:55.730 Forget-me-not, Zelda, September 13, 1918, 02:55.733 --> 02:57.703 Montgomery, Ala." 02:57.700 --> 03:02.070 So in turns out that the military rank is a small 03:02.067 --> 03:05.297 personal detail in the courtship. 03:05.300 --> 03:09.830 The attribution of military rank that, in fact, was not 03:09.833 --> 03:12.773 really the real professional identity for 03:12.767 --> 03:15.997 Fitzgerald at any point. 03:16.000 --> 03:17.070 He was there. 03:17.067 --> 03:17.797 He was in Montgomery. 03:17.800 --> 03:21.670 He was not fighting either in Montgomery, Alabama. 03:21.667 --> 03:25.527 But she referred to him as 1st lieutenant as the more 03:25.533 --> 03:26.533 dignified title. 03:26.533 --> 03:30.133 And we'll see that titles, whether one is referred to as 03:30.133 --> 03:34.273 Doctor or Mister, actually makes a difference in Tender 03:34.267 --> 03:34.827 Is the Night. 03:34.833 --> 03:37.473 So from the very beginning, a kind of title consciousness on 03:37.467 --> 03:41.167 the part of Fitzgerald, I guess, translated into Captain 03:41.167 --> 03:44.867 Diver in Tender Is the Night. 03:44.867 --> 03:47.967 But that's just a very, very small connection. 03:47.967 --> 03:50.467 The most important connections, as some of you 03:50.467 --> 03:53.397 might know, has to do with a fairly long history, a long 03:53.400 --> 03:56.470 and painful history of mental instability 03:56.467 --> 03:58.227 on the part of Zelda. 03:58.233 --> 04:04.133 Basically from the 1930s on, she never was not inside a 04:04.133 --> 04:08.933 clinic at some point during her career until she died. 04:08.933 --> 04:13.573 She was in and out of mental institutions, some more 04:13.567 --> 04:14.867 luxurious than others. 04:14.867 --> 04:17.027 Some not looking like a mental institution at all. 04:17.033 --> 04:18.833 So we'll begin with those. 04:18.833 --> 04:24.303 Anyway, this is the reference to him as Captain Diver in 04:24.300 --> 04:25.230 Tender Is the Night. 04:25.233 --> 04:27.873 But this is one of the first that she when to. 04:27.867 --> 04:30.497 I think it might even have been the first, called 04:30.500 --> 04:36.230 Prangins in Switzerland. 04:36.233 --> 04:39.273 And we'll see a picture of her room there. 04:39.267 --> 04:42.427 That was in 1930. 04:42.433 --> 04:47.503 And as you can see, almost like a hotel room, not looking 04:47.500 --> 04:50.370 like the ideal of a mental institution, certainly. 04:50.367 --> 04:54.597 Not the place where Darl would go to when he goes to Jackson, 04:54.600 --> 04:55.230 Mississippi. 04:55.233 --> 04:58.233 So at the very other end of the social spectrum. 04:58.233 --> 05:02.803 That's where she started out when she began her long career 05:02.800 --> 05:05.270 of medicalization. 05:05.267 --> 05:11.827 And this is the picture of her release from Prangins. 05:11.833 --> 05:14.433 And you can see that she actually looks very different 05:14.433 --> 05:18.303 from when she was 18. 05:18.300 --> 05:21.730 Almost unrecognizable, the two of them. 05:21.733 --> 05:24.033 I guess it's separated by a number of years as well. 05:24.033 --> 05:27.833 But really looking very, very different. 05:27.833 --> 05:34.703 And I think that was the earliest instance in 1930. 05:34.700 --> 05:38.830 That was an unduly optimistic diagnosis that she was 05:38.833 --> 05:44.003 recovered, that she recovered from the breakdown. 05:44.000 --> 05:47.030 Because she was very soon hospitalized again. 05:47.033 --> 05:52.173 And this time in another even more famous Swiss clinic, 05:52.167 --> 05:58.027 Burgholtzi, which is where Jung actually practiced. 05:58.033 --> 06:00.833 And I think Freud actually was there briefly as well. 06:00.833 --> 06:03.803 So in Tender is the Night, there's a reference to Freud 06:03.800 --> 06:08.300 that Dick Diver's to get to Vienna before Freud retires, 06:08.300 --> 06:10.800 and there's also the Swiss clinic. 06:10.800 --> 06:17.330 So all of that is, in part, has a connection to Zelda's 06:17.333 --> 06:19.573 own medical history in Switzerland. 06:22.333 --> 06:25.033 And then she went to a bunch of other ones. 06:25.033 --> 06:27.233 I can't even keep track of all the different one's 06:27.233 --> 06:28.933 that she went to. 06:28.933 --> 06:33.933 But at some point in 1932, she went to Johns Hopkins. 06:33.933 --> 06:35.903 They were back in this country. 06:35.900 --> 06:37.730 She went to Johns Hopkins hospital. 06:37.733 --> 06:41.473 And that turned out to have quite an important effect on 06:41.467 --> 06:42.227 both of them. 06:42.233 --> 06:47.433 Because when she was at Hopkins, part of the treatment 06:47.433 --> 06:50.403 was that she would have to write for two hours a day. 06:50.400 --> 06:53.770 That was part of the medical treatment. 06:53.767 --> 06:55.997 So she started writing. 06:56.000 --> 07:00.700 And she wrote a novel called Save Me the Waltz, which was 07:00.700 --> 07:03.500 published in 1932. 07:03.500 --> 07:08.130 It was only about 1,000 copies sold. 07:08.133 --> 07:14.073 So it didn't make its way into American literature, exactly. 07:14.067 --> 07:17.167 But it's interesting in many ways, because it is Zelda 07:17.167 --> 07:22.497 using her own medical history, using her marriage to Scott 07:22.500 --> 07:28.730 Fitzgerald, using all that personal stuff as material for 07:28.733 --> 07:30.103 this novel. 07:30.100 --> 07:34.630 And Fitzgerald actually tried to stop it from being 07:34.633 --> 07:38.733 published or tried to revise it very significantly before 07:38.733 --> 07:40.533 it was published. 07:40.533 --> 07:43.603 And then after it was published, he had this opinion 07:43.600 --> 07:45.430 about his wife's novel. 07:45.433 --> 07:48.333 "Plagiaristic, unwise in every way. 07:48.333 --> 07:51.003 Should not have been written. " 07:51.000 --> 07:56.730 So this is, in may ways, a kind of a long painful example 07:56.733 --> 08:02.073 of the many, many instances in American literature of the 08:02.067 --> 08:05.597 husband having some control over the wife's writing. 08:05.600 --> 08:08.870 The most famous example is Ted Hughes and Sylvia Plath. 08:08.867 --> 08:13.997 Her letters were actually edited by him after her death. 08:14.000 --> 08:16.530 So in this case, she did get it published. 08:16.533 --> 08:19.503 But it didn't reach a very wide audience, and he was 08:19.500 --> 08:21.200 against it from day one. 08:21.200 --> 08:26.100 The daughter, Scottie, had a somewhat different opinion. 08:26.100 --> 08:29.700 She just said that "this sort of competition is 08:29.700 --> 08:34.370 traditionally the bane of literary romances." So at 08:34.367 --> 08:37.927 least she had a very clear-eyed view about the 08:37.933 --> 08:41.533 marriage that there was quite a competition going on. 08:41.533 --> 08:44.903 Even though, obviously, he was the one who was the writer. 08:44.900 --> 08:47.370 she had some aspirations as well. 08:47.367 --> 08:49.827 And if she had been encouraged, might actually 08:49.833 --> 08:52.773 have had more of a career. 