Used price: $15.40
Collectible price: $15.45
Aristotle defined tragedy as a story depicting the downfall of a great man. At first it is hard to see this stupid, cruel, and grasping merchant as a great man, but The House With the Green Shutters will also improve your notions of what greatness is. John Gourlay is great because there is no fear or compromise in him. Although he may wish to be well thought of by the small-minded, two-faced gossips of the town, he is not prepared to go one inch out of his way for them, scorning even the banal pleasantries of small talk or phatic communication. He wants only their respect not their love, and respect him they do even though they also hate him.
With all true tragedy the tragic element comes directly from the greatness. It is his greatness that destroys John Gourlay. His stubborn pride and unflinching courage are qualities more suited to some heroic age of battles and revolutions. They do not fit into the petty, hypocritical world of 19th century Scotland. In this unheroic world his heroic qualities can only work towards his downfall. The thought constantly in one's mind as you read this novel is, 'If only he were a lesser man . . .' His inability to compromise by lowering himself to the same level as his fellow citizens, works to his disadvantage. Unable to plot, maneuver, and dissemble, his little empire is soon undermined by the arrival in town of Wilson, a glib self-seeking nobody with no real passion, but a much abler businessman in tune with the times. Affable and manipulative, false and corrupt he starts to squeeze Gourlay out of one thing after another. This is ,in effect, the triumph of style over substance that so bedevils our modern age. Although grim, proud and dour, Gourlay is an honest man, inept at chicanery, and unable to bend to suit the occasion.
The House With the Green Shutters is a tragedy in the full classical Greek sense of the word; the preordained fall of a hero who doesn't fit into an unheroic world; a great bull sacrificed to appease the Gods for human hubris. It is even more poignant from the fact that its keynote of tragedy was reflected in the life of its young author who had the misfortune to die only one year after writing such a masterpiece.
Aristotle defined tragedy as a story depicting the downfall of a great man. At first it is hard to see this stupid, cruel, and grasping merchant as a great man, but The House With the Green Shutters will also improve your notions of what greatness is. John Gourlay is great because there is no fear or compromise in him. Although he may wish to be well thought of by the small-minded, two-faced gossips of the town, he is not prepared to go one inch out of his way for them, scorning even the banal pleasantries of small talk or phatic communication. He wants only their respect not their love, and respect him they do even though they also hate him.
With all true tragedy the tragic element comes directly from the greatness. It is his greatness that destroys John Gourlay. His stubborn pride and unflinching courage are qualities more suited to some heroic age of battles and revolutions. They do not fit into the petty, hypocritical world of 19th century Scotland. In this unheroic world his heroic qualities can only work towards his downfall. The thought constantly in one's mind as you read this novel is, 'If only he were a lesser man . . .' His inability to compromise by lowering himself to the same level as his fellow citizens, works to his disadvantage. Unable to plot, maneuver, and dissemble, his little empire is soon undermined by the arrival in town of Wilson, a glib self-seeking nobody with no real passion, but a much abler businessman in tune with the times. Affable and manipulative, false and corrupt he starts to squeeze Gourlay out of one thing after another. This is ,in effect, the triumph of style over substance that so bedevils our modern age. Although grim, proud and dour, Gourlay is an honest man, inept at chicanery, and unable to bend to suit the occasion.
The House With the Green Shutters is a tragedy in the full classical Greek sense of the word; the preordained fall of a hero who doesn't fit into an unheroic world; a great bull sacrificed to appease the Gods for human hubris. It is even more poignant from the fact that its keynote of tragedy was reflected in the life of its young author who had the misfortune to die only one year after writing such a masterpiece.
Used price: $8.44
Buy one from zShops for: $11.83
Used price: $1.98
Buy one from zShops for: $2.30
Used price: $2.62
Collectible price: $3.35
Used price: $1.19
Used price: $0.49
Collectible price: $5.29
Buy one from zShops for: $5.19
As the ship sails, George stops minor pilfering from happening, but an unknown phantom continues to steal in spite of the detective's efforts. The weather for the most part is nasty, but the powerful Mauretania keeps a steady pace. However, the calm changes when a first class passenger falls overboard in what appears to be a tragic accident. However, Sam soon sees a connection with that incident and the clever stealing of some of the gold. Even with Genevieve's access to the wealthy first class patrons, Sam struggles to identify a master felon.
MURDER ON THE MAURETANIA, the second Dillman-Masefield historical mystery set on the ocean cruise liners, is a wonderful tale that brings readers along for the ride sans seasickness. The story line is entertaining as readers obtain a glimpse at the ship, its passengers, and its crew mostly through the eyes of the undercover sleuth and his assistant. The enjoyable who-done-it adds to the fun of an exciting sea voyage. Sub-genre fans will book passage on Conrad Allen's next ocean adventure.
Harriet Klausner
Used price: $18.00
Collectible price: $18.00
Used price: $2.50
Collectible price: $6.99