Der Rosenkavalier

Der Rosenkavalier is Strauss's opera that Bradley and Julian attend. The opera has a special symbolic role because it contains sexual partners of grossly different ages, similar to the one in The Black Prince. Bradley's realization of the similarity between the opera and his own sexuality causes him to vomit after only several minutes of watching it. The color red that plays such a large role in the opera's setting also is significant in bringing out Bradley's silenced sexual desires. Although Bradley may not know this at the beginning of the novel, the plot of Der Rosenkavalier also foreshadows that of The Black Prince. While Bradley and Julian will have a love affair, as the Princess and Octavian did, both Julian and Octavian will eventually leave their older lovers and find partners their own age.

Forewords and Part One of Bradley Pearson's Story, 1

Summary

Editor's Foreword

The novel opens with a two-page foreword by the editor, P. Loxias. Loxias is responsible for bringing the book to publication, although he met the author after the events dramatized. He says that the text deals with man's creative struggle for wisdom and truth in art. For this reason, Loxias remarks, it is a love story.

Bradley Pearson's Foreword

Bradley Pearson introduces his novel by saying that the events in it took place a few years before, when he was fifty-eight. After having written three books, two novels and a book of "Pensees" or philosophical thoughts, he had decided to quit his lifelong job as a tax inspector in order to create a master novel. Unfortunately even with copious amounts of time, he found himself struck by writer's block. For this reason, he rented a cottage on the English coast for the summer, an action that just precedes the narrative of his tale. Bradley further explains that he will tell his story in a "modern" chronological manner, and that good art, which he is trying to create, represents a form of truth. He dedicates his novel to an unnamed person who has inspired him towards creation.

Part One Of Bradley Pearson's Story

From the Beginning to Bradley's departure from the Baffins

It is a late May afternoon and Bradley is about to leave for his rented seaside cottage. He hesitates for a few moments to check his bags once again. This hesitation sets the novel's events in motion. The doorbell rings. It is Bradley's ex-wife's brother, Francis Marloe. He looks dirty and disheveled and Bradley does not recognize him. Francis has come because Bradley's exwife, Christian, has just returned to London from America following the death of her American husband. Francis believes that Christian will soon visit Bradley and would like Bradley to put in a good word for him; Francis has debts and his sister has become rich. Francis once had been a doctor, but had his license taken away due to his illegal distribution of pharmaceuticals. Bradley feels repulsed to see his ex-brother-in-law and to hear about his ex-wife. Bradley insists that Christian will not visit him because they detest each other. Bradley then bluntly suggests that Francis leave, but before Francis can do so, the phone rings. Arnold Baffin is on the line and begs Bradley to come to his house immediately; Arnold fears that he may have killed his wife. Bradley agrees to come and invites Francis along. Arnold Baffin is a very successful younger writer whom Bradley considers his protйgй; Bradley helped him get his first book published. Since then, Bradley has not respected Arnold's novels because they lack artistry, and are produced yearly. Bradley notes to the reader that although some would later say he envied Arnold's fame and wealth, he never did since Arnold's art lacked a true connection to truth. When they arrive at the Baffins', Arnold explains that he and Rachel got into a physical fight and after both hitting each other Rachel ran into the fireplace poker that he was holding. She passed out. When she woke, she locked herself in their bedroom and he fears that she might be dead inside. Bradley gets Rachel to open the door and finds her lying under a sheet with a bruise on her face, looking unwell. Francis Marloe determines that she will be fine. Rachel will not talk to Arnold. She privately tells Bradley that a certain brutality exists in marriage and that love can die within it, as it did for her long ago when Bradley first hit her. Bradley soon leaves her to rest and goes downstairs to get a drink with Francis and Arnold. Arnold and Francis seem happy talking with one another, but Bradley rudely gets Francis to leave. Arnold likes Francis and has invited him to return again, a fact that upsets Bradley since he does not want Francis involved with his friends. Arnold tells Bradley that despite their fight, he and Rachel have a good marriage and that marriages endure in much more difficult times. He predicts that she will come down in a few hours. Bradley says nothing, but informs Arnold that he is soon leaving for Europe (he has kept the location of his seaside cottage secret for privacy). He leaves. Analysis Murdoch has confessed that the mysterious editor of the novel "P. Loxias" is truly supposed to be the Greek God Apollo. In the novel's original publication, she provided a clue to his identity by placing a picture of Apollo on the book's cover. Without this clue, few people truly understood who Loxias was, since the correlation of the name to the God comes only from an obscure reference in Aeschylus's The Oresteia. Apollo's placement as the editor of the novel is appropriate perhaps because he is the God of Art and the novel primarily concerns the nature of art. Apollo's presence also helps to explain the book's title, since Apollo was known as "The Black Prince". The title also refers to Shakespeare's Hamlet, a character referenced frequently in the novel, because he too was called "the black prince". Furthermore, the initials of the "Black Prince", "B.P.", are also those of Bradley Pearson, suggesting that he may be a Black Prince of his own accord. The two fictional forewords introduce the major themes of the novel and suggest its textual structure. The novel will be written by Bradley Pearson in a chronological format favored by "modern" novelists. While Pearson may tell his story in a straightforward manner, Murdoch does not. Murdoch herself thought modern novels inferior to nineteenth-century novels, once telling a London Times reporter that amongst her enemies were "tight, crystalline, first person novels." Murdoch prized nineteenth-century English and Russian novels, longing to recreate the complex characterizations of Tolstoy and George Eliot. By using the fictional forewords to frame Bradley Pearson's narrative, Murdoch allows her novel to address the act of telling the story at the same time it tells the story itself. The forewords demonstrate the importance of philosophy to the novel. Both P. Loxias and Bradley Pearson use their forewords to philosophize on the relationship between art, love, and truth. The inclusion of abstract philosophical discussions continues throughout the book. The philosophical comments lend the novel a fragmented style that requires us to switch between the story and the narrator's mind. The relation between art, love, and truth discussed by Bradley and P. Loxias is addressed repeatedly. By discussing it in the foreword, Murdoch prepares the reader for its later articulation. Murdoch sees art as one of the avenues through which truth can be expressed. Through the experience of erotic love, Murdoch believes that we are able to get a glimpse of the eternal that then can be captured in art. Bradley Pearson's confrontation with love and erotic passion allows him to see out of his limited world and create art. His experience serves as a testimony to Murdoch's larger philosophical ideas. Structurally, the opening of "Bradley Pearson's Story: A Celebration of Love", which is the novel proper, is significant as it will reappear as the final scene of the novel. The book opens with Arnold calling Bradley to say that he might have killed his wife. The book will close with Rachel Baffin calling Bradley because she just killed her husband. Furthermore, the opening conflict between Rachel and Arnold underscores the tension between them that shall lead to Arnold's murder. Although Arnold believes that their marriage can sustain anything, Rachel's analysis of the tension within their relationship shall prove more accurate. Between the lengthy period between the opening and closing domestic quarrels, the idea of marriage and its drawbacks shall be discussed numerous times.