08:52.767 --> 08:56.827 So the element of competition between husband and wife I 08:56.833 --> 08:58.803 think is quite an important theme. 08:58.800 --> 09:03.030 Even though Fitzgerald tried to downplay it in saying that 09:03.033 --> 09:05.733 his wife's the one who really had no talent, she had to 09:05.733 --> 09:09.103 plagiarize from him, he must have registered the fact that 09:09.100 --> 09:12.830 she was more of a competitor than he let on. 09:12.833 --> 09:16.073 So we'll see how that plays out in the dynamics between 09:16.067 --> 09:21.327 Dick Diver and Nicole and who wins out. 09:21.333 --> 09:25.333 This is actually not so important, but just a kind of 09:25.333 --> 09:29.003 point of reference is we know there's another woman, 09:29.000 --> 09:30.600 significant woman in Tender is the Night, 09:30.600 --> 09:32.900 Rosemary, the actress. 09:32.900 --> 09:36.970 And I think this is generally thought that this is the 09:36.967 --> 09:40.327 person that Rosemary is based on. 09:40.333 --> 09:41.803 And we can sort of see that. 09:41.800 --> 09:44.770 She has this very wholesome, innocent look. 09:44.767 --> 09:49.167 But she also was tremendously disciplined as an actress. 09:49.167 --> 09:50.867 And indeed, she had a very distinguished 09:50.867 --> 09:52.697 career as an actress. 09:52.700 --> 09:58.070 So this is sort of the Hollywood contribution to 09:58.067 --> 09:59.327 Tender Is the Night. 10:04.433 --> 10:06.933 Today's lecture actually will be more about cinematic 10:06.933 --> 10:08.073 techniques. 10:08.067 --> 10:12.967 So even though she personifies Hollywood's contribution to 10:12.967 --> 10:16.367 Tender Is the Night, actually it's in terms of formal 10:16.367 --> 10:20.127 techniques that film would have more of an input on the 10:20.133 --> 10:23.133 narrative technique of Tender Is the Night. 10:23.133 --> 10:27.733 But I want to go back very briefly to something that 10:27.733 --> 10:31.533 we've been talking about all semester, which is the very 10:31.533 --> 10:37.173 important, and in many ways, variously played out dynamics 10:37.167 --> 10:41.967 between the "have" and the "have not." So I know you guys 10:41.967 --> 10:45.467 might not have gotten to the end of this novel, so I 10:45.467 --> 10:49.427 apologize, but there's really no way I could talk about the 10:49.433 --> 10:52.503 novel without talking about the ending. 10:52.500 --> 10:56.800 So without knowing all the details in between, this is 10:56.800 --> 11:02.400 the last two paragraphs of Tender is the Night. 11:02.400 --> 11:05.870 "...but he became entangled with a girl who worked in a 11:05.867 --> 11:12.027 grocery store, and he was also involved in a lawsuit about 11:12.033 --> 11:16.003 some medical question; so he left Lockport. 11:16.000 --> 11:18.600 After that he didn't ask for the children to be sent to 11:18.600 --> 11:23.630 America and didn't answer when Nicole wrote asking him if he 11:23.633 --> 11:25.203 needed money. 11:25.200 --> 11:29.400 In the last letter she had from him he told her that he 11:29.400 --> 11:32.000 was practising in Geneva, New York, and she got the 11:32.000 --> 11:34.370 impression that he had settled down with some one to keep 11:34.367 --> 11:35.727 house for him. 11:35.733 --> 11:39.303 She looked up Geneva in an atlas and found it was in the 11:39.300 --> 11:42.600 heart of the Finger Lakes Section and considered a 11:42.600 --> 11:44.070 pleasant place. 11:44.067 --> 11:46.827 Perhaps, so she liked to think, his career was biding 11:46.833 --> 11:51.373 its time again like Grant's in Galena; his latest note was 11:51.367 --> 11:55.697 post-marked from Hornell, New York, which is some distance 11:55.700 --> 11:59.600 from Geneva and a very small town; in any case he is almost 11:59.600 --> 12:05.230 certainly in that section of the country, in one town or 12:05.233 --> 12:06.773 another." 12:06.767 --> 12:12.227 So those last five words, five of the cruelest words in 12:12.233 --> 12:14.103 American literature. 12:14.100 --> 12:18.130 He's a total nobody by the end of the novel, 12:18.133 --> 12:21.333 in one town or another. 12:21.333 --> 12:28.203 So this is a novel that moves very fast. We start out with 12:28.200 --> 12:33.630 him at the top of his profession, full of promise. 12:33.633 --> 12:36.773 In fact, when we first see him, he is idolized by 12:36.767 --> 12:39.797 everyone around him. 12:39.800 --> 12:45.070 To get there to this ending that the woman in his life 12:45.067 --> 12:47.627 would be someone that he sees in a grocery store-- 12:47.633 --> 12:51.933 and not even that, getting into trouble of his very 12:51.933 --> 12:55.373 modest medical practice. 12:55.367 --> 12:59.367 A drifter, going from one small town to another. 12:59.367 --> 13:04.097 And this additional insult that he starts out in Zurich, 13:04.100 --> 13:06.100 Switzerland -- 13:06.100 --> 13:08.600 a city that everyone knows about -- 13:08.600 --> 13:13.130 to Geneva, New York, which Nicole has to look up in an 13:13.133 --> 13:17.503 atlas, and he can't even hold onto this Geneva. 13:17.500 --> 13:21.800 So it is, in many ways, the ending is the beginning, but a 13:21.800 --> 13:23.830 highly ironized beginning. 13:26.833 --> 13:29.133 We've seen this structure before, and I promise you 13:29.133 --> 13:32.173 we'll see it one more time. 13:32.167 --> 13:35.497 So the last three novelists that we read basically have 13:35.500 --> 13:39.800 the same structure, but to totally different effect. 13:39.800 --> 13:43.230 So from what we know at this point, we know that at least 13:43.233 --> 13:45.803 one other novel has this circular structure-- the 13:45.800 --> 13:47.300 ending is the beginning-- 13:47.300 --> 13:48.600 which is For Whom the Bell Tolls. 13:48.600 --> 13:50.630 So we've talked about this, but just want to give you 13:50.633 --> 13:52.433 those two sentences. 13:52.433 --> 13:56.833 Beginning, "He lay flat on the brown, pine-needled floor of 13:56.833 --> 14:00.533 the forest." And then the last line, "He could feel his heart 14:00.533 --> 14:03.103 beating against the pine-needled floor of the 14:03.100 --> 14:04.400 forest." 14:04.400 --> 14:10.870 So it is Hemingway's very tender rendition of a life 14:10.867 --> 14:14.797 that could be construed as the life of a "have not." We 14:14.800 --> 14:16.900 talked about that possibility that maybe 14:16.900 --> 14:18.570 he really has nothing. 14:18.567 --> 14:21.967 All he has is a broken leg, that very ironic reading, 14:21.967 --> 14:24.067 which is not to be dismissed. 14:24.067 --> 14:28.127 But against that ironic reading, Hemingway invokes 14:28.133 --> 14:35.603 this very lyrical image of ending is the beginning as a 14:35.600 --> 14:40.270 kind of an endless deferral of the moment of death. 14:40.267 --> 14:41.527 So he's still alive. 14:41.533 --> 14:44.373 It's almost as if we're beginning all over again. 14:44.367 --> 14:47.727 And we, as the readers, want him to begin all over again. 