Luke Chen

Partaking in a meal together is usually accompanied by the strengthening of a bond; however, the dialogue between Richard and Henry after an unpleasant lunch with Bunny contradicts that idea. Although what was spoken lacks any vividly significant language that cements a remarkable scene, the speakers’ deliverance reveals much about the characters. Through Henry’s tone, pacing, and word choice, this passage subtly introduces a rift between Bunny, Henry, and Richard. The realization of this distance represents the catalyst of Richard’s depression. Through a supposedly cheerful bonding experience comes a grim reminder of one of the text’s Dark Academia core themes: the romanticization of misery and depression from isolation and rejection. 

Cracks between the group’s friendships foreshadow an inevitable state of isolation with loneliness and misfortunes to all. The passage brings into doubt Bunny and Henry’s understanding of each other and their friendship. Without needing Richard’s explanations, Henry appears to fully understand the situation. Henry simply arrives at the restaurant, covers the check, and drives Bunny and Richard home. After Bunny exits the car, Henry immediately apologizes to Richard for Bunny’s action: he knew Bunny was at fault. Henry’s uncanny perception implies that this “scheme” is a habit of Bunny’s. Most importantly, Henry has been the one to clean up on multiple occasions. Bunny mistakenly believes that Henry does not mind covering for his misdemeanors and is oblivious to Henry’s annoyances. Henry runs his “trembling” hand through his hair as he refuses to let Richard pay him back (Tartt 67). This subtle and unexpected act surprises Richard and demonstrates significant levels of emotional turmoil due to Bunny’s actions. The mismatch in viewpoints signals a lack of communication between the two and builds tension. This tension gradually eats away at their bond and signals the bitter end of their friendship. The presence of such levels of tension at an incredibly small-scale event suggests a fundamental incompatibility between the two characters. 

The emotional incompatibility between Henry and Bunny is placed further under magnification through Henry’s tone and deliverance. Up until this point in the book, Henry has maintained a calm, or even cold, demeanor when conversing with Richard. Therefore, Henry speaking through an “accusatory” tone and snapping at Bunny further suggests the presence of hostility (67). Because Henry has an abundance of money, he is angry and irritated at Bunny’s actions instead of the monetary cost. More specifically, Henry is angry at how Bunny does not notice the consequences of his actions to those around him. In previous chapters, Henry always speaks concisely and with an air of exceptional composure; however, in this passage, Henry’s dialogue is long and, appears to the ear, impulsive. “How were you to know?”, “he never thinks…”, “what if I hadn’t been at home?” Henry bombards Richard with rhetorical questions and his inner thoughts about Bunny, speaking so quickly as if to not give Richard a chance to respond (67-68). Henry’s hasty tone reveals that, at this point, he is speaking what he really thought of Bunny without a filter. His pent-up frustrations are laid bare in front of Richard. Others in the group describe Bunny as the only person who can make Henry laugh; however, from this one simple dialogue, their relationship is further revealed to be much more fragile and brittle than perceived. With the revelation of this incompatibility, the characters are bound to separate emotionally and physically.

Just as Bunny and Henry are bound to separate, Richard is no exception. The conversation between Richard and Henry also conveys much about Richard’s sense of isolation. During the exchange, Richard “automatically” attempts to protest Henry’s remarks: Richard thinks the event is “all right” and that Bunny “really just forgot” (67-68). Richard certainly lies about how he felt: he was clearly agitated when Bunny asked him to cover the cost and tried to simply brush off the offense. Richard’s reluctance to accuse Bunny of wronging him hints at his desire to be included in the group. Richard does not want to risk alienating the group over the cost of a lunch. Richard lies at the cost to himself because he thinks that the feeling of inclusion is more valuable. Because of this, Henry’s next words appear incredibly cruel to Richard. Despite joining the class and spending time with the group, Richard is still just a “perfect stranger” (68). Despite his efforts to become a part of the group, Richard remains a step away. Richard shuts down after the revelation as silence engulfs the car. This hurt lingers on and manifests into depression during the group dinner. At a time and place where people break bread, enjoy company, and grow closer, Richard truly feels like a perfect stranger. As he leaves the group, Richard attempts to remember any subtle kindness or attention from the group to invalidate his sense of isolation to no prevail. His sense of loneliness is romanticized through the setting of a dreadfully beautiful pool of white moonlight that illuminated his room and a gust of wind that softly blew the long and pale curtains.