Part One of Bradley Pearson's Story, 2

From Bradley's departure from the Baffins' to Priscilla's arrival at the hospital

Summary

It is eight in the evening when Bradley leaves the Baffins' and he wonders when he will leave on his trip. As he nears the subway, he sees a young man throwing white petals in the wind and chanting words. Getting closer, he realizes that it is Julian Baffin, the twenty year old daughter of Arnold and Rachel. Julian explains that the white petals are pieces of paper, the remains of love letters send to her by her ex-boyfriend. By tossing them and saying his name, she believes that she shall be rid of him. Julian never was successful in school, but now attends a teaching college and is in London to do her student teaching. She tells Bradley that she has decided to become a writer. She would like him to tutor her because she thinks he is a better writer than her father. When she asks for a list of books to read, Bradley suggests The Iliad and The Divine Comedy, but Julian comments that she does not like poetry. Bradley thinks to himself that he is too busy to help her, but he vows to send her a list. The next morning, Bradley writes several letters, because he prefers writing to using the telephone for serious matters. To Arnold Baffin, he apologizes for intruding on their private affairs the day before and then asks him not to receive Francis Marloe in the future because Bradley does not want Arnold to become his friend. To Julian Baffin, he suggests that she read The Iliad,The Odyssey, and The Divine Comedy, as well as the greatest English and Russian novels of the nineteenth century. He then says that he will not have time to teach her, because he is busy and going away. To Francis Marloe, he writes a rude note asking him to never visit again, telling him that his first visit was unwelcome, and assuring him that the Baffins will not receive him. Finally, he decides that he should write to his ex-wife Christian, Mrs. Evansdale. He writes a quick note saying that he heard she was back in London, but has no wish to see her because he did not like her when they were married and he does not like her now. After finishing these letters, he decides to send only the one to Francis and to save the others. Bradley also thinks about a scathing review of Arnold's new book that he has just written, and wonders what he should do with it. Bradley's sister Priscilla unexpectedly arrives at his house. He and Priscilla are not close. She lives in Bristol with her husband, Roger Saxe. Priscilla never finished college and dated many men in her youth before marrying Roger. Bradley dislikes Roger because he got Priscilla pregnant before their marriage and insisted that she have an abortion. The abortion scarred her so she cannot have children. Priscilla tells Bradley that she has left her husband for good. She is an emotional wreck, moaning about her ruined self, and lamenting her failure to bring her jewels with her to Bradley's. Bradley tries to console her but feels worried about how Priscilla's arrival will affect his plans to leave. When he goes into the other room, Priscilla swallows a bottle full of sleeping pills. Bradley tries to call an ambulance, but the Baffins call instead. After he hangs up on them, Arnold, Rachel and Julian appear, as does Francis Marloe. Priscilla starts vomiting. Someone calls an ambulance. Julian sees the letters Bradley wrote and, with permission, takes the ones for her and her father. Upon request, Bradley also gives her a small sculpture of a water-buffalo girl that she admires. The ambulance takes Priscilla away. When she is gone, Bradley finds out that his ex-wife, Christian, arrived during the confusion and Arnold has taken her away to a pub.

Analysis

Bradley's initial encounter with Julian shows her to be a youthful and somewhat naпve girl. Her act of tossing throwing ripped up pieces of love letters while chanting her boyfriend's name as to rid herself of his spirit can scarcely be considered without a mild smile at her youthful mysticism. Murdoch provides a wry comment on Julian's intelligence with her comments on writing. Julian, who has never excelled at school and thus far pursued several different possible careers, suddenly decides to become a writer and asks Bradley for reading recommendations. When he recommends Homer and Dante, she is delighted, but later comments that she can't read poetry, not knowing that Homer and Dante are poets. The other fact worth noting about Julian is her initial androgynous appearance and the androgynous quality of her name. This motif of androgyny will appear later in the novel in regards to Julian and also to other characters. Bradley himself appears to be a cold character. Particularly cruel are the letters that he writes to Christian and Francis Marloe. Both rudely tell the others that he is not interested in ever seeing them again and basically detests them. Even Bradley's letter to Julian is fairly blunt, explaining to her that he cannot teach her and referring her to her father. In addition to articulating Bradley's character through these letters, Murdoch also reveals his internal dialogue, which is often inconsistent with the politeness of his actions. While talking to Julian, for example, he is friendly, but is busy thinking about the impossibility of teaching such an unimportant girl. Likewise, he attempts to console his sister but is fixated upon getting away as soon as possible. Bradley's internal dialogue reveals him to frequently not be the kind character that others believe. Textually, this section demonstrates the classic Murdochian technique of pressing together as many coincidental events as possible. This trend had already been seen in the first section with the arrival of Francis Marloe and the telephone call of Arnold Baffin. Here, the coincidences continue with the random encounter with Julian Baffin, who Bradley had believes was in school outside of London, the unexpected arrival of his distanced sister Priscilla, and by the arrival of Arnold, Rachel, Julian, Francis, and Christian at the exact moment that Priscilla has tried to commit suicide and is retching all over the floor. These random occurrences are widespread throughout Murdoch's fiction, and reflect her belief that one's life does not proceed with a prescripted purpose, but rather is the result of a series of coincidences and accidents that all conjoin together. These random juxtapositions of these six characters introduced in this chapter shall continue in the novel.

