Article #297-1 | Gutenberg Articles

Excerpt

Excerpt from The Flirt, by Booth Tarkington

He was in better spirits as he read over this letter, and he
chuckled as he addressed it. He pictured himself in the rear room
of the bar in the Rue Auber, relating, across the little
marble-topped table, this American adventure, to the delight of
that blithe, ne'er-do-well outcast of an exalted poor family, that
gambler, blackmailer and merry rogue, Don Antonio Moliterno,
comrade and teacher of this ductile Valentine since the later days
of adolescence. They had been school-fellows in Rome, and later
roamed Europe together unleashed, discovering worlds of many
kinds. Valentine's careless mother let her boy go as he liked, and
was often negligent in the matter of remittances: he and his
friend learned ways to raise the wind, becoming expert and making
curious affiliations. At her death there was a small inheritance;
she had not been provident. The little she left went rocketing,
and there was the wind to be raised again: young Corliss had wits
and had found that they could supply him--most of the time--with
much more than the necessities of life. He had also found that he
possessed a strong attraction for various women; already--at
twenty-two--his experience was considerable, and, in his way, he
became a specialist. He had a talent; he improved it and his
opportunities. Altogether, he took to the work without malice and
with a light heart. . . .

He sealed the envelope, rang for a boy, gave him the letter to
post, and directed that the apartment should be set to rights. It
was not that in which he had received Ray Vilas. Corliss had moved
to rooms on another floor of the hotel, the day after that
eccentric and somewhat ominous person had called to make an
"investment." Ray's shadowy forebodings concerning that former
apartment had encountered satire: Corliss was a "materialist" and,
at the mildest estimate, an unusually practical man, but he would
never sleep in a bed with its foot toward the door; southern Italy
had seeped into him. He changed his rooms, a measure of which Don
Antonio Moliterno would have wholly approved. Besides, these were
as comfortable as the others, and so like them as even to confirm
Ray's statement concerning "A Reading from Homer": evidently this
work had been purchased by the edition.

A boy came to announce that his "roadster" waited for him at the
hotel entrance, and Corliss put on a fur motoring coat and cap,
and went downstairs. A door leading from the hotel bar into the
lobby was open, and, as Corliss passed it, there issued a mocking
shout:

Explanation

**Detailed Explanation of the Excerpt from The Flirt by Booth Tarkington**

Context of the Source

Booth Tarkington (1869–1946) was an American novelist and dramatist, best known for works like The Magnificent Ambersons (1918) and Alice Adams (1921), which often explored themes of social change, class, and moral ambiguity in the early 20th century. The Flirt (1913) is a lesser-known but thematically rich novel that follows the exploits of Valentine Corliss, a charming, amoral young man who navigates high society through wit, manipulation, and romantic intrigue.

This excerpt introduces Valentine Corliss—a cunning, worldly, and morally flexible protagonist—who is writing a letter (likely recounting some mischievous or exploitative adventure) to his old friend and mentor, Don Antonio Moliterno, a disreputable but charismatic European gambler. The passage reveals Corliss’s cosmopolitan background, his financial ingenuity, his superstitious quirks, and his detached, almost professional approach to seduction and social maneuvering.

Themes in the Excerpt

The Amoral Adventurer & Social Parasitism
- Corliss is a self-made opportunist who thrives on charm, wit, and exploitation. He is not a traditional villain but a sympathetic rogue—a man who operates outside conventional morality yet remains likable due to his intelligence and humor.
- His mother’s negligence and small inheritance forced him to "raise the wind" (find money through dubious means), making him a social parasite who preys on wealthier, often naive individuals (like Ray Vilas, mentioned later).
- The phrase "he took to the work without malice and with a light heart" suggests he sees his deceptions as a game rather than a crime, reinforcing his detached, almost artistic approach to manipulation.
Cosmopolitanism & Cultural Hybridity
- Corliss is a product of European and American influences. His education in Rome, his friendship with the Italian Don Antonio, and his superstitious aversion to sleeping with his bed’s foot toward the door (a Southern Italian belief) show how he absorbs and adapts cultural quirks to his advantage.
- His rootless, nomadic lifestyle (moving between hotels, countries, and social circles) reflects the transient, modern world of the early 20th century, where traditional moral and social structures were weakening.
The Art of Seduction & Female Exploitation
- Corliss has "a strong attraction for various women" and has "improved his talent"—suggesting he treats seduction as a skilled profession.
- The phrase "in his way, he became a specialist" implies he refines his methods, possibly tailoring his approach to different women (wealthy heiresses, married socialites, etc.).
- His lack of guilt ("without malice") aligns with the fin-de-siècle and early modernist view of love as a transactional, performative act rather than a sacred bond.
Superstition vs. Rationality
- Despite being a "materialist" (someone who believes in tangible, worldly things), Corliss retains superstitions (e.g., refusing to sleep with his bed’s foot toward the door).
- This duality—being both pragmatic and superstitious—makes him a complex, humanized rogue rather than a pure rationalist or a blind believer.
Class & Financial Instability
- Corliss comes from a once-wealthy but now declining family (his mother was "not provident," leaving him little).
- His financial instability forces him to reinvent himself constantly, moving between hotels, changing rooms, and relying on his wits to survive.
- His fur motoring coat and roadster suggest he maintains the appearance of wealth, even if his actual situation is precarious—a common tactic of con artists and social climbers.