14:47.733 --> 14:50.973 It is that illusion perpetrated in our minds, the 14:50.967 --> 14:56.527 reader's mind, that Hemingway is able to write a novel that, 14:56.533 --> 14:59.073 in some sense, doesn't really have an ending. 14:59.067 --> 15:03.727 In the ending is the beginning, the actual death 15:03.733 --> 15:06.933 scene is deferred to a point of infinity. 15:06.933 --> 15:12.433 So this is Hemingway's very tender wrapping up of the life 15:12.433 --> 15:16.233 of Robert Jordan in For Whom the Bell Tolls. 15:16.233 --> 15:21.073 And in contrast to that, Fitzgerald is about as 15:21.067 --> 15:22.667 brutal as can be. 15:26.800 --> 15:33.930 Actually, it's sort of surprising that he would want 15:33.933 --> 15:37.933 to be so thoroughgoing in the degradation of Dick Diver. 15:37.933 --> 15:40.973 But that's how he wants to write. 15:40.967 --> 15:46.727 So today we'll look at that ending, the cruelty of that. 15:46.733 --> 15:51.203 And link that to the question of narrative speed. 15:51.200 --> 15:54.300 We know that the novel is moving very fast. A lot of 15:54.300 --> 15:58.630 things have to happen for us to get to that very, very low 15:58.633 --> 16:01.303 point at the end of the novel. 16:01.300 --> 16:06.970 So what has happened and what does Fitzgerald have to do in 16:06.967 --> 16:09.797 order to speed up the narrative to such an extent 16:09.800 --> 16:12.130 that he would get to that absolute low point? 16:12.133 --> 16:16.333 So last time, we talked about montage and we talked about 16:16.333 --> 16:20.673 flashback as two cinematic techniques that are important 16:20.667 --> 16:21.897 to Fitzgerald. 16:21.900 --> 16:27.200 And today, we'll look at three very, very common filming 16:27.200 --> 16:30.870 techniques and the way that they actually help to speed up 16:30.867 --> 16:32.327 the narrative. 16:32.333 --> 16:36.603 It's not self-evident that a close-up would, in fact, speed 16:36.600 --> 16:37.300 up the narrative. 16:37.300 --> 16:41.930 But the way Fitzgerald uses his close-ups actually does. 16:41.933 --> 16:45.103 And it's not always clear that cross-cutting would speed up 16:45.100 --> 16:45.400 the narrative. 16:45.400 --> 16:49.370 Once again, he uses this very familiar technique to move 16:49.367 --> 16:50.597 things forward. 16:50.600 --> 16:55.830 And then we have the very fast motion of the negative 16:55.833 --> 16:56.803 resolutions. 16:56.800 --> 17:01.270 Things being taken away from Dick Diver. 17:01.267 --> 17:06.097 So let's look at a couple of instances of close-up. 17:06.100 --> 17:12.430 And this is just so obviously visual that it's sort of hard 17:12.433 --> 17:15.733 to look away from that with how to read this without 17:15.733 --> 17:17.803 having some kind of visual image. 17:17.800 --> 17:20.230 This is about Rosemary. 17:20.233 --> 17:24.033 As you know, she has this crush on him, on Dick Diver, 17:24.033 --> 17:29.833 and really desperately wants to have an affair. 17:29.833 --> 17:32.533 But it doesn't quite happen for a while. 17:32.533 --> 17:36.033 "Presently she kissed him several times in the mouth, 17:36.033 --> 17:39.633 her face getting big as it came up to him; he had never 17:39.633 --> 17:43.873 seen anything so dazzling as the quality of her skin, and 17:43.867 --> 17:47.827 since sometimes beauty gives back the images of one's best 17:47.833 --> 17:52.403 thoughts he thought of his responsibility about Nicole, 17:52.400 --> 17:56.600 and about the responsibility of her being two doors down 17:56.600 --> 17:58.530 across the corridor. 17:58.533 --> 18:00.773 'The rain's over,' he said. 'Do you see the sun on the 18:00.767 --> 18:06.467 slate?' Rosemary stood up and leaned down and said her most 18:06.467 --> 18:08.197 sincere thing to him. 18:08.200 --> 18:09.930 'Oh, we're such actors -- 18:09.933 --> 18:13.703 you and I.' 18:13.700 --> 18:20.100 OK, so we're starting out on one kind of register. 18:20.100 --> 18:24.900 We're starting with the notion of Rosemary as this kind of 18:24.900 --> 18:30.870 lovesick puppy that's just pining for him. 18:30.867 --> 18:36.527 And unrequited love on top of that, that is going nowhere. 18:36.533 --> 18:42.533 And so the first part up to the last three lines of that 18:42.533 --> 18:48.403 passage is really all about Dick Diver being this noble 18:48.400 --> 18:50.630 person, even though he could have taken advantage of 18:50.633 --> 18:52.373 Rosemary and she's pining for him. 18:52.367 --> 18:54.497 He could have easily taken advantage of her. 18:54.500 --> 18:55.200 He's not doing that. 18:55.200 --> 18:57.500 He's thinking of his responsibility to Nicole two 18:57.500 --> 18:59.000 doors down the hall. 18:59.000 --> 19:04.030 All that is really about the nobility and anonymity and 19:04.033 --> 19:06.803 uprightness of Dick Diver. 19:06.800 --> 19:14.430 The last three lines swing us to the other end, other side 19:14.433 --> 19:15.603 of the narrative. 19:15.600 --> 19:17.500 And all of a sudden, we see what kind of a 19:17.500 --> 19:21.400 person Rosemary is. 19:21.400 --> 19:23.130 And she's completely truthful. 19:23.133 --> 19:26.733 Rosemary's never not truthful. 19:26.733 --> 19:29.733 Even though she's an actress, she actually is the most 19:29.733 --> 19:33.433 truthful person in the novel. 19:33.433 --> 19:37.973 And this is an absolute statement that is completely 19:37.967 --> 19:39.427 right about both of them. 19:39.433 --> 19:41.203 She is an actress. 19:41.200 --> 19:51.930 So it's very hard to know where the acting ends and 19:51.933 --> 19:53.403 where the feeling begins. 19:53.400 --> 19:56.770 She's so disciplined that she would act in a certain way. 19:56.767 --> 20:00.427 And then she runs into an obstacle, and she stops acting 20:00.433 --> 20:02.303 in that way as she was doing right there. 20:02.300 --> 20:05.430 It's like trying out one route, seeing that is going 20:05.433 --> 20:07.933 nowhere, and then suddenly seeing that maybe she should 20:07.933 --> 20:10.173 act in a different fashion. 20:10.167 --> 20:16.567 So there is a way in which the emotional life of Rosemary has 20:16.567 --> 20:19.727 been completely professionalized to such an 20:19.733 --> 20:24.003 extent that she's always acting, which is not even to 20:24.000 --> 20:26.870 say that she's not sincere. 20:26.867 --> 20:30.497 And Fitzgerald credits her with being sincere. 20:30.500 --> 20:33.100 It's just that that is what she is. 20:33.100 --> 20:36.370 I don't think that she is capable of having any kind of 20:36.367 --> 20:39.627 emotions outside of her professional 20:39.633 --> 20:42.003 identity as an actress. 20:42.000 --> 20:46.130 So this is what she is. 20:46.133 --> 20:52.973 So it is Dick's blindness to that that he doesn't realize 20:52.967 --> 20:58.067 that she's not exactly a love-sick puppy. 20:58.067 --> 21:01.567 She is someone who is actually acting in 21:01.567 --> 21:04.097 a particular fashion. 