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56 pages 1 hour read

The Floating Opera

Fiction | Novel | Adult | Published in 1956

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Chapters 26-29Chapter Summaries & Analyses

Chapter 26 Summary: “The first step”

Done with writing, Todd traverses the lobby of the Dorset Hotel. He considers giving himself more time to think about his developing life philosophy: “Ideally, a new philosophical position, like a new rowboat, should be allowed to sit a day or two at the dock, to let the seams swell tight, before it’s put to any strenuous application” (229). He runs into Capt. Osborn, and they walk together to the boat show.

Capt. Osborn remarks that Mister Haecker looks depressed recently. Todd asks where Haecker is, but Capt. Osborn hasn’t seen him since the morning. They continue walking, Capt. Osborn holding onto Todd as they descend the steps of the hotel. Walking with Capt. Osborn, Todd feels he can’t back down from his intentions to commit suicide: “As a boatwright might examine his craft for leaks, with considerable interest if little real anxiety, so I examined myself. Can he be called a builder who shies at launching the finished hull? For what other purpose was it finished?” (229). 

Chapter 27 Summary: “The Floating Opera”

Todd and Capt. Osborn attend the Floating Opera. Hundreds gather around the docked showboat to buy tickets or catch a glimpse of the theatrics. Todd sees Harrison, Jane, and Jeannine, but they don’t cross paths. Other people from town board the ship as well, and Todd and Capt. Osborn find seats in the ship’s theatre. The entertainment begins. Bands play, Capt. Adam hosts and makes jokes. An actor man recites lines from Shakespeare: “All the world’s a stage,’ he declared, ‘and all the men and women merely players: they have their exits and their entrances; and one man in his time plays many parts . . . .’” (234-235). The actor recites numerous Shakespeare plays for a long time, too long for the audience. They throw pennies, but he keeps performing. Todd admires the actor’s resilience; this will be a test to see if acting is a mask for this man, or a key part of his personality. Next, there is a minstrel show, then various singers, followed by a renowned imitator. Capt. Osborn continues to be entertained. Meanwhile, Todd slips away.

Todd finds the tanks of acetylene gas and turns them on, pumping gas throughout the showboat. He lights three kerosene lanterns nearby, which will soon set off a massive explosion. Todd returns to the theatre and waits for the ship to explode: “My heart, to be sure, pounded violently, but my mind was calm” (243). Todd thinks about all the people he knows sitting around him. Their deaths will mean nothing in the end. The show rages on, the audience engaged in the theatrics. Music blares, and there is a controlled explosion on stage. Smoke plumes, but nothing more. Everyone is okay, and the show ends. 

Chapter 28 Summary: “A parenthesis”

Todd apologizes to the reader that nothing dramatic happened. He is an imperfect communicator, and he wanted his story to end softly, like how it began: “Say what you wish about the formal requirements of storytelling; this is my opera, and I’ll lead you out of it as gently as I led you in” (246). Todd helps Capt. Osborn from his seat. Todd’s plan failed, but he isn’t sad or happy. He could throw himself into the river, but why bother, he asks himself.

Todd and Capt. Osborn run into Harrison, Jane, and Jeannine. They exchange small talk about the show and go their separate ways. Todd informs the reader that over the proceeding years, their friendship fades. They speak rarely, although Harrison sends Todd’s law firm a fifty-thousand-dollar check after they win his inheritance case. The Macks travel across Italy, then settle outside Baltimore. Todd keeps track of Jeannine’s social life in the papers but doesn’t speak to her.

Todd takes Capt. Osborn to his room. The elderly man offers him whiskey, and Todd suggests inviting Mister Haecker. He goes to Mister Haecker’s room but there is no answer. He opens the door and finds Mister Haecker in his bed—dressed in black, a bottle of sleeping pills nearby, and an annotated copy of Hamlet. Haecker’s pulse is faint, but present, and Todd notifies the hotel manager. Todd believes if Haecker survives, he won’t believe so adamantly that being old is a good thing. Todd proves to be correct. He informs the reader that after Haecker recovered, he went to a sanitorium and successfully killed himself a few years later. Todd returns to his room and notes the changing weather outside. Before going to sleep, he adds an additional note to his writing: “V. There’s no final reason for living (or for suicide)” (250). 

Chapter 29 Summary: “The Floating Opera”

All Todd needed to change his mind about killing himself was to let his plan play out. He thinks his story could end on an emotional note but confesses he didn’t feel motivated by emotions during the events of his story. He has experienced highs and lows, but he looks back at his life analytically: “To realize that nothing makes any final difference is overwhelming; but if one goes no farther and becomes a saint, a cynic, or a suicide on principle, one hasn’t reasoned completely. The truth is that nothing makes any difference, including that truth” (251).

Todd continues writing. He believes he’ll likely live his life the same way he did before he planned on committing suicide:

It occurred to me, for example, that faced with an infinitude of possible directions and having no ultimate reason to choose one over another, I would in all probability, though not at all necessarily, go on behaving much as I had thitherto, as a rabbit shot on the run keeps running in the same direction until death overtakes him. (251)

He might even try to blow up the Floating Opera again, but probably not.

Todd thinks back on the letters he wrote to his father. If he wants to understand why his father committed suicide, he must understand why he himself didn’t. He has a lot more to write, and might not ever finish, but is content knowing that. Todd remembers the results of his physical will arrive the next day. Regardless of the results, he feels he has time. Todd prepares for bed, happy, full of ideas, and he sleeps soundly despite a raging thunderstorm outside. 

Chapters 26-29 Analysis

Chapters 26-29 complete Todd’s character arc and finalizes Barth’s thematic messages. In the final chapters, Todd goes through with his plan to kill himself. He has kept the exact details of his self-destruction vague to the reader, allowing for a surprising reveal that heightens the drama of the final chapters. Todd doesn’t plan on ending just his life, but also killing hundreds of other Cambridge citizens, including most of the supporting characters. Todd’s willingness to kill his friends and neighbors demonstrates his complete devotion to his progressively cynical outlook on life, if not complete sociopathy. Waiting for the explosion, he envisions their charred bodies, but doesn’t care: “I considered a small body, formed perhaps from my own and flawless Jane’s, black, cracked, smoking. Col. Morton, Bill Butler, old Mr. and Mrs. Bishop—it made no difference, absolutely” (243).

Todd