Literary Devices & Stylistic Choices

Irony & Satire
- Tarkington uses dry, understated irony to describe Corliss’s immoral behavior. Phrases like "he took to the work without malice" and "merry rogue" soften his exploits, making them seem almost admirable.
- The satirical tone critiques upper-class hypocrisy—Corliss may be a fraud, but the society he navigates is just as corrupt, just more discreet.
Characterization Through Indirect Description
- Instead of outright calling Corliss a con artist, Tarkington implies it through details:
  - "ways to raise the wind" (slang for obtaining money dishonestly)
  - "curious affiliations" (suggesting shady connections)
  - "a specialist" (in seduction/deception)
- His superstition about the bed’s position humanizes him, making him flawed but relatable.
Foreshadowing & Suspense
- The mention of Ray Vilas’s "shadowy forebodings" and the "eccentric and somewhat ominous" investment hint at future complications.
- The fact that Corliss moved rooms suggests he is cautious but not paranoid—he takes precautions but doesn’t let fear control him.
Symbolism
- The fur motoring coat and roadster symbolize speed, mobility, and luxury—Corliss is a man who moves quickly through life, both physically and socially.
- The open door to the bar and the "mocking shout" foreshadow unexpected interruptions or challenges—perhaps a rival, a victim seeking revenge, or a reminder that his world is unstable.
Stream of Consciousness (Limited)
- The passage shifts between past and present, giving us Corliss’s memories (his mother, Don Antonio) and his immediate actions (sealing the letter, moving rooms).
- This blends exposition with real-time action, making the narration feel dynamic and immersive.

Significance of the Excerpt

Introduction to a Complex Protagonist
- This passage establishes Corliss as a charming antihero—a man who is intelligent, adaptable, and morally ambiguous.
- Unlike traditional heroes, he doesn’t seek redemption; instead, he embraces his role as a trickster, making him a fascinating study in amoral charisma.
Critique of Early 20th-Century Social Mores
- Tarkington exposes the hypocrisy of high society, where wealth and appearance matter more than morality.
- Corliss exploits these weaknesses, making him both a product and a critic of his environment.
Exploration of Masculinity & Power
- Corliss’s ability to manipulate women reflects gender dynamics of the time, where men often held economic and social power over women.
- His mentorship under Don Antonio (a gambler and blackmailer) suggests that masculinity, in this world, is tied to cunning and dominance rather than honor or hard work.
Themes of Fate vs. Free Will
- Corliss believes in superstition (Southern Italian influences) but also relies on his own wit.
- This tension between fate and self-determination makes his character psychologically rich—he is both a believer in omens and a self-made man.

Line-by-Line Breakdown of Key Moments

"He was in better spirits as he read over this letter, and he chuckled as he addressed it."
- Tone: Lighthearted, almost playful—Corliss enjoys his own cleverness.
- Implication: The letter likely contains a humorous or triumphant account of some deception.
"that blithe, ne'er-do-well outcast of an exalted poor family, that gambler, blackmailer and merry rogue, Don Antonio Moliterno"
- Characterization of Don Antonio: A Rafael Sabatini-esque rogue—charming but dangerous.
- "Merry rogue" softens his crimes, making him a lovable scoundrel rather than a true villain.
- Parallel to Corliss: Don Antonio is what Corliss could become—a warning or a role model?
"Valentine's careless mother let her boy go as he liked, and was often negligent in the matter of remittances"
- Backstory: Explains why Corliss never developed a strong moral compass—his upbringing was permissive and financially unstable.
- "Negligent in the matter of remittances" = She didn’t send him enough money, forcing him to fend for himself.
"He had also found that he possessed a strong attraction for various women; already—at twenty-two—his experience was considerable"
- Euphemism: "Experience" = romantic/seduction conquests.
- "A specialist" = He refines his techniques, treating seduction like a craft or profession.
"He changed his rooms, a measure of which Don Antonio Moliterno would have wholly approved."
- Superstition vs. Pragmatism: He moves not out of fear, but practicality (and a touch of superstition).
- Don Antonio’s approval reinforces that Corliss operates by a rogue’s code—one that values caution and adaptability.
"A door leading from the hotel bar into the lobby was open, and, as Corliss passed it, there issued a mocking shout:"
- Foreshadowing: The unseen shouter could be:
  - A rival (another con artist?)
  - A victim (someone he’s wronged?)
  - A symbol of his past catching up?
- The abrupt ending creates suspense—who is shouting, and why?