21:04.100 --> 21:09.000 And who not only has a full understanding of what kind of 21:09.000 --> 21:11.770 a person she is, but she has a full 21:11.767 --> 21:14.167 understanding of what he is. 21:14.167 --> 21:18.197 So it's not surprising that she should know herself to be 21:18.200 --> 21:20.200 primarily an actress. 21:20.200 --> 21:23.270 It's not an accusation to say that. 21:23.267 --> 21:24.767 That's what she is. 21:24.767 --> 21:28.197 Above everything else, she's primarily an actress. 21:28.200 --> 21:30.300 So she has that degree of self-knowledge. 21:30.300 --> 21:34.830 But she also has the knowledge about him, that even though he 21:34.833 --> 21:39.433 is supposedly a doctor, he actually is, 21:39.433 --> 21:42.373 at heart, an actor. 21:42.367 --> 21:46.567 And that is an accusation, a much more serious accusation, 21:46.567 --> 21:49.927 directed at him than it is directed at her, because she 21:49.933 --> 21:53.273 has been totally up front. 21:53.267 --> 21:55.197 She never is not an actress. 21:55.200 --> 21:58.170 From the beginning of the novel to the end, she is 21:58.167 --> 21:59.667 defined by that. 21:59.667 --> 22:01.697 He is supposed to be a doctor. 22:01.700 --> 22:03.730 So he's not supposed to be an actor. 22:03.733 --> 22:07.603 But it turns out that maybe the innermost truth about him 22:07.600 --> 22:10.200 is that he is an actor. 22:10.200 --> 22:16.400 And that all the appearance of nobility, all the appearance 22:16.400 --> 22:21.600 of uprightness, might turn out to be an act that he is 22:21.600 --> 22:23.770 putting up for her benefit. 22:23.767 --> 22:26.897 An act that he's putting up for his own benefit. 22:26.900 --> 22:30.570 Sometimes we can act for ourselves as well. 22:30.567 --> 22:34.297 So it shows the degree of knowledge of him and a 22:34.300 --> 22:40.070 clear-eyed, unsentimental, unlove-sick evaluation of 22:40.067 --> 22:43.127 exactly what kind of a man he is. 22:43.133 --> 22:47.373 So it is the most acute statement about Dick Diver 22:47.367 --> 22:48.967 that we've seen up to this point. 22:48.967 --> 22:51.367 This is quite early, page 105. 22:51.367 --> 22:56.627 So it is that acuteness, that astute knowledge about a man 22:56.633 --> 23:01.173 that she's supposedly idolizing that gives the lie, 23:01.167 --> 23:04.897 actually, to the adoration that she seems to 23:04.900 --> 23:06.430 be raining on him. 23:06.433 --> 23:09.933 That it's actually completely within bounds. 23:09.933 --> 23:15.373 She's practicing what it's like to be an adoring, 23:15.367 --> 23:16.197 love-sick puppy. 23:16.200 --> 23:17.730 She's acting that part. 23:17.733 --> 23:23.003 But it's a part that she's just doing it very well. 23:23.000 --> 23:28.630 So just to move this to analysis of the narrative 23:28.633 --> 23:37.373 technique, the moment when we have that kind of sudden 23:37.367 --> 23:43.227 switch in perspective actually comes with a visual detail 23:43.233 --> 23:47.433 that her face is coming closer and closer to him. 23:47.433 --> 23:50.833 And her face is getting big as it comes up to him. 23:50.833 --> 23:54.833 So let's remember that one visual detail that her face 23:54.833 --> 24:01.703 completely fills his field of vision, that he sees nothing 24:01.700 --> 24:02.730 but her face. 24:02.733 --> 24:06.533 So let's keep that one visual detail in mind and see what 24:06.533 --> 24:09.873 Fitzgerald does with that detail, that close-up. 24:09.867 --> 24:13.727 So this is another scene quite a bit later-- 24:13.733 --> 24:15.103 actually a flashback. 24:15.100 --> 24:18.530 So going back to the point when Nicole was still in the 24:18.533 --> 24:22.973 sanatorium and she was asking him to take care of her. 24:22.967 --> 24:26.227 "Nicole was up in her head now, cool as cool, trying to 24:26.233 --> 24:29.633 collate the sentimentalities of her childhood, as 24:29.633 --> 24:33.533 deliberate as a man getting drunk after battle... 24:33.533 --> 24:37.433 He breathed over her shoulder and turned her insistently 24:37.433 --> 24:42.403 about; she kissed him several times, her face getting big 24:42.400 --> 24:44.630 every time he came close, her hands 24:44.633 --> 24:47.033 holding him by the shoulders. 24:47.033 --> 24:50.903 'It's raining hard.' Suddenly there was a booming from the 24:50.900 --> 24:57.870 wine slopes across the lake; cannons were shooting at 24:57.867 --> 25:00.997 hail-bearing clouds in order to break them. 25:01.000 --> 25:04.900 The lights of the promenade went off, went on again.' 25:04.900 --> 25:12.000 So we get that repetition of that same visual detail-- 25:12.000 --> 25:16.630 the kissing, her face getting very big as it 25:16.633 --> 25:17.503 gets close to him. 25:17.500 --> 25:20.900 So the repetition of the same close-up. 25:20.900 --> 25:25.170 And what is odd is that we get exactly the same narrative 25:25.167 --> 25:27.997 sequence after that close-up. 25:28.000 --> 25:33.030 After the visual detail of her face getting big, we get the 25:33.033 --> 25:37.833 exact switch to a different narrative register. 25:37.833 --> 25:42.703 So this is not Nicole passing judgment on him. 25:42.700 --> 25:47.030 So it's not exactly the same structure as the 25:47.033 --> 25:49.173 incident with Rosemary. 25:49.167 --> 25:53.227 But there's a switch, abrupt switch, to a different 25:53.233 --> 25:54.733 sequence of narrative. 25:54.733 --> 25:58.873 In this case, it's such quite a trivial event. 25:58.867 --> 26:02.097 They were shooting cannons in order to break up the 26:02.100 --> 26:03.830 hail-bearing clouds. 26:03.833 --> 26:06.573 I guess it's something you do in Switzerland. 26:06.567 --> 26:14.867 But the point is that cannons were being fired in peacetime 26:14.867 --> 26:19.067 Switzerland, which is kind of a surprising fact in itself 26:19.067 --> 26:22.027 since we're not so familiar with cannons being fired for 26:22.033 --> 26:23.373 that purpose. 26:23.367 --> 26:28.197 But given the fact that we'll be seeing the intertwined, the 26:28.200 --> 26:34.200 superimposed images of love and war, the firing of the 26:34.200 --> 26:38.000 cannons is certainly not trivial at this point. 26:38.000 --> 26:42.230 So at the very least, we can say that there's an intrusion 26:42.233 --> 26:50.973 into this love scene of the undeniable and historical 26:50.967 --> 26:56.697 proven reality of war, of World War I. It's just a fact 26:56.700 --> 26:59.200 of history that there was such a war. 26:59.200 --> 27:03.600 So Fitzgerald's not going to recreate that war for us, 27:03.600 --> 27:06.630 except for going over the battleground and talking about 27:06.633 --> 27:10.403 it taking 20 lives to advance a foot-- 27:10.400 --> 27:11.800 that reference that we saw last time. 27:11.800 --> 27:15.300 He's not going to go further in the direction of World War 27:15.300 --> 27:17.870 I than he has done so far. 27:17.867 --> 27:22.797 But he is going to give us echoes of World War I in 27:22.800 --> 27:24.670 civilian situations. 