Despite the lack of vivid scenery or action-filled scenarios, the short dialogue between Richard and Henry effectively casts doubt upon all the participants’ relationships with each other and brings a supposedly joyful event a dark undertone. The absence of Bunny enables Henry to speak his mind freely. Thus, how Henry delivers his words establishes the characterization behind dialogue. These subtle characterizations slowly and naturally build to the revelation of the true distance between the characters. Although the characters appear to enjoy their company, each lives and thinks of themselves: failing to understand the others. Thus, the passage cements Dark Academia’s crucial theme of isolation.

Works Cited: A, 5

Stone Bonner

Donna Tartt’s language at the end of the prologue portrays the up and down nature of Richard’s life and the lives of the group of students, with the hopes being so high, and the results being so low. Tartt uses language in this passage such as, “piling in the car gratefully”, “like a family on vacation”, and “talking like children” to represent the joy and excitement of the characters (Tartt 4). The first chapter starts off with seemingly a low point in Richard’s life, but his spirits are lifted when thinking about Hampden University and the life that he wants to live. Looking at the brochure he received, he starts to think of his ideal college experience with dark silent libraries and picturesque views. Hampden seems like the perfect place for Richard to be himself and live a lifestyle relating to dark academia. Things continue to go well as he gets there and gets involved with the exclusive Greek group. He seems to be living the life that he wanted for himself away from the constraints of being at home in California. These are all part of the highpoints so far in the novel for Richard which unfortunately lead to the low points. Donna Tartt uses descriptive language in this part of the novel and throughout to demonstrate the up and down nature of the lives of the students at Hampden, similar to that of a roller coaster.

Donna Tartt also uses language displaying the dark side of the story in this passage. She says things like, “the long terrible days and nights that followed”, “a picture that will never leave me”, and “this is the only story I will ever be able to tell” to reference the beginning of the story talking about the death, and the impacts that it had after the fact (4). We don’t get any information as to what happens or how it happens in these chapters, but the prologue sets the tone for the novel and creates a different way of looking at the story. Because we are told these things in the very beginning, we will try to figure out why this happened as we read the book instead of just reading and figuring out the story as it is told. This can make us read into little moments and interactions with the characters much more than we would have previously as a way to come to a solution on what happened.

I think that the prologue is very important to the story and how it is read and interpreted. The up and down nature of these first few chapters is compelling and makes the readers attempt to come up with solutions as to what could’ve happened or why it could’ve happened. By the way these chapters have gone so far, it is not entirely clear who would’ve wanted to do this to Bunny, but there are some theories that could have credibility. One is that Henry was the one who wanted to kill him, and this is based on Bunny’s reliance on Henry for money and other things like that to help him. Having Bunny depend on him could have pushed him over the edge to end it altogether.

Overall, the prologue and this passage in particular stand out from the chapters of the novel because it gives the reader a highlight of the story without knowing any of the details and drastically changes the lens through which the audience views the novel. Without this part, the reader would start in chapter one with the very beginning of the story, having no idea what could be coming next. Starting with this at the very beginning, however, gives the audience one of the biggest scenes and what the plot of the book was based around. We now wonder how these events they are reading could lead to this dramatic event that they read at the start. This is why the prologue and this passage are so important. It draws people in with one of the very low points of the group, and then starts the novel with a high point, with Richard having high hopes of going to Hampden University and then his growing interest in the Greek group at the school. This instant and considerable change of pace of what’s going on in the story also makes the prologue stand out, and relates back to the point of the unstable, uncertain future for the characters in the novel and how much it changes throughout.