Part One of Bradley Pearson's Story, 3

From Priscilla's arrival at the hospital to kissing Rachel

Summary

Bradley speaks directly to the reader at the beginning of the chapter saying that as an artist, he is concerned with the truth, but still can describe things only as he remembers them. Furthermore, he says that often uses irony as a tool to approach the truth. He notes his displeasure that Arnold and Christian went off together and might become friends. Priscilla returns from the hospital only hours after she was taken there. She remains in a state of hysterics about her ruined life and decaying body, which Bradley views with some disgust. Bradley loves his sister but feels some shame about her state. He tries to console her, but she cannot be calmed. Arnold comes over and asks Bradley not to be mad at him for talking to Christian. He says he took her away because her arrival seemed badly timed, but at the same time Arnold did find her interesting, especially since Bradley had never really mentioned her. As Arnold talks, Bradley decides that he shall have to see Christian sometime so he might as well do it right then. He leaves Arnold with Priscilla and heads to her house. Christian has expanded the Notting Hill apartment where she and Bradley lived when they were married. Bradley finds that Christian looks older but has aged well and is still very attractive. Christian tells Bradley that he wrote her the cruelest letter, which Arnold delivered, but she is happy to see him. She did many things in America. She was involved in business and studied Zen Buddhism. She is very happy. Bradley addresses her with rude coldness, bluntly explaining that he only came to tell her that he did not want to talk to her or be her friend. Once he delivers this message, he tries to go. When Bradley opens the door to leave, Francis Marloe is on the other side. Christian yells angrily at Francis, since he had broken into her house the day before and she found him sleeping in a guest bed. She starts hurling his belongings out the window. In the midst of their fight, Arnold arrives, having left Priscilla with Rachel. Arnold and Christian both start to hysterically laugh about Priscilla, as Bradley goes home. Bradley visits Priscilla's house in Bristol to retrieve her jewels and mink stole. He cannot find them where they should be and as he is looking Priscilla's husband, Roger, comes home. He kindly tells Bradley that she cannot have the jewels or mink because they are joint property. He also says that Priscilla is crazy and he only married her because she lied and said that she was pregnant. Now he has a thirty-year old mistress, Marigold, who is pregnant. They want to have the child and do not want Priscilla to return. Bradley treats Roger contemptuously. Bradley stops for sherry on the way home, gets drunk, and misses his train. In his drunkenness, he thinks of how terrible life is for people and feels anger at Roger's treatment of Priscilla. When he gets home well after midnight, he finds that Priscilla has been moved to Christian's house because of her panic at him not returning. The next morning he finds Rachel, Arnold, Christian, and Francis all there. Christian is getting Priscilla a doctor. Bradley says nothing about Roger and secretly feels angry that Christian has become so involved in his life. As he leaves, Rachel invites him over for lunch, which Bradley accepts while insisting that Francis not come. Bradley feels better after eating and relaxing in the Baffins' yard. Rachel asks if Bradley is still in love with Christian, as Arnold believes, but Bradley denies it. They both speculate as to whether Arnold likes Christian. Rachel touches Bradley's hand as they talk and he feels highly aware of her physical touch. They go inside together and by the door, Rachel leans her body against his and kisses him. They then sit on the couch and kiss again. Bradley feels confused, but not upset. As they leave, Bradley gives Rachel the review he wrote about Arnold's new book. Julian is flying a kite and cuts the string when Bradley gets outside so that he follows it all the way to the subway. He feels so happy when he gets home that he lets Francis Marloe, who is waiting at his door, inside.

Analysis

Murdoch develops the motif of marital relations by reflecting on the history of Bradley's marriage to Christian. Bradley suggests that the institution of marriage itself is flawed. He does not believe it possible for the human soul to live in continual proximity with another, as a marriage necessitates. Furthermore, he sees the lengthy marital state as an invitation to loneliness for each partner. Bradley's visit to Bristol reinforces the existence of such loneliness and separation in Priscilla and Roger's marriage. Their marital state was even worse than Bradley knew; for the first time he learns that Roger only married Priscilla because she lied about being pregnant. Without their desired child, their relationship clung together in a state of misery. As a result of their marital discord, Roger had an affair and Priscilla used her cold jewels as her sole consolation. Bradley Pearson is both an author and character in this section. This is the first time he fills both roles since the foreword. His commentary reinforces the complexity of his position as the author of his own tale. He warns that his own personal feelings and memories of the characters involved in the story may affect the way that he presents them. In doing so, he comments upon the nature of storytelling itself. Bradley also uses his authorial commentary to reinforce certain philosophical ideas, primarily the major theme of the relationship between art and truth. Particularly, Bradley's attempt to recognize his dialogue with the reader highlights Murdoch's belief that through the joint realization of a piece of literature, experienced by reader and writer, both parties may glean some aspects of truth. Although Roger and Marigold are relatively minor characters, their pairing is important because it prefigures that of Bradley and Julian. Bradley feels angry that Roger is dating such a younger woman, but in just a few days he embarks on a similar quest himself, with an even younger woman (Julian). When set in the context of the novel's later events, his initial anger seems ironic. Richard Todd has suggested that Murdoch specifically creates these matching pairs in a textual move that reflects her study of Shakespeare, who used similar techniques. In addition to the mismatched Roger and Marigold and Bradley and Julian, Murdoch also creates similar sibling pairs with Christian and Francis and Bradley and Priscilla. Murdoch's relates her philosophy during Bradley's drunken contemplations in Bristol. Murdoch believed that life has no deep plot or plan, and that no God predetermines the future. The way that a person chooses to live life is entirely up to that person. This constitutes a freedom that most people try to hide from, because it scares them so much. As he gets drunker, Bradley thinks, "Life is horrible, horrible, horrible, said the philosopher." His thoughts become morbid as he considers Priscilla and Roger's misery. Their misery existed because they both failed to take charge of their lives. Had she taken a more proactive stance, Priscilla's life might not be in its current state. The sexual desire that Bradley feels upon kissing Rachel is the first moment of erotic love in the novel. When Bradley gets home, he lets Francis Marloe into his house. The friendliness of this act compared to Bradley's previous rejection and rudeness towards Francis indicates the way that even the smallest flicker of desire initiates Bradley Pearson's change, although Bradley still has a long way to go before becoming a fully decent human being.

Part One of Bradley Pearson's Story, 4

From Bradley's drink with Francis to Bradley's purchase of the purple boots.