27:24.667 --> 27:28.627 And not only that, but he's going to use that as a 27:28.633 --> 27:34.173 narrative follow up to a love scene, specifically to a 27:34.167 --> 27:38.627 close-up when the woman's face is getting bigger and bigger. 27:38.633 --> 27:42.233 So we can say that what the close-up is doing for 27:42.233 --> 27:44.503 Fitzgerald-- 27:44.500 --> 27:46.970 especially the woman's face getting bigger and bigger-- 27:46.967 --> 27:51.867 is the dramatization, the visualization of the woman's 27:51.867 --> 27:54.497 power over the man. 27:54.500 --> 27:58.230 So when Rosemary's face is getting so big that she fills 27:58.233 --> 28:02.773 the entire visual tableau, that is the point where we see 28:02.767 --> 28:05.927 that Rosemary actually knows exactly what kind of a man 28:05.933 --> 28:07.303 Dick Diver is. 28:07.300 --> 28:10.570 That's she's is absolutely clear-eyed about him. 28:10.567 --> 28:13.567 Here there's not that equivalent clear-eyed 28:13.567 --> 28:15.727 judgement from the part of Nicole because 28:15.733 --> 28:16.933 she's still a patient. 28:16.933 --> 28:19.273 She hasn't gotten to that point yet. 28:19.267 --> 28:24.167 But Fitzgerald is giving us the structural equivalent of 28:24.167 --> 28:26.067 that kind of judgment in the sense that there's a sudden 28:26.067 --> 28:30.427 break up of the love scene and the replacement of that love 28:30.433 --> 28:34.403 scene by something that is like an intonation of battle. 28:34.400 --> 28:37.070 So at the very least, we should be prepared for the 28:37.067 --> 28:41.797 fact that maybe war is not extraneous to love. 28:41.800 --> 28:44.630 Maybe war is actually organic to love. 28:44.633 --> 28:48.733 That maybe war is the narrative structure of love. 28:48.733 --> 28:53.133 That love takes the form of a battle between the two people 28:53.133 --> 28:56.273 who are conjoined in this fashion. 28:56.267 --> 29:03.327 So this is, in many ways, a kind of a prelude to a kind of 29:03.333 --> 29:08.673 visual tableau that is a gesture towards the future of 29:08.667 --> 29:10.427 that narrative. 29:10.433 --> 29:15.533 But I want to look at another technique now, which is also 29:15.533 --> 29:21.333 very prominent and very unmistakable in Tender Is the 29:21.333 --> 29:24.333 Night, which is the technique of cross-cutting. 29:24.333 --> 29:28.933 So this is in book 2 of Tender Is the Night, and especially 29:28.933 --> 29:32.403 in section 10 of book 2. 29:32.400 --> 29:34.300 So it's the beginning of section 10. 29:34.300 --> 29:40.870 Begins with, "In Zurich in September Doctor Diver had tea 29:40.867 --> 29:41.927 with Baby Warren." 29:41.933 --> 29:45.773 So at this point, he's still a doctor. 29:45.767 --> 29:49.367 And it's in that professional capacity that he would have 29:49.367 --> 29:54.897 tea with Baby Warren, Nicole's sister, who's trying to get a 29:54.900 --> 29:56.270 doctor to take of her. 29:56.267 --> 29:58.927 Buy a doctor for Nicole. 29:58.933 --> 30:02.073 So they're having tea and talking about various things. 30:02.067 --> 30:06.897 And he's still not agreeing to being a lifelong caretaker for 30:06.900 --> 30:08.600 Nicole at this point. 30:08.600 --> 30:14.070 But this is what happens on page 158, one page down. 30:14.067 --> 30:15.627 Next page, actually. 30:15.633 --> 30:20.073 We get a sudden, abrupt switch to Nicole's point of view, 30:20.067 --> 30:25.327 told from her point of view, and narrated by Nicole herself 30:25.333 --> 30:28.773 as in the first person. 30:28.767 --> 30:33.497 This is outside of her exchange of the letters that 30:33.500 --> 30:35.670 she writes to Dick Diver. 30:35.667 --> 30:39.627 We'll get a sense of how Nicole thinks by following 30:39.633 --> 30:45.433 this kind of monologue that is given to us as counterpoint to 30:45.433 --> 30:48.703 the tea between Dick Diver and Baby Warren. 30:48.700 --> 30:50.130 "How do you do, lawyer. 30:50.133 --> 30:52.673 We're going to Como tomorrow for a week and 30:52.667 --> 30:54.327 then back to Zurich. 30:54.333 --> 30:57.703 That's why I wanted you and sister to settle this, because 30:57.700 --> 31:00.430 it doesn't matter to us how much I'm allowed. 31:00.433 --> 31:03.103 We're going to live very quietly in Zurich for two 31:03.100 --> 31:06.670 years and Dick has enough to take care of us. 31:06.667 --> 31:09.697 No, Baby, I'm more practical than you think-- 31:09.700 --> 31:12.370 It's only for clothes and things I'll need it... 31:12.367 --> 31:15.127 Why, that's more than-- 31:15.133 --> 31:18.003 can the estate really afford to give me all that? 31:18.000 --> 31:20.530 I know I'll never manage to spend it. 31:20.533 --> 31:23.203 Do you have that much? 31:23.200 --> 31:24.470 Why do you have more-- 31:24.467 --> 31:27.227 is it because I'm supposed to be incompetent? 31:27.233 --> 31:28.133 All right. 31:28.133 --> 31:30.133 Let my share pile up then... 31:30.133 --> 31:32.773 No, Dick refuses to have anything 31:32.767 --> 31:34.527 whatever to do with it. 31:34.533 --> 31:37.803 I'll have to feel bloated for us both..." 31:37.800 --> 31:39.900 I'm not even reading it very well. 31:39.900 --> 31:44.400 This could have been read much better to get the tone exactly 31:44.400 --> 31:49.130 what a sharp businesswoman Nicole is. 31:49.133 --> 31:54.233 In the space of one short exchange she 31:54.233 --> 31:56.803 achieves three things. 31:56.800 --> 32:00.570 She manages to get her share of the estate. 32:00.567 --> 32:04.997 So she begins with saying, OK, we can live very modestly on 32:05.000 --> 32:05.670 Dick's pay. 32:05.667 --> 32:06.467 We don't need the money. 32:06.467 --> 32:09.067 I just need it for clothes and incidentals. 32:09.067 --> 32:12.197 So very modest requirement, very modest 32:12.200 --> 32:13.900 demand on the estate. 32:13.900 --> 32:18.030 She gets the amount she says is too much. 32:18.033 --> 32:22.103 She checks out to see how much Baby is getting and finds out 32:22.100 --> 32:24.030 that, in fact, what she's getting is less 32:24.033 --> 32:25.973 than what Baby gets. 32:25.967 --> 32:30.627 So she gets an increase right then and there on the spot. 32:30.633 --> 32:34.603 More than that, there's, of course, the question whether 32:34.600 --> 32:39.330 Dick will have a share of that income. 32:39.333 --> 32:42.733 And she's admitting to the fact that she would have to 32:42.733 --> 32:46.203 feel bloated for the two of them, that he's not going to 32:46.200 --> 32:48.530 get a penny of that income. 32:48.533 --> 32:54.273 So in the space of one paragraph that switch from 32:54.267 --> 32:57.767 Dick's point of view to Nicole's point of view is, in 32:57.767 --> 33:02.827 fact, an incredible fast forward of the narrative, 33:02.833 --> 33:08.703 changing our conception of Nicole from a patient in a 33:08.700 --> 33:15.270 mental institution to a sharp business woman who is going to 33:15.267 --> 33:19.827 keep very, very tight control over the money 33:19.833 --> 33:21.773 that comes to her. 33:21.767 --> 33:24.667 That we shouldn't forget, after all, she's the 33:24.667 --> 33:30.697 granddaughter of a man who has a huge fortune, who has made 33:30.700 --> 33:31.930 that huge fortune. 