Caged Fury Download
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Caged Fury download
Philip Wentworth, left to himself, paced back and forth in theflower-bordered path with the restless step of a caged lion, while hemuttered and swore and raved like one almost on the verge of insanity,and wholly unaware of the slender, white-clad figure which had a fewminutes previous flitted down another path and suddenly halted behind ahuge Japanese vase taller than herself, and in which there was growing aluxuriant mass of vines, which entirely concealed her from view.
But now, when he realized that he alone was Mr. Temple's heir, and thathis mother and sister would be deprived of the luxuries to which theyhad always been accustomed, his old hatred revived with tenfold fury,and he became capable for the time of almost any crime in his desire towreck vengeance upon his rival.
He sprang up the staircase. Halfway up he saw a figure before him, ascending too. He called, and the man turned suddenly. Morgan knew him in a moment. It was Fulke himself. The old Royalist, seeing himself pursued by a soldier in the dress of a Roundhead, concluded the enemy had already entered his castle, and with the fury of a desperate man, drew his sword and threw himself upon the stranger. Morgan had no time to hesitate. The delay of a moment might cost his lady her life.
When the opportunity comes, he seizes it with a vengeance, lashing out at Andy with all his pent-up fury. But instead of feelingbetter afterward, he feels miserable and deflated. His shipmates are all on Andy's side, and his carefully rehearsed insults, remarksabout Andy's "chinless" face, turn into embarrassments when he learns that Andy has lost his chin in the war. Shortly afterwards, thesecond opportunity presents itself but likewise ends in a sense of deflation. When Norman's mickey, having escaped its cage, isdiscovered in the back to the water alongside the ship, in immediate danger of drowning, Dana sees a new chance to be the hero. Once again, however, he is restrained by the crew, who see his determination as rash and foolish, more nuisance than heroism.
What does this new realization mean for Dana as writer, as artist? This is a matter of some disagreement among the critics.According to Douglas Day, it means "the growing up out of the childish disease of the desire to write." Says Day, "By the end ofUltramarine, Dana opts for the le Vita activa over the vita contemplativa."10 It is easy to see what leads Day to this conclusion, forearlier, in Chapter Three, Dana had indeed described his vocation as a "childish disease." And only a few pages after the passagesjust cited, Dana says in one of his imagined letters to Janet, "As for my books, I shall throw them overboard and buy new ones ...Let their writers sign on troismâts and learn how to swarm up a rope with passion! My writing? You or any woman can do that forme. I don't know a damn thing yet" (Ultra, p. 171). But Day fails to note two important points. First, the Dana of Chapter Five isnot the same ironic, self-contemptuous person he was in Chapter Three. If he deprecates the kind of writing he has been doing, it isnot with bitterness or cynicism but with new resolution and determination to leave old ideas about art behind. And besides, weactually see, only ten pages later, that Dana is writing again. As the men sit around on deck, trading stories and recounting dreams,Dana thinks, "Hell, I could make up a dream as good as this, couldn't I? Yes, but what? Jesus what can I make up? But wait aminute. If those animals got loose, yes, supposing. . ." (Ultra, p. 182). At this point he is just beginning to discover a moreauthentic voice that emerges naturally out of the chaos of dream and interfused dialogue around him. And it is no accident that thestory he starts to tell (to "write," so to speak) is a story itself about chaos -- the chaos unleashed when imprisoned animals breakout of their cages and wreak havoc on a ship -- for Dana has himself been one of these caged animals and the fact that his newvision is comic, not terrifying, is evidence of how far he has come.11