How we cite our quotes: (Chapter.Paragraph)
Quote #1
"...I will use this hour of solitude, this reprieve from conversation, to coast round the purlieus of the house and recover, if I can, by standing on the same stair half-way up the landing, what I felt when I heard about the dead man through the swing-door last night when cook was shoving in and out the dampers. He was found with his throat cut. The apple-tree leaves became fixed in the sky; the moon glared; I was unable to lift my foot up the stair. He was found in the gutter. His blood gurgled down the gutter. His jowl was white as a dead codfish." (1b.67-68)
This is one of the most striking early references to death in the novel. Neville seems to have been deeply affected by the news that this man was found in the gutter and mediates upon the gory details of his body. The incident is an interesting thing for a young boy to dwell upon, and it sets the stage for the novel's preoccupation with death and violence.
Quote #2
"They are always forming into fours and marching in troops with badges on their caps; they salute simultaneously passing the figure of their general. How majestic is their order, how beautiful is their obedience! If I could follow, if I could be with them, I would sacrifice all I know. But they also leave butterflies trembling with their wings pinched off; they throw dirty pocket-handkerchiefs clotted with blood screwed up into corners. They make little boys sob in dark passages." (2b.29)
As noted earlier in the section on authority, Louis simultaneously views the "boasting boys" as majestic and rough and violent, which seems like an incompatible mix.
Quote #3
"We are late," said Susan. "We must wait our turn to play. We will pitch here in the long grass and pretend to watch Jinny and Clara, Betty and Mavis. But we will not watch them. I hate watching other people play games. I will make images of all the things I hate most and bury them in the ground. This shiny pebble is Madame Carlo, and I will bury her deep because of her fawning and ingratiating manners, because of the sixpence she gave me for keeping my knuckles flat when I played my scales. I buried her sixpence. I would bury the whole school: the gymnasium; the classroom; the dining-room that always smells of meat; and the chapel. I would bury the red-brown tiles and the oily portraits of old men—benefactors, founders of schools." (2b.25)
This is where we learn that Susan is a liiiiitle scary. If the worst thing Madame Carlo did was reward Susan for playing her scales properly, then we'd hate to see how Susan would feel about someone who was actually mean. Also, this whole burying people in effigy thing is creepy. How is this the woman who morphs into the sweet maternal figure?
Quote #4
"Bernard's stories amuse me," said Neville, "at the start. But when they tail off absurdly and he gapes, twiddling a bit of string, I feel my own solitude. He sees everyone with blurred edges. Hence I cannot talk to him of Percival. I cannot expose my absurd and violent passion to his sympathetic understanding." (2b.34)
Though it's fairly standard to refer to passion as violent to highlight its intensity, is there anything more to Neville's word choice here? Given the novel's concern with brutality (and with blurring binaries) we have to wonder if Neville might love Percival so much he wants to wear his skin or something.
Quote #5
Then one of them, beautifully darting, accurately alighting, spiked the soft, monstrous body of the defenceless worm, pecked again and yet again, and left it to fester. Down there among the roots where the flowers decayed, gusts of dead smells were wafted; drops formed on the bloated sides of swollen things. The skin of rotten fruit broke, and matter oozed too thick to run. Yellow excretions were exuded by slugs, and now and again an amorphous body with a head at either end swayed slowly from side to side. The gold-eyed birds darting in between the leaves observed that purulence, that wetness, quizzically. Now and then they plunged the tips of their beaks savagely into the sticky mixture. (3a.4)
Blegh. What starts out as a fairly serene image of birdies singing in the garden turns a bit dark as the birds swoop down "beneath the flowers" to where there are "dead smells" and bloated, swollen, decaying things. Also, one "beautifully darting" bird attacks a defenseless worm and leaves it for dead. Not so pretty and serene, it seems.
Quote #6
The wind rose. The waves drummed on the shore, like turbaned warriors, like turbaned men with poisoned assegais who, whirling their arms on high, advance upon the feeding flocks, the white sheep. (3a.6)
This is a fairly violent image—poisoned assegais (those are spears??). Yikes, what happened to the pretty sparkling sea?
Quote #7
They swooped suddenly from the lilac bough or the fence. They spied a snail and tapped the shell against a stone. They tapped furiously, methodically, until the shell broke and something slimy oozed from the crack. (4a.2)
Well, the birds are at it again, pecking at small defenseless creatures until they ooze. We're never looking at birds in the same way. The Waves is second only to The Birds in destroying our faith in our feathered friends.
Quote #8
"The early train from the north is hurled at (London) like a missile. We draw a curtain as we pass. Blank expectant faces stare at us as we rattle and flash through stations. Men clutch their newspapers a little tighter, as our wind sweeps them, envisaging death. But we roar on. We are about to explode in the flanks of the city like a shell in the side of some ponderous, maternal, majestic animal." (4b.1)
Here, Bernard envisions his train as a kind of missile about to explode into the "ponderous" and "majestic" animal of London. Why do you think is Bernard imagining the relatively mundane event of a train arrival as a violent act?
Quote #9
"We who yelped like jackals biting at each other's heels now assume the sober and confident air of soldiers in the presence of their captain. We who have been separated by our youth (the oldest is not yet twenty-five), who have sung like eager birds each his own song and tapped with the remorseless and savage egotism of the young our own snail-shell till it cracked (I am engaged)…" (4b.18)
This quote is rich in interesting, violent imagery. In an image reminiscent of the chapter intros, Bernard asserts that he and his friends pecked at their "snail-shell till it cracked," and he follows that thought by proclaiming "I am engaged." So wait, how are these two things related? He also thinks of himself and his friends as "jackals biting at each other's heels" who have now become "sober" and "confident" soldiers.
Quote #10
"I am aware once more of a new desire, something rising beneath me like the proud horse whose rider first spurs and then pulls him back. What enemy do we now perceive advancing against us, you whom I ride now, as we stand pawing this stretch of pavement? It is death. Death is the enemy. It is death against whom I ride with my spear couched and my hair flying back like a young man's, like Percival's, when he galloped in India. I strike spurs into my horse. Against you I will fling myself, unvanquished and unyielding, O Death!" (9b.84)
Here, Bernard's renewed resolve to continue living prompts him to imagine himself as a warrior fighting death. Since we know a huge part of this fight is reinventing and continuing his struggle to communicate, is the suggestion here that words are weapons?