33:31.933 --> 33:35.503 And there's a constant reference, as in For Whom the 33:35.500 --> 33:38.400 Bell Tolls, the cross-generation link to the 33:38.400 --> 33:40.270 grandfather. 33:40.267 --> 33:44.227 In Tender is the Night, there's also a 33:44.233 --> 33:46.433 cross-generational link to Nicole's grandfather. 33:46.433 --> 33:50.703 That maybe she's more her grandfather's granddaughter 33:50.700 --> 33:51.900 than we may think. 33:51.900 --> 33:55.430 So the effect of that cross-cutting is to take the 33:55.433 --> 34:01.803 narrative away from Dick's side of the story and deposit 34:01.800 --> 34:05.370 the agency strictly on Nicole's side. 34:05.367 --> 34:08.227 That she's the one who's actually calling the shots. 34:08.233 --> 34:12.833 She's the one who actually has the financial control over the 34:12.833 --> 34:14.103 future of that marriage. 34:16.667 --> 34:22.267 Let me just give you one other much more small incidence of 34:22.267 --> 34:23.927 that cross-cutting. 34:23.933 --> 34:28.733 All this, the many pages after that cross-cutting, is told in 34:28.733 --> 34:32.073 the first person in Nicole's voice. 34:32.067 --> 34:35.197 And so from being in a mental institution, suddenly she's 34:35.200 --> 34:37.830 married to Dick Diver. 34:37.833 --> 34:39.033 All of that is settled. 34:39.033 --> 34:41.833 She has the control over the money. 34:41.833 --> 34:47.703 But she also is beginning to complain about the particular 34:47.700 --> 34:50.370 shape the marriage is taking. 34:50.367 --> 34:53.197 "But I was gone again by that time-- trains and beaches they 34:53.200 --> 34:54.400 were all one. 34:54.400 --> 34:58.070 That was why he took me travelling but after my second 34:58.067 --> 35:01.967 child, my little girl, Topsy, was born 35:01.967 --> 35:04.727 everything got dark again.... 35:04.733 --> 35:08.903 If I could get word to my husband who has seen fit to 35:08.900 --> 35:14.470 desert me here, to leave me in the hands of incompetents. 35:14.467 --> 35:17.327 You tell me my baby is black-- 35:17.333 --> 35:21.233 that's farcical, that's very cheap. 35:21.233 --> 35:24.933 We went to Africa merely to see Timgad, since my principal 35:24.933 --> 35:28.173 interest in life is archaeology. 35:28.167 --> 35:32.427 I am tired of knowing nothing and being reminded of it all 35:32.433 --> 35:33.403 the time." 35:33.400 --> 35:35.830 So page 161. 35:35.833 --> 35:40.103 We can see the speed of this development, of that 35:40.100 --> 35:43.500 particular interpretation of the marriage. 35:43.500 --> 35:47.900 From the beginning, when she's not even married to Dick 35:47.900 --> 35:53.200 Diver, to the next page, 159, when she's married to him, but 35:53.200 --> 35:58.470 retaining full control of her finances, to page 161 when 35:58.467 --> 36:02.097 she's in a position to complain about his 36:02.100 --> 36:05.100 behavior as a husband. 36:05.100 --> 36:07.200 And what is odd here-- 36:07.200 --> 36:09.800 and I think it's actually quite heavy handed on the part 36:09.800 --> 36:13.430 of Fitzgerald-- is that, once again, there's a gratuitous, 36:13.433 --> 36:18.233 completely inexplicable intrusion of a racialized 36:18.233 --> 36:24.533 detail in the person of Nicole's daughter, Topsy. 36:24.533 --> 36:28.333 That "my baby is black" is really coming out of nowhere, 36:28.333 --> 36:30.973 except for the fact that we know that Fitzgerald has a 36:30.967 --> 36:34.997 long history of racializing particular characters at 36:35.000 --> 36:38.000 critical moments. 36:38.000 --> 36:41.730 And you guys know that Topsy is a reference to Uncle Tom's 36:41.733 --> 36:44.773 Cabin, to Harriet Beecher Stowe's novel. 36:44.767 --> 36:48.727 And Topsy's a black character, and it's one of the most vivid 36:48.733 --> 36:50.373 black characters in that novel. 36:50.367 --> 36:53.597 So it's Fitzgerald's kind of backhanded tribute to a 36:53.600 --> 36:57.270 nineteenth century classic and resurrecting the name of a 36:57.267 --> 36:58.827 black character. 36:58.833 --> 37:03.403 Totally inappropriate name for the daughter of Nicole. 37:03.400 --> 37:07.100 But nonetheless, that's what he chooses to give her. 37:07.100 --> 37:12.630 So this is just to flesh out the features of the history of 37:12.633 --> 37:16.373 racialization in Fitzgerald. 37:16.367 --> 37:19.197 We know that there really are no black characters in The 37:19.200 --> 37:20.000 Great Gatsby. 37:20.000 --> 37:23.070 But there's this constant intrusion of 37:23.067 --> 37:25.497 black characters, strangely. 37:25.500 --> 37:28.430 "As we crossed Blackwell's island a limousine passed us, 37:28.433 --> 37:31.803 driven by a white chauffeur, in which sat three modish 37:31.800 --> 37:32.870 negroes, two bucks and a girl. 37:32.867 --> 37:35.697 I laughed aloud as the yolks of their eyeballs rolled 37:35.700 --> 37:37.370 toward us in haughty rivalry." 37:37.367 --> 37:41.067 So this is Gatsby going to town with Nick. 37:41.067 --> 37:45.227 And all of a sudden, the intrusion of the three blacks 37:45.233 --> 37:48.903 in a limousine driven by a white chauffeur, that is a 37:48.900 --> 37:54.830 kind of visual metaphor for the upstart Gatsby trying to 37:54.833 --> 37:58.873 elevate himself higher than he should be. 37:58.867 --> 38:03.927 In this case, the racialization that we see in 38:03.933 --> 38:09.303 Tender is the Night has to do, I think, with a moment of 38:09.300 --> 38:12.430 marital volatility. 38:12.433 --> 38:17.573 We know that she actually has control of the basic 38:17.567 --> 38:22.097 structural feature of that marriage, which is the money. 38:22.100 --> 38:29.130 And given that control, she's in a position to put a 38:29.133 --> 38:32.203 particular spin on that marriage. 38:32.200 --> 38:36.200 And the marriage has to do with neglect, with the fact 38:36.200 --> 38:41.530 that they're traveling because he needs to travel, that she's 38:41.533 --> 38:48.073 an involuntary appendage to his constant travel, and that 38:48.067 --> 38:49.127 he's neglecting her. 38:49.133 --> 38:54.073 So this is, in many ways, a very early paving of the 38:54.067 --> 38:59.227 ground for the eventual outcome of the novel, that is 38:59.233 --> 39:05.133 highlighted by Nicole presenting herself as the 39:05.133 --> 39:09.403 victimized party in the marriage. 39:09.400 --> 39:15.200 So to racialize herself and to racialize her daughter is a 39:15.200 --> 39:21.270 very specific and I guess tested technique of 39:21.267 --> 39:25.927 demonstration a degree of grievance, a degree of felt 39:25.933 --> 39:27.733 oppression on her part. 39:27.733 --> 39:32.573 Even though she's not really black, it's almost as if she 39:32.567 --> 39:36.097 were the black person in that marriage. 