Tartt’s language has a large influence on how the story and characters are perceived, and it’s interesting to think about how a change in diction could have an impact on how readers view the story and characters. This is the power that authors have to control a story and the reader’s emotions throughout. Overall, Donna Tartt uses many different good and bad things in the story to keep readers interested, and this language is powerful.

Works Cited: A

Sarah Mulqueen

In the middle of the second chapter in Donna Tartt’s, The Secret History, the characters take a break from their schooling and take a brief trip to the countryside. It is here where the audience first sees these characters outside of an academic setting. Both through the physical description of the house and the small actions of the characters, the haunting mood of the house is clearly seen right when they arrive. Throughout the book, elements of dark academia can be seen in every passage, even a seemingly small description. The spirit of dark academia comes alive in the novel, as the boring and mundane are transformed into so much more because of the aesthetic environment the characters are in. 

Richard’s indirect, eerie observations of the house perfectly transport the reader into the world of dark academia. While Charles is playing the piano, Richard notices “the ceilings had set off a ghostly echo” (Tartt 79). From this, the audience learns the ceilings are high enough to have an echo. It also shows just how large this house is, as if this one room is large enough to have an echo, it can be assumed the rest of the rooms in this house are of a similar size. Most images of the dark academia aesthetic consist of large libraries filled with books and high ceilings which is very similar to what Richard is describing here. Furthermore, the use of the word “ghostly” gives the audience a sense of uneasiness; it is rare to describe something as ghostly if there is nothing off-putting (79). In many of the classics, which are heavily emphasized in the world of dark academia, there is some sort of uneasiness within: ghosts, death, terrifying creatures. Usually, this uneasiness comes to fruition soon after it is acknowledged through a tragedy or large conflict; however, nothing happens within the walls of the house. This furthers the uneasiness, as the audience is left wondering, “When is the tragedy going to happen?”

Apart from learning about the house, the reader also gets a glimpse into Charles and his personal interests. This shows the audience his humanity, rather than just the idealized version of him that is in Richard’s mind. Richard describes Charles playing the piano by saying, “He played with relish, sleeves rolled up, smiling at his work,” (79). This is one of the first instances that we see a character actually enjoying themselves outside of the physical and academic walls of Hampden. While still fitting into the dark academia aesthetic, the piano allows for personal expression which shows us more elements of who Charles really is. Additionally, Charles is a talented pianist, seen through the phrase, “the tricky syncopation,” (79). Syncopation is very difficult to achieve in a way that sounds pleasing, but Charles appears to be doing this with ease. 

This passage also reveals more about Richard’s idealist nature. He is always wishing for and imagining something better than what he has. In listening to the piano, Richard begins thinking of “memories of things I’d never known” (79). It has been revealed to the audience many times before this that Richard hates his past and has a “morbid longing for the picturesque,” but this is the first instance of the audience seeing the extent of his mind (7). Richard is creating new memories that align with the music he is hearing and imagining that these are his own. In a way, this is what dark academia is; it is the longing for something better than what one has. It is romanticizing the mundane and making it better than before. This is exactly what Richard is doing at this moment. While it is undeniable that Charles is very talented, all Richard is doing is listening to someone play the piano, while his mind enhances it. He imagines new memories, longing for a better life, all from a few notes and chords he hears. This is the spirit of dark academia: taking something as “boring” as school and imagining that it is more entertaining and aesthetic. Richard is the human embodiment of the dark academia aesthetic. 

This little passage in the middle of chapter two not only reveals more about some of the characters and their surroundings, but also does so in a way that emphasizes the aesthetic of dark academia in the novel. The description, thoughts of the characters, and their actions all align with the ideas of dark academia. Knowing what the environment of the characters is helps the reader not only better visualize the situations and scenes the characters find themselves in but also helps the audience to understand why the characters do what they do. If they are consistently staying at this large, eerie house in the middle of nowhere with basically no contact with anyone “normal,” they are bound to make questionable decisions. However, since the audience knows the environment, they are able to understand why these decisions are made. Even in a seemingly insignificant passage, the tone and mood of the novel is set up and elaborated on, giving the audience a deeper understanding of dark academia, the characters, and the intertwining of the two.

Works Cited: A