A Hazard of New Fortunes · Chapter
XII explained
Lindau's funeral is held at the Dryfoos house as a grotesque but poignant attempt by Dryfoos to atone for his son Conrad's death.
What happens
Lindau's funeral is held at the Dryfoos house as a grotesque but poignant attempt by Dryfoos to atone for his son Conrad's death. The ceremony brings together characters from the magazine, including the Marches, Fulkerson, the Leightons, and Miss Vance, while Beaton is conspicuously absent. Christine remains secluded and sullen, and Mela speculates that her sister's ailment is lovesickness for Beaton. Dryfoos, seeking Beaton's address, goes to the Every Other Week office.
Themes in this chapter
Family and Generational Conflict
Dryfoos's attempt to atone for Conrad's death through Lindau's funeral highlights the unresolved tensions between father and son, and the generational divide in values.
Capitalism and Moral Compromise
Dryfoos's lavish funeral arrangements for Lindau, whom he had previously opposed, represent a moral compromise and a futile attempt to buy redemption.
Characters to notice
- Basil March
Reflects on the grotesque yet natural nature of Lindau's funeral at Dryfoos's house and the pathos of Dryfoos's attempt at atonement.
- Mr. Dryfoos
Arranges Lindau's funeral from his house as an atonement for his son's death; later asks for Beaton's address at the magazine office.
- Mela Dryfoos
Helps arrange the funeral flowers and welcomes guests; criticizes Christine's lovesickness for Beaton and tries to cheer her father.
- Christine Dryfoos
Remains in her room, sullen and unwell, refusing to see a doctor; Mela believes she is lovesick over Beaton.
- Fulkerson
Brings Miss Woodburn, Colonel Woodburn, Mrs. Leighton, and Alma to the funeral; runs the magazine temporarily after Conrad's death.
- Alma Leighton
Attends Lindau's funeral with her mother; brings a small bunch of flowers that are lost among Dryfoos's lavish arrangements.
Key passages
“It was in a manner grotesque, but to March it was all the more natural for that reason, that Dryfoos should have Lindau’s funeral from his house.”
March found it both strange and fitting that Dryfoos hosted Lindau's funeral at his home.
March reflects on the irony of Dryfoos honoring Lindau after their conflict.
“He knew the old man to be darkly groping, through the payment of these vain honors to the dead, for some atonement to his son, and he imagined him finding in them such comfort as comes from doing all one can, even when all is useless.”
March understood that Dryfoos was trying to make amends for his son's death by honoring Lindau, even though it was futile.
March perceives Dryfoos's motivation as a desperate, misguided attempt at atonement.
“Mela, she kind of thought it would look queer to have two funerals from the same house, hand-runnin’, as you might call it, and one of ’em no relation, either; but when she saw how fawther was bent on it, she give in.”
Mela thought it odd to have two funerals in quick succession at the same house, especially for a non-relative, but she yielded to her father's insistence.
Mela's practical concern contrasts with Dryfoos's emotional need.
“He thought how we never can atone for the wrong we do; the heart we have grieved and wounded cannot kindle with pity for us when once it is stilled; and yet we can put our evil from us with penitence, and somehow, somewhere, the order of loving kindness, which our passion or our wilfulness has disturbed, will be restored.”
March reflected that while we cannot undo past wrongs, penitence can help restore a sense of moral order.
March's philosophical meditation on guilt and redemption.
“If she’s sick, she’s lovesick. It makes me sick to see her.”
Mela believes Christine's illness is actually lovesickness for Beaton.
Mela's blunt diagnosis of Christine's condition.