39:36.100 --> 39:39.300 So that's what the metaphor is doing for her. 39:39.300 --> 39:41.030 She's anything but black. 39:41.033 --> 39:44.303 But she's treated as if she were black. 39:44.300 --> 39:46.200 That's what she's claiming. 39:46.200 --> 39:49.670 So we don't really know if we agree with her yet. 39:49.667 --> 39:53.927 But this is Nicole's interpretation of the marriage 39:53.933 --> 39:57.403 is that she is the oppressed party in that marriage. 40:02.167 --> 40:05.627 So let's look at one other instance of 40:05.633 --> 40:08.103 cross-cutting to Nicole. 40:08.100 --> 40:12.000 And this is, once again, taking the narrative agency-- 40:12.000 --> 40:16.730 at least landing the story on Nicole's side. 40:16.733 --> 40:23.973 "Dick, why did you register Mr. and Mrs. Diver instead of 40:23.967 --> 40:26.367 Doctor and Mrs. Diver? 40:26.367 --> 40:27.367 I just wondered-- 40:27.367 --> 40:29.497 it just floated through my mind. -- 40:29.500 --> 40:33.100 You've taught me that work is everything and I believe you. 40:33.100 --> 40:36.400 You used to say a man knows things and when he stops 40:36.400 --> 40:40.600 knowing things he's like anybody else, and the thing is 40:40.600 --> 40:44.970 to get power before he stops knowing things. 40:44.967 --> 40:48.867 If you want to turn topsy-turvy, all right, but 40:48.867 --> 40:52.727 must your Nicole follow you walking on her hands, 40:52.733 --> 40:54.973 darling?" 40:54.967 --> 41:00.597 So I think that by page 162, one page further down, the 41:00.600 --> 41:04.930 shape of what is to come is pretty much unmistakable. 41:04.933 --> 41:10.503 And it is conveyed very much through a tone of voice. 41:10.500 --> 41:15.730 Through, in this case, almost a repetition of exactly the 41:15.733 --> 41:18.473 same kind of structure that we're seeing 41:18.467 --> 41:20.427 between Dick and Rosemary. 41:20.433 --> 41:24.433 Rosemary is the one, who on page 105 already has seen 41:24.433 --> 41:26.833 through Dick Diver. 41:26.833 --> 41:30.973 She has seen through him so that she can pass the most 41:30.967 --> 41:33.827 wounding judgment on him that he's not 41:33.833 --> 41:37.333 doctor, he's an actor. 41:37.333 --> 41:44.273 Nicole has arrived at that conclusion on page 162 that he 41:44.267 --> 41:45.497 is not a doctor. 41:45.500 --> 41:49.000 A doctor is supposed to have medical knowledge. 41:49.000 --> 41:51.500 That's what makes a medical doctor. 41:51.500 --> 41:53.200 A medical doctor is that he has more 41:53.200 --> 41:55.400 knowledge than his patient. 41:55.400 --> 41:59.800 But she knows at this point that, in fact, he doesn't have 41:59.800 --> 42:04.000 any more knowledge than the average person, that he's lost 42:04.000 --> 42:06.730 his claim to being a doctor. 42:06.733 --> 42:10.933 And so there are not that many more identities available to 42:10.933 --> 42:15.473 him once he's lost that claim to a professional identity. 42:15.467 --> 42:20.567 She's not saying outright that he's an actor, but she's 42:20.567 --> 42:22.367 implying as much. 42:22.367 --> 42:26.097 And that added detail about his well-being turned 42:26.100 --> 42:31.100 topsy-turvy as well as the naming the thing, that the 42:31.100 --> 42:36.330 thing is to get power before he stops knowing things. 42:36.333 --> 42:41.873 It is naming exactly what it is that Dick Diver 42:41.867 --> 42:42.967 has failed to do. 42:42.967 --> 42:46.867 If he had done things right, he would have had absolute 42:46.867 --> 42:50.767 control of the marriage before he loses out in the department 42:50.767 --> 42:51.797 of knowledge. 42:51.800 --> 42:55.370 But now that he's lost out in the department of knowledge, 42:55.367 --> 42:58.897 he's not going to have power in that marriage as well. 42:58.900 --> 43:04.400 So the very sharp, clear-eyed, absolutely unsentimental 43:04.400 --> 43:08.430 judgment of her husband is very much an echo of what 43:08.433 --> 43:11.803 Rosemary has intuited much earlier. 43:11.800 --> 43:15.500 And it comes over to us, comes across to the reader, once 43:15.500 --> 43:17.930 again, through the technique of cross-cutting. 43:17.933 --> 43:23.403 So I would say that this sort of the emptying out of any 43:23.400 --> 43:27.770 kind of sustenance, of any moral sustenance in Dick Diver 43:27.767 --> 43:29.527 has come very, very early. 43:29.533 --> 43:33.733 And it's through this complete, steady erosion of 43:33.733 --> 43:37.603 any admiration for him on the part of two women who started 43:37.600 --> 43:41.400 out as great idolizers of him. 43:41.400 --> 43:44.270 So now we've gotten to a point where we actually see the 43:44.267 --> 43:47.497 speed of the negative resolution picking up. 43:47.500 --> 43:49.400 The speed becomes just faster and faster. 43:55.400 --> 43:58.200 Basically, there's three points of no return for Dick 43:58.200 --> 44:03.270 Diver on his way to losing his medical practice in Rockport. 44:03.267 --> 44:07.127 The first point of no return is the fight he gets with a 44:07.133 --> 44:08.903 carabinieri. 44:08.900 --> 44:14.430 "He walked past the staring carabinieri and up to the 44:14.433 --> 44:18.933 grinning face, hit it with a smashing left beside the jaw. 44:18.933 --> 44:20.073 The man dropped to the floor." 44:20.067 --> 44:22.927 This is a cab driver that he got into a fight with. 44:22.933 --> 44:25.673 "For a moment he stood over him in triumph-- but even as 44:25.667 --> 44:28.997 the first pang of doubt shot through him the world reeled; 44:29.000 --> 44:32.730 he was clubbed down, and fists and boots beat on him in a 44:32.733 --> 44:34.233 strange tattoo. 44:34.233 --> 44:38.403 He felt his nose break like a shingle and his eyes jerk as 44:38.400 --> 44:41.600 if they had snapped back on a rubber band into his head. 44:41.600 --> 44:45.300 A rib splintered under a stamping heel. 44:45.300 --> 44:48.530 Momentarily he lost consciousness, regained it as 44:48.533 --> 44:51.933 he was raised to a sitting position and his wrists jerked 44:51.933 --> 44:53.873 together with handcuffs. 44:53.867 --> 44:57.267 The plainclothes lieutenant whom he had knocked down... 44:57.267 --> 45:00.827 poised himself, drew back his arm and smashed him to the 45:00.833 --> 45:02.303 floor." 45:02.300 --> 45:04.630 This is a very brutal scene. 45:04.633 --> 45:05.903 Lots of people getting shot. 45:05.900 --> 45:10.800 And Dick Diver, it's important to point out, is not exempt 45:10.800 --> 45:12.100 from that violence. 45:12.100 --> 45:15.500 And this is the first emptying out of his 45:15.500 --> 45:18.500 professional identity. 45:18.500 --> 45:22.300 That a doctor is supposed to be treating someone who has 45:22.300 --> 45:25.670 been subjected to that kind of violence. 45:25.667 --> 45:28.027 And instead, it turns out that he is the one who needs a 45:28.033 --> 45:30.533 doctor to take care of him. 45:30.533 --> 45:34.873 So this is what happens when you have things happening very 45:34.867 --> 45:40.397 fast. And this is an image, actually, of the carabenieri, 45:40.400 --> 45:43.030 which still is kind of sinister looking. 