Summary

After Bradley invites Francis Marloe inside, the two stay up late drinking and talking freely. The next morning, Bradley finds a letter from Rachel on his doormat. Rachel writes that she is glad that they kissed and wants to love Bradley and develop a special relationship with him. She asks him to call her and come and visit as soon as he can. She also returns Bradley's review and asks him not to publish it, as it would hurt Arnold very much. Bradley's work friend, Hartbourne, invites Bradley to a party on Monday. Bradley agrees to go. Priscilla returns to Bradley's because she feels uncomfortable at Christian's. She continues to moan about the state of her life and becomes even more upset when she sees that Bradley gave away the water buffalo girl, since the statue once belonged to her. Bradley calls Rachel and asks her to bring the statue back. Francis Marloe arrives and Bradley begs him to nurse Priscilla. Rachel and Julian come over with the water-buffalo girl. After Julian gives Priscilla the statue, Priscilla feels angry and tosses it on the floor, so that its legs break. Julian leaves, but first holds a private conversation with Bradley. She thanks him for the touching letter that he sent her and tells him that she now considers him her guru and philosopher. She wants to know if he will tutor her on Hamlet, which she has an exam on. He hesitantly agrees. When Bradley goes back inside, Rachel says that Christian just called. She tells him that Arnold and Christian's possible affair makes her feel free and open, which is good because she can explore her love for him. When Rachel leans over to kiss Bradley, they both slip and tumble together onto the ground. Francis walks in and sees them on the floor, but says nothing before leaving. Rachel happily and flirtatiously teases Bradley before leaving. Sexual urges overcome Bradley. The next morning, Bradley quotes his review of Arnold's book in full and decides to send it to him. Bradley's actions are motivated by his jealousy of Arnold's attentions to Christian. Francis now is staying at Bradley's to nurse Priscilla. Later that night, Priscilla and Bradley discuss the store that their parents kept and of which they both frequently dream. Francis interprets their dreams by saying that the shop represents their mother's womb. After Priscilla falls asleep, Francis and Bradley discuss pain in life and in love. Francis suggests that Bradley is a repressed homosexual who is in love with Arnold, but Bradley denies it. Francis admits that he himself is gay and he starts to cry. The next morning, Bradley visits Rachel at her house and she is alone. Rachel wants to make love to him. She takes off his clothes and lies down with him, and eventually he takes off his clothes as well. As they lay together, he finds himself sexually uninspired and tells Rachel that he is having a moment of impotence. She is very nice about it and they continue to lie together. Suddenly, Arnold's voice calls from downstairs. Rachel stands up, dresses, and rushes downstairs. After Rachel leads Arnold into the back garden, Bradley dashes secretly out of the front door. As he gets to the subway station though, he sees Julian Baffin and she sees him. She is barefoot and wearing a short dress, having meant to be at a pop festival. Bradley considers how to keep Julian silent, so he decides to buy her an expensive pair of purple boots that she points out. Initially, she does not think that she can buy them, as she is not wearing stockings. Bradley's underpants, socks, and tie, which he had hastily shoved in his pockets, suddenly fall to the ground and she borrows his socks. When Julian puts on the boots in the store, Bradley sees that they look very good and feels a surge of desire for her. He realizes that it is the desire that he lacked just a few hours before when lying in bed with her mother. As they leave, Julian begs him to teach her about Hamlet the following Tuesday at his house and he agrees.

Analysis

Bradley's initial descriptions of Julian are influenced by the fact that he is telling the story. Julian appears to be aggressively interested in Bradley, a state of affairs that may not actually exist. Julian's aggressive interest can be seen when she comes with her mother to return the water buffalo girl; when she corners him outside to talk about Hamlet; when she calls him her guru and teacher; and when she invites herself over to his house for the Hamlet tutorial. These actions all are very subtle, but they confirm Bradley's own belief that Julian's love for him was sincere and self-motivated, not merely an unsubstantiated response to an old man's lustful claim. Bradley's erotic desires start to emerge in this section, both in relation to Rachel and Julian. Bradley does not think frequently about sex, but the language that he uses to describe the women shows his sexual interest. Rachel is old and flabby, with "dulled hair"; Julian is young, fresh, and bare foot. The vitality and color in the words that Bradley uses to depict Julian indicate that he is far more interested in her than he is in her mother. The actual sex scene between Rachel and Bradley is somewhat comic, as Rachel immediately sheds all her clothes and tries to press against Bradley who is still dressed. Even Bradley thinks of how foolish the two must look. Eventually, he takes off his clothes, but does so dutifully. When he later sees Julian trying on the purple boots, this emotion changes dramatically. The youth and perfection of her body inspire a surge of lust. Furthermore, although Bradley says that he bought Julian the boots to quiet her, it seems equally likely that he bought her the boots because he already has developed a crush on her. The idea of buying someone purple boots to keep them quiet after all, does not really make sense. His justification here should be questioned. Bradley's ambiguous feelings towards Arnold become clear in this section when he decides to send Arnold a scathing review of his new book. Bradley wants to send the review because he feels slightly jealous of Arnold and Christian's closeness. His admission of jealousy is unusual since he usually maintains that he is never jealous of Arnold. The actual reprinting of the review helps to articulate the specific artistic differences between the two men. Bradley criticizes Arnold's book because it was quickly produced and lacks artistry. Murdoch's presentation of this critique is ironic because it is one that frequently was leveled at her. She, like Arnold Baffin, occasionally managed to draft one novel per year, and her work was also condemned for artistic immaturity. Even though this critique could be self-referencing, Murdoch does not seem to be saying that it is entirely wrong. The printing of the review does play an important role in showing Bradley's jealousy and artistic snobbery.