Conclusion: Why This Excerpt Matters

This passage perfectly encapsulates Valentine Corliss’s character—a witty, amoral, and highly adaptable young man who navigates the world through charm, deception, and a mix of superstition and rational self-interest. Tarkington’s ironic, understated prose makes Corliss both reprehensible and fascinating, inviting readers to root for him despite his flaws.

The excerpt also sets up key themes of the novel:

The fluidity of morality in a modern, money-driven world.
The performance of identity (Corliss is always playing a role).
The tension between fate and free will (superstition vs. self-reliance).

Finally, the mocking shout at the end serves as a narrative hook, leaving the reader wondering:

Who is shouting?
What does this interruption mean for Corliss?
Will his past deeds finally catch up with him?

This masterful blend of characterization, theme, and suspense makes the excerpt a microcosm of Tarkington’s skill as a storyteller.

Questions

Question 1

The passage’s depiction of Valentine Corliss’s relationship with Don Antonio Moliterno serves primarily to:

A. illustrate the moral corruption inherent in European aristocratic circles, positioning Corliss as a victim of systemic decadence.
B. contrast Corliss’s pragmatic American sensibilities with Don Antonio’s reckless European romanticism.
C. foreshadow Corliss’s eventual downfall by aligning him with a figure whose lifestyle is unsustainable.
D. underscore the generational gap between Corliss’s modern cynicism and the idealism of his mentors.
E. establish Corliss’s moral and tactical framework as one inherited from a mentor who embodies calculated amoralism.

Question 2

The narrator’s description of Corliss’s "talent" and his improvement of it most closely aligns with which of the following interpretations?

A. A satirical critique of the commodification of romantic love in early 20th-century society.
B. An admiration for Corliss’s self-made success in a world that rewards cunning over virtue.
C. A neutral observation of Corliss’s psychological detachment from the emotional consequences of his actions.
D. An ironic portrayal of seduction as a performative skill akin to artistic or professional mastery.
E. A subtle condemnation of Corliss’s exploitation of gendered power dynamics for personal gain.

Question 3

The detail that Corliss "would never sleep in a bed with its foot toward the door" functions in the passage as:

A. a moment of comic relief that humanizes an otherwise calculating character.
B. an example of Corliss’s irrationality, undermining his self-image as a rational "materialist."
C. a narrative device to emphasize the hotel’s eerie atmosphere and foreshadow supernatural events.
D. a paradoxical trait that reinforces his hybrid identity—pragmatic yet superstitious, modern yet rooted in tradition.
E. a symbolic rejection of his mother’s negligence, as the bed’s position mirrors her lack of direction in his upbringing.

Question 4

The "mocking shout" from the bar as Corliss passes most plausibly serves which combination of narrative purposes?

A. It introduces a literal antagonist while simultaneously disrupting the reader’s alignment with Corliss’s confidence.
B. It reinforces the novel’s satirical tone by juxtaposing Corliss’s self-assurance with an unseen, derisive challenge.
C. It signals a shift in Corliss’s fortunes, marking the beginning of his moral reckoning with past deeds.
D. It creates ambiguity—potentially a random interruption, a figure from his past, or a symbolic harbinger of instability—while maintaining suspense.
E. It underscores the hotel’s role as a microcosm of societal judgment, where even anonymous voices condemn his lifestyle.

Question 5

Which of the following best captures the passage’s overall attitude toward Valentine Corliss?

A. Uncritical admiration for his ability to thrive in a corrupt world through sheer intelligence.
B. Detached amusement at his antics, coupled with a subtle warning about the fragility of his lifestyle.
C. Moral disapproval masked by ironic detachment, exposing the hollowness of his charm.
D. Tragic pity for a man whose early neglect forced him into a life of cynical manipulation.
E. A tone of complicité, where the narrator’s wry observations implicate the reader in Corliss’s charisma and flaws alike.

Solutions and Explanations

1) Correct answer: E

Why E is most correct: The passage explicitly frames Don Antonio as Corliss’s "comrade and teacher," shaping his worldview and methods. The phrase "ductile Valentine" suggests malleability under Don Antonio’s influence, while the litany of the mentor’s traits ("gambler, blackmailer and merry rogue") establishes a moral and tactical blueprint Corliss adopts. The relationship is foundational, not merely contrastive (B) or predictive of downfall (C). The focus is on inherited amoralism, not systemic corruption (A) or generational gaps (D).