45:43.033 --> 45:45.303 But this is the person-- the gang of them, actually-- 45:45.300 --> 45:48.230 beating up on Dick Diver. 45:48.233 --> 45:51.703 So what is interesting is that even though things are 45:51.700 --> 45:55.570 actually happening, raining down fast, thick and fast on 45:55.567 --> 45:59.267 Dick Diver, he's actually accused of moving too fast. We 45:59.267 --> 46:01.397 see that various people accuse him of various things. 46:01.400 --> 46:05.100 We've seen Rosemary is accusing him of something, 46:05.100 --> 46:07.230 Nicole accusing him of something. 46:07.233 --> 46:12.203 And he's now being accused by his partner in a clinic in 46:12.200 --> 46:15.600 this conversation between Franz and his wife. 46:15.600 --> 46:16.970 "'For shame!' Kaethe said. 46:16.967 --> 46:18.697 'You're the solid one, you do the work. 46:18.700 --> 46:21.800 It's a case or hare and tortoise -- and in my opinion 46:21.800 --> 46:24.470 the hare's race is almost done'... 46:24.467 --> 46:27.727 Franz let himself believe with ever-increasing conviction 46:27.733 --> 46:30.833 that Dick travelled intellectually and emotionally 46:30.833 --> 46:34.233 at such a rate of speed that the vibrations jarred him." 46:34.233 --> 46:37.033 So the two of them talking behind his back, saying that 46:37.033 --> 46:39.803 he's not such a great partner to begin with. 46:39.800 --> 46:42.930 And we see the consequence of that kind of conversation 46:42.933 --> 46:46.703 between Franz and his wife when they're talking about 46:46.700 --> 46:49.230 dissolving that medical partnership. 46:49.233 --> 46:51.173 "'This is no go,' he said suddenly. 46:51.167 --> 46:54.527 'Well, that's occurred to me,' Franz admitted. 46:54.533 --> 46:56.273 'Your heart isn't in this project 46:56.267 --> 46:58.227 anymore, Dick.' 'I know. 46:58.233 --> 47:00.503 I want to leave-- we should strike some arrangement about 47:00.500 --> 47:03.370 taking Nicole's money out gradually.' 'I have thought 47:03.367 --> 47:04.767 about that too, Dick-- 47:04.767 --> 47:06.297 I have seen this coming. 47:06.300 --> 47:09.430 I'm able to arrange other backing, and it will be 47:09.433 --> 47:12.633 possible to take all your money out by the end of the 47:12.633 --> 47:16.473 year. ' Dick had not intended to come to a decision so 47:16.467 --> 47:20.197 quickly, nor was he prepared for Franz's so ready 47:20.200 --> 47:24.830 acquiescence in the break, yet he was relieved. 47:24.833 --> 47:29.433 Not without desperation he had long felt the ethics of his 47:29.433 --> 47:32.473 profession dissolving into a lifeless mass." 47:32.467 --> 47:35.767 So this is the speed of the break up of 47:35.767 --> 47:38.627 that medical practice. 47:38.633 --> 47:43.273 Again, at a speed that Dick had not counted on, that he 47:43.267 --> 47:44.767 had not asked for. 47:44.767 --> 47:49.097 It is somebody else's speed that has dictated the 47:49.100 --> 47:50.330 narrative development. 47:52.600 --> 47:54.930 I know that we're almost running out of time, so I'll 47:54.933 --> 48:00.073 give you the final part of that resolution against in 48:00.067 --> 48:02.067 fast motion. 48:02.067 --> 48:04.467 Actually, I'm going to skip this, because I know that 48:04.467 --> 48:05.367 we're running out of time. 48:05.367 --> 48:09.697 So this will be on the PowerPoint. 48:09.700 --> 48:14.930 But I'm just going to go to the very end of narrative 48:14.933 --> 48:16.703 about love as war. 48:16.700 --> 48:20.700 We've being seeing this super imposition of love and World 48:20.700 --> 48:22.570 War I all the way through. 48:22.567 --> 48:25.997 And finally, we see the intrusion of World War I into 48:26.000 --> 48:29.170 this description of Nicole's idea of what 48:29.167 --> 48:31.297 the marriage is like. 48:31.300 --> 48:34.470 "Again she struggled with it, fighting him with her small, 48:34.467 --> 48:38.067 fine eyes, with the plush arrogance of a top dog, with 48:38.067 --> 48:40.727 her nascent transference to another man, with the 48:40.733 --> 48:44.633 accumulated resentment of years; she fought him with her 48:44.633 --> 48:48.533 money and her faith that her sister disliked him and was 48:48.533 --> 48:51.703 behind her now; with the thought of the new enemies he 48:51.700 --> 48:54.330 was making with his bitterness... 48:54.333 --> 48:58.333 For this inner battle she used even her weaknesses-- 48:58.333 --> 49:02.373 fighting bravely and courageously with the old cans 49:02.367 --> 49:06.397 and crockery and bottles, empty receptacles of her 49:06.400 --> 49:09.070 expiated sins, outrages, mistakes. 49:09.067 --> 49:14.697 And suddenly, in the space of two minutes she achieved her 49:14.700 --> 49:18.400 victory and justified herself to herself without lie or 49:18.400 --> 49:21.900 subterfuge, cut the cord forever." 49:21.900 --> 49:24.500 Two minutes for her to come to the final 49:24.500 --> 49:27.000 decision about her marriage. 49:27.000 --> 49:31.300 And this is the final image. 49:31.300 --> 49:35.730 I was just saying this is a great moment to pair up with 49:35.733 --> 49:39.773 the barber scene, the rape scene in For 49:39.767 --> 49:41.327 Whom the Bell Tolls. 49:41.333 --> 49:45.603 "The mirror in front of Nicole reflected the passage between 49:45.600 --> 49:48.630 the men's side and the women's, and Nicole started up 49:48.633 --> 49:52.773 at the sight of Tommy, Bob and the man she's going to marry 49:52.767 --> 49:56.167 entering and wheeling sharply in the men's shop. 49:56.167 --> 49:59.427 She knew with a flush of joy that there was going to be 49:59.433 --> 50:01.733 some kind of showdown. 50:01.733 --> 50:05.703 In a minute Dick came into Nicole's booth, his expression 50:05.700 --> 50:09.270 emerging annoyed from behind a towel of his 50:09.267 --> 50:10.967 hastily rinsed face. 50:10.967 --> 50:13.327 'Your friend has worked himself up into a state. 50:13.333 --> 50:15.403 He wants to see us together, so I agreed to 50:15.400 --> 50:16.600 have it over with. 50:16.600 --> 50:19.870 Come along!' 'But my hair-- it's half cut.' 'Nevermind-- 50:19.867 --> 50:23.767 come along!' Resentfully she had the staring coiffeuse 50:23.767 --> 50:24.867 remove the towels. 50:24.867 --> 50:27.497 Feeling messy and unadorned she followed 50:27.500 --> 50:28.830 Dick from the hotel. 50:28.833 --> 50:31.433 Outside Tommy bent over her hand. 50:31.433 --> 50:35.603 'We'll go to the Cafe des Alliees,' said Dick." 50:35.600 --> 50:38.500 So the same barber shop scene. 50:38.500 --> 50:42.370 The same cutting of the hair, except that in this case, the 50:42.367 --> 50:45.667 hair is only half cut. 50:45.667 --> 50:49.627 It is the speed of that resolution-- 50:49.633 --> 50:54.833 the marriage has ended so hastily that the hair cutting 50:54.833 --> 50:57.533 job is not even completely done. 50:57.533 --> 51:01.303 But that's the story that Fitzgerald wants to tell, this 51:01.300 --> 51:02.530 hastily done job.