Part One of Bradley Pearson's Story, 5

From Julian's boots to the end of Part One

Summary

Bradley arrives back at his house around noon. Christian is there and has sent Priscilla to her house. Christian tells Bradley that Arnold is very upset about the spiteful review that Bradley wrote. She denies that she and Arnold are having an affair, suggesting instead that Bradley wants to have an affair with Rachel. Christian and Arnold have been spending time together because they are going into business together. Arnold arrives during their discussion. Arnold laughs when he hears that Bradley thinks they are having an affair. Arnold explains that marriage is a stronger bond than Bradley realizes and that it endures many things and can even endure Bradley's desire for Rachel. Christian then asks if Bradley has ever seen a psychiatrist. Bradley gets angry and tells Christian that he would be happy if he never saw her again in his life. He insists that she leave and that he feels only hatred for her. She simply laughs and saunters away. Once alone with Arnold, Arnold confesses that Bradley's review deeply hurt his feelings. Arnold is aware that his books have problems, because authors know their failings better than critics, but Bradley's review reflected Bradley's unfairness and jealousy. Arnold understands Bradley's jealousy of Arnold's success, but is still hurt by the review. Rachel and Bradley meet the next morning at a public place in London. Rachel explains that she has been forced to make up the story about Bradley's desire because Julian told Arnold that Bradley had been at their house; Arnold wanted to know why Rachel had said nothing about his visit. Rachel returns Bradley's socks, which Julian had worn home. Rachel states that both she and Arnold know that Bradley is not a true challenge to their marriage. As usual, she finds that the real issue lies between Bradley and Arnold, not she and Bradley. Bradley recommends that they maintain a close friendship, without having a clandestine sexual liaison that would upset Arnold. As they leave, Rachel seems sad but pronounces that whatever happens she still has real fire in her and will not settle into complacency or craziness like Priscilla. The next morning, Bradley decides to leave promptly for the country, after checking on Priscilla at Christian's house. As he is packing, Hartbourne calls and tells Bradley that he missed the party. Bradley apologizes. Soon after, Julian, wearing her purple boots, arrives. She reminds him that they have a Hamlet tutorial. Bradley decides not to leave and invites Julian in. During the tutorial, Julian asks Bradley simple questions about the play, but Bradley offers psychological interpretations of the characters' motives. He suggests that Hamlet could not kill Claudius because Claudius resembled his father; furthermore, he argues that Hamlet's cruelty toward Ophelia represents his anger towards his mother. For Bradley, Hamlet is Shakespeare's best play because it about the issue of identity and finding the language to define one's identity. As they talk, Bradley's room grows warm. After asking permission, Julian takes off her purple boots and asks if her feet smell. They do slightly, but Bradley finds it charming. Bradley also takes off his jacket, tie, and unbuttons the top buttons on his shirt. Eventually, Bradley suggests that Julian should go and she agrees. She asks if he is going to leave London and he says no. Before he leaves, Bradley gives her another present, a gilt snuffbox, to take the place of the water buffalo girl. After her departure, Bradley can smell her sweat and feels that something powerful just has happened to him.

Analysis

This section presents the issue that will take up the rest of the novel: Bradley's love for Julian. At the end of the tutorial, Bradley feels that a powerful emotion has come over him. He does not name this emotion but it seems clear that it is love for Julian. Even without detailing sexual thoughts in Bradley's mind, Murdoch indicates the sexual nature of the tutorial through her use of language. As their discussion of Hamlet heats up, both of their bodies do as well. Julian slips off her purple boots, revealing her naked feet. Bradley sheds his jacket, his tie, and unbuttons the top of his shirt. By the end of their session, both are sweating. Although the two have not touched each other, their disrobing and heat mirror a sexual act. Bradley's suggestion that Julian "should go" implies that he is so overwhelmed by her presence that she needs to leave. Bradley's comment that he can smell her "her sweat, her feet, her breasts" is also innuendo. The way Bradley recounts his meeting with Julian contrasts his description of his meeting with her mother, Rachel. Bradley describes seeing Rachel's "satiny shoulder strap, not clean," "flopped down over the vaccination mark on her plump pallid upper arm." Needless to say, this image of Rachel's arm does not tantalize in the same manner as does that of Julian's naked feet, since Bradley feels disgusted by the older woman's body. Bradley's disinterested feelings towards Rachel also are evident in his matter-of-fact manner when he describes his lack of interest in having an affair. Rachel's sad reaction is slightly poignant, but Murdoch does not suggest that Rachel will soon become a victim. In fact, the fierceness that Rachel describes in this scene foreshadows her final actions in the novel. She warns Bradley that she has a burning fire in her and that she will not become like Priscilla. She describes what is in her as more than just a "will to survive." She calls it "fire, fire. What tortures. What kills." Rachel's description of herself will become accurate when she kills Arnold at the end of the novel. References to Hamlet recur throughout The Black Prince, although the bulk of discussion about the play's content takes place during this session. Bradley Pearson's opinions on the meaning of Hamlet are not Iris Murdoch's. In fact, Murdoch appears parodying an interpretation of Shakespeare by emphasizing Freudian psychology. Francis Marloe attempts a similar Freudian reading of The Black Prince in his postscript, an effort that appears equally silly. Bradley's commentary about Hamlet's quest for identity and for the language of identity do seem to relevant to The Black Prince, especially since Hamlet, often called the "black prince," is one of the book's namesakes. However the plots of the two books do not closely follow. Hamlet's identity crisis could apply to Bradley Pearson, but it could also apply to Julian and even to Francis Marloe.

Part Two of Bradley Pearson's Story, 1

From the beginning of part to through Julian's invitation to dinner

Summary

After the Hamlet tutorial, Bradley decides that he is totally in love with Julian. The next morning, he lies on his carpet trying to smell her presence from the day before and dreaming of her. He comments that love is a form of truth, that gives a sense of the eternal in the same way that religion and art do. In order to maintain this truth within him, Bradley vows to keep his love for Julian secret. In its secrecy, the love will remain pure and true, thereby always warming his soul with the light of truth. Bradley accepts a lunch proposal from his friend, Hartbourne. As he is walking out the door, he meets Rachel. She wants to talk and retrieve Julian's copy of Hamlet, which Julian forgot. Bradley wants to keep this precious copy for himself, so he makes an excuse about needing it. He insists that Rachel accompany him on some errands. They first stop in a stationary store, but after Rachel insists on talking, they head to a pub. Rachel tells Bradley that she does not want him to think that she throws herself at men. Furthermore, she would like to remain his close special friend and encourage the loving relationship between them. Bradley fully agrees, but is not listening to her because he is thinking about Julian. Rachel notices that he is distracted. When he gets up to leave for his lunch date with Hartbourne, Rachel stays behind in the pub. Bradley and Hartbourne have a happy lunch during which they gossip about Bradley's old job. On the way home, Bradley stops at a bookstore and orders the collected volumes of Arnold's books, because in his cheer he decides to give them another try. When Bradley gets home, Roger, Priscilla's husband, is there. He has brought Priscilla's jewels and clothing. He asks Bradley to inform Priscilla that he wants a divorce. Bradley lies and says that he told Priscilla about Roger's affair. Marigold is also there. She looks pregnant, and Bradley treats them both so kindly that they think he is either drunk or nutty. Bradley goes to Christian's to bring Priscilla her jewels. Priscilla looks old, but is calm. She is not pleased about the jewelry because she has decided to return to Roger. Bradley bluntly informs her that Roger wants a divorce. Priscilla goes into hysterics. Francis appears to counsel her and Christian and Bradley retire to another room. Bradley's happiness even has made him friendly towards Christian. She is delighted that his coldness has melted. She tells him that she would like to try and rekindle their love. Bradley is not really listening to her, but agrees to talk it over later. As Christian leans over to kiss him, Arnold walks into the room. He does not look happy to see Bradley and Christian so close. Bradley greets Arnold cheerfully saying he is planning to reread all of Arnold's books. Bradley then heads home, giving Francis Marloe five pounds on the way. The next morning, Bradley still feels happy, but is trying to figure out what to do about his overwhelming love. Both Christian and Arnold call and want to speak privately with him. He agrees to go to Christian's later that night and talk to them both. After they call, Bradley goes out and buys a series of small presents for Julian. Later that afternoon, Julian herself calls, asking if she can come by sometime to pick up her copy of Hamlet. Bradley says yes. Then he spontaneously asks if she is free for dinner. Bradley takes Julian to dinner at the restaurant in the Post Office Tower. Julian eats a lot, but Bradley eats very little, as he is nervous. Bradley thinks frequently about his desire to kiss Julian during the dinner, but does nothing. As they are saying good-bye, Julian asks Bradley to come with her to see the opera Der Rosenkavalier at Covent Garden because her new boyfriend bought two tickets but he cannot come. Bradley agrees and leaves feeling elated.

Analysis

Part Two opens with a several page soliloquy on the nature of love. The narrator remarks that Eros, desirous love, has touched Bradley and it overcomes him so much that he begins lying on the carpet, almost immobilized. Bradley decides that this love is a good thing, a pure gift full of truth that will be able to inspire him towards his artistic creation. His belief in the purity of the emotion also makes him decide to never taint its quality by mentioning it to Julian. Bradley's strong feelings about love's connection to art again allow Murdoch to elaborate the connection between art and truth, as brought on by the experience of Eros, or erotic love. Murdoch's philosophy follows the ideas of Plato. Plato believed that the world of everyday life represented a world of superficial appearances, but that beyond this world existed an ideal one in which objects could be found in their true form. Murdoch believes that through love, as through religion, we have a rare chance to glimpse the true, eternal world that Plato describes. Furthermore, the contact with Eros will later give inspiration to create art, as it does for Bradley. Bradley's sudden love makes him appear changed to all of the other characters, but in many ways, this change is superficial. Because Bradley suddenly starts buying people presents, lending money, and speaking kindly, everyone assumes that he is changed. However, while his actions indicate a new man, his thoughts reveal him to still be the self-interested soul that he long has been. Bradley's responses to Christian's and Rachel's desires for his love are particularly cold. As the older women are pouring out their hearts, he basically ignores them and thinks only of Julian, a woman with a much younger body. His mistreatment of Priscilla, as he bluntly informs her of Roger's affair, demonstrates his lack of consideration. Bradley's sudden kindness towards Roger, furthermore, might reflect his changing emotions towards sexual relationship between couples of unequal ages. While the idea previously angered him, now he is an interested party in the promotion of the concept. By the close of the section, it becomes apparent that Bradley is going to have quite a difficult time keeping his love for Julian a secret. Even though he resolved to do so, he is quickly finding that he wants to be with Julian. Instead of just speaking with her on the phone, he has to invite her to dinner. At dinner, Bradley acts as a complete voyeur, since he cannot eat. As he watches her, he focuses upon her firm body and eating habits. He also repeatedly contemplates kissing her, an urge that would break his vow to never mention his love. After only just one day, Bradley's desire for "pure love" has already turned slowly towards lustful thoughts. As a result, it seems highly unlikely that he will be able to keep his emotion a secret for very much longer.

Part Two of Bradley Pearson's Story, 2

From dinner with Julian until after the Opera

Summary

The next morning, Bradley wakes in a torment. He realizes that he can no longer stand being silently pleased with his love. He feels that he must see Julian as much as possible, but cannot contrive a way to manage it. He resolves to control himself for three days until Wednesday, when they will go see the opera. Bradley does not leave his house and refuses to answer his door, even though Arnold and Christian come to visit. He answers the phone only briefly to see if it is Julian; if it is not he hangs up on the caller. Eventually, Francis Marloe stops by and Bradley, who has been drinking whisky, lets him in. When Francis asks him what is wrong, Bradley confesses his love for Julian. Francis is surprised, but supportive. Bradley later laments breaking his silence to Francis. Francis additionally mentions Priscilla may start getting electroshock treatments for her depression, if it is all right with Bradley. Bradley says that it is. The next morning, Bradley receives a note from Arnold saying that he is fully in love with Christian and that Christian is also in love with him. Arnold asks Bradley to intervene with Rachel on his behalf. He loves Rachel too, but believes that their marriage has grown old and lifeless. Bradley reads the letter, puts it on his desk, and thinks no more about it. When Wednesday comes, Julian and Bradley go to Covent Garden to see Der Rosenkavalier. She is wearing a red dress with blue flowers. Once seated in the auditorium, Julian starts describing the opera for Bradley. It concerns an older princess, perhaps in her thirties, who has a male lover of about seventeen. Bradley interrupts Julian and begs her to tell him no more. When the opera begins, Bradley finds himself overwhelmed by the sound of the voices and the colors of the setting. After several minutes, he decides that he is going to be sick. He pushes his way out of the row and heads outside. He vomits on the side of a building. Julian appears. When she asks him what is wrong, he tells her that he is totally in love with her. Julian nods and says that she thought that this might be the case. Bradley criticizes himself for his love and his stupidity. He suggests that such love would be impossible and says that he is going to leave. Julian makes Bradley stay, and eventually convinces him to sit with her in a pub so that they can discuss. Julian asks Bradley how old he is and Bradley says forty-six, although he is truly fifty-eight. Julian is very thoughtful and says that she has long loved Bradley and always longed for his attention. She admits that she falsely claimed to have a new boyfriend in order to tease Bradley. She furthermore leans over and insists on kissing him. Bradley keeps insisting that Julian is confused about her love, but when they part, he is secretly pleased. Julian vows to visit him in the morning.

Analysis

Murdoch's uses the opera Der Rosenkavalier as a mirror of The Black Prince; both describe a love affair between a couple of different ages. However, in the opera, the female character, the Princess von Werdenbery, is the older of the characters. The opera also addresses issues of androgyny similar to those in The Black Prince since the male lover, Octavian, initially dresses up as a woman. Bradley does not realize what the opera is about until it begins. His request that Julian stop describing the plot comes from its closeness to his own emotions and also his anxiety at Julian calling the thirty- something year old Princess a "much older woman," since he is twenty years older than that. Although Bradley will not make it through the entire opera, the outcome of Der Rosenkavalier also helps to predict the plot of The Black Prince: Octavian eventually leaves the Princess, as Julian leaves Bradley. Murdoch uses her language carefully in describing Bradley's perception of the opera house. Particularly noticeable is her use of the color red, which symbolically references passion and sexual desire. As Bradley sits in the opera house, the color red overwhelms him. Julian's dress, the opera lamps, the curtains, and the bed on which the Princess and Octavian lie all are red. Surrounded by the color red and the sweet singing of women's voices, Bradley feels overcome by nausea, primarily because the sensation of unrealized lust and desire have fully overtaken his body. The location where Bradley finally vomits is also significant. He is surrounded by fruits and vegetables: a box of peaches; a bag of carrots; a basket of cherries; and crates of strawberries. These fruits all carry sexual connotations and indicate the original location of sexual sin, the Garden of Eden. The actual act of vomiting references the ideas of Jean-Paul Sartre since Sartre wrote an entire novel entitled Nausea dealing with the physical sensation and its relation to man's philosophical experience of the world. Sartre believed when man realizes that he cannot control the world and that the world does not exist just for him, his freedom to control his own life may make him feel nauseous. Although Murdoch did not consider herself a Sartrean existentialist, she had studied and written extensively about Sartre's philosophy. Furthermore, Bradley Pearson's need to vomit comes at a time when a sensation outside himself, Eros, overtakes his body completely; Bradley realizes that he cannot control it. His need to vomit is similar to Sartre's presentation of men who long to vomit upon realizing that their inability to control the world around them. The description of Julian's response to Bradley's declaration of love must is affect by the fact that Bradley is the author of the narrative. Julian appears to be willing to pursue a relationship with Bradley and is even aggressively interested in doing so. While Bradley insists that he leave her, it is Julian who begs that he stay to talk. It is also Julian who leans forward and kisses Bradley, not the other way around. Finally in a very flirtatious move, Julian reveals that she previously created the name of a so-called boyfriend just to make Bradley jealous. Bradley portrays Julian as a willing and even eager partner to their love affair, but we should question the accuracy of his description.

Part Two of Bradley Pearson's Story, 3

From after the opera to the end of Part Two

Summary

After leaving Julian, Bradley finds that his love inspires both a feeling of bliss and a sense of physical pain. She visits him early the next morning. She has been up all night thinking about what he said. She has determined that she too is deeply in love with him. She compares their relationship to that of Emma and Mr. Knightley. Bradley warns her that other people will disapprove of their relationship, so she should tell no one. They lie on the carpet together and kiss occasionally, before she goes home. Julian does not follow Bradley's instructions and immediately tells her parents about her love. Soon after, Arnold and Rachel come to Bradley's. When Bradley will not renounce his love, they grow angry. Rachel argues that Julian is just a confused child who does not even know what she feels. Arnold threatens to take Julian away and get the law involved. Still, Bradley refuses to concede that he is doing anything wrong by loving Julian. Rachel and Arnold are angry when they get up to leave. Arnold pauses for a moment before going, and asks Bradley to return the letter he wrote about Christian. Bradley tells Arnold that he has already destroyed it. Arnold looks suspicious, then leaves. After Rachel and Arnold go, Bradley takes a cab to their house. Since they have returned before he arrives, he is unable to see Julian. He stands on the street for a long time wondering what to do. Finally Arnold comes out. Arnold apologizes for being angry earlier and suggests that they will all be able to resolve the situation. He tells Bradley that Julian has come to her senses and admitted that she just felt flattered by Bradley's love and felt pity for him. Now she realizes that she is not in love with him. Arnold and Julian are going to take a trip to Venice so that Julian can forget everything. Arnold asks Bradley to promise to leave them alone. Bradley refuses to do so. Arnold again asks if Bradley truly destroys the letter about Christian and Bradley says that he did. When Bradley gets home, he finds a message from Francis Marloe asking him to call on Priscilla. Bradley does not call or visit Priscilla. Instead, he lies miserably in his house wondering if Rachel and Arnold locked Julian up. He sits awake for much of the night. The next morning, Julian calls him collect from a pay phone. He picks her up in a taxi. Her parents had locked her in, but she tricked her mother and escaped from her room that morning. Julian can scarcely believe her parents' anger over the affair. Her father broke small items in her room, while her mother wept and wept. Bradley realizes that they cannot go to his house because her parents will soon arrive. He decides that they should go to the cabin that he rented, which is in a location that no one knows. He leaves Julian with some money to buy herself new clothes for the trip. Bradley goes to get some belongings and finds his front door unlocked. Priscilla is inside. She has had electroshock therapy and appears confused. She is very talkative and mild, but does not understand what is going on. Bradley is trying to tell her that he is leaving, but she insists on some tea. Francis arrives. Bradley begs him to stay with Priscilla and gives him money to take care of her. Bradley rushes out of his house with a suitcase. Outside, he sees Christian and Arnold getting out a taxi. Christian sees him but Arnold does not. Christian blocks the path so that Arnold cannot see him. Bradley jumps into their taxi and heads back to Julian.

Analysis

Throughout The Black Prince characters see other literary characters as representative of their own situations. Julian compares her realization of love to that of Emma in Jane Austen's Emma. Emma, who is twenty- one, spends much of the book looking for love before suddenly realizing that she has long been in love with Mr. Knightley, a close family friend who is sixteen years her senior. While Julian's love appears to be sincere, we may doubt its truth. Even Julian's tendency to compare their relationship to one in a novel suggests dreaminess on her part, while simultaneously suggesting her romantic belief that she and Bradley will marry and live happily ever after, as did Emma and Knightley. More obviously, Julian demonstrates her limited grasp on reality by not understanding that her parents would object to the relationship. Furthermore, she feels astonished by their anger and dismay. Julian has convinced herself that she is thoroughly enraptured by a pure love for Bradley, but her failure to appreciate the complex circumstances of their relationship suggests once again her naпve nature. Rachel and Arnold's articulations their opinions Julian's behavior underscore the lack of reliability in the narrative, since we must question whether Bradley's account actually honest. Their explanations are important because they are partially true. Because they are true, they demonstrate the way that Bradley may be acting inappropriately. Additionally, by condemning his behavior, Arnold and Rachel help to guide the reader towards a similar condemnation. Bradley's seduction of Julian is crucial in his relationship with Arnold. The tension between Arnold and Bradley, as well as the tension between their artistic perspectives, is the main conflict in the novel. By taking Julian from Arnold, Bradley is demonstrating his ability to gain power over Arnold, of whom, despite his assertions that he is not, he is slightly jealous. Furthermore, his refusal to return Arnold's letter about Christian also shows the way that Bradley is preparing himself for a full battle with Arnold. The interaction between Arnold, Bradley, and Rachel is almost comic because although they all angry with one another, they maintain a polite veneer of friendship. As Arnold stands on the street telling Bradley that he is taking Julian to Venice, Arnold mentions that Rachel sends Bradley her regards. While their language towards one another remains friendly, their hostile attitudes towards one another have heightened the tension between Arnold and Bradley.

Part Three of Bradley Pearson's Story, 1

From the beginning of Part Three to Julian's departure

Summary

Julian has bought new clothes for herself, as well as food for their voyage. They rent a car in order to drive to the seaside cottage, Patara. Bradley feels happy as he drives, but can only think about when their bliss will end and whether they will make love. Julian romantically suggests that they will get married and that Priscilla will come live with them. Bradley criticizes Julian's naпve perspective. In response to his skepticism, Julian says that she will throw herself out of the car in order to prove her love, which she proceeds to do. Bradley stops the car and finds her on the side of the road, slightly scraped and bruised. He comforts her among the wildflowers, before they get up and finish their trip. Upon arriving at the cottage, Julian decides that she wants to visit the ocean, but falls asleep in her clothes instead. As Bradley watches her sleep, he wonders again if their relationship will last and if they will make love. The next morning, they eat a small picnic by the sea. Julian runs around gathering pretty pieces of driftwood and finds a sheep skull that has been washed clean by the ocean. Later, they eat lunch inside, visit a local church, and Julian goes swimming. Bradley feels happy during the whole day, but keeps wondering about sex with Julian. Later that night Julian and Bradley sleep together, but because of his age and high expectations, Bradley is not able to sexually perform. The next morning, the same thing happens. The next day, Bradley receives a telegram from Francis Marloe asking him to call. Upon calling Francis, Bradley learns that Priscilla has killed herself with sleeping pills. Francis had found Bradley's address on a letter from the rental agent in Bradley's desk. Bradley does not want to ruin his bliss with Julian by going home. He instructs Francis to call Roger and arrange for the funeral and says that he will come home soon. As Bradley drives back to the cottage, he decides to not tell Julian of Priscilla's death; he also fixates upon his desire to have sex. When he gets home, he finds Julian dressed up like Hamlet. She is holding the sheep's skull, trying to reenact Hamlet's eulogy of Yorick. Julian excitedly describes how she constructed her outfit for Bradley, but he does not seem to hear, as he overcome by sexual urges. He leads her to bed and starts tearing her clothes off. In his roughness, Bradley breaks the sheep's skull and makes Julian cry. Several hours later, they have sex again. When they finally get up from bed, Julian seems withdrawn and thoughtful. She comments that the nature of their love has changed and she feels very different from the day before. Bradley insists that it is only a deeper type of love. She soon falls asleep again, in her clothing, while lying in his arms. Sometime after midnight, Arnold arrives and wakes them both. He has retrieved their address from Francis. He insists that Julian return home with him. He tells her about Priscilla's suicide and also corrects Julian's impression that Bradley is forty-six by explaining that he is fifty-eight. Julian seems shocked and unsure of what do to. Bradley tries to offer explanations for why he said nothing about Priscilla, but Julian scarcely hears him. Finally, she decides not to leave with her father, but promises to return to his house the next day. Arnold passes Julian a letter from Rachel. After Arnold leaves, Julian tells Bradley that she wants to be alone and goes into the other bedroom. The next morning, Bradley finds that Julian is gone. He runs around the house yelling her name and drives through town, but he can find her nowhere.

Analysis

The name of the cottage, Patara, references a location that Saint Paul visited during his journey to preach the message of Christ. Murdoch's decision to reference this classical location evokes the relationship of religion to Bradley Pearson's own quest. Religion, like love and art, provides a sense of the eternal. By placing Bradley in a location with religious significance, Murdoch indicates her belief that the universal mystical feeling that inspired Saint Paul may also be able to inspire him. Unlike Saint Paul's more pure thoughts, however, Bradley Pearson's ability to create a universal truth will be inspired by his relationship to Eros. The motif of Hamlet appears again in this chapter with Julian's portrayal of the prince. By dressing like Hamlet, Julian again appears androgynous. The relationship of her masculine appearance to Bradley's heightened sexual desire argues for Bradley's repressed homosexuality. Androgyny is a motif that recurs in the novel. There is no strong proof, however, that Murdoch wanted to indicate that Bradley was a homosexual. She seems more interested in toying with the idea of him not having a firmly fixed identity and with suggesting the possibilities of androgyny in general. Bradley and Julian's secret romantic flight evokes similar mythical romantic trysts, but their age difference and Bradley's lustful thoughts ruin the purity of their union. Julian embodies youthful impetuous love. Her willingness to throw herself from a car to prove her love signifies the strength of her romantic fervor. Her desire to marry Bradley and live happily ever after with him appears equally naпve, since it is a longing formed after just one day. Julian's style of sincere, foolish love is similar to that of Shakespeare's Juliet, her close namesake, a character who acts in equally impetuous ways. Still, while Julian may resemble Juliet, Bradley Pearson makes a very poor Romeo. Bradley exhibits none of the zealous love that Julian maintains and that he felt a few chapters ago. His thoughts are almost entirely fixated upon the possibility of sex. By showing Bradley's perpetually sexual thoughts, Murdoch demonstrates that to a large extent, lust rather than love motivates him. Bradley's desires reveal him to be a lustful older man who takes advantage of the naivete of a younger woman, much like Humbert Humbert in Nabokov's Lolita. The violent sex scene between Julian and Bradley shatters Julian's illusions about the nature of their love. Many critics compare Bradley's rough seduction of Julian to rape, since he fails to heed her requests to slow down, and she weeps bitterly afterward. When their sexual encounter has ended, Julian appears changed and confused. She no longer idealizes their love and married life together. The reality of sex with an overly forceful older man has sharpened her perception of the nature of their relationship. Her realization becomes more clear when her father arrives and explains Bradley's true age and his concealment of Pricilla's death. Arnold's suggestion that lust led Bradley to keep Priscilla's suicide a secret is correct. The way in which Priscilla's death hastens Bradley's sexual urges suggests that he is a cold, lustful figure. Bradley's behavior in this section seems to differ from his earlier experience of "pure love".

Part Three of Bradley Pearson's Story, 2

From Priscilla's funeral to the end of Part Three

Summary

Дата добавления: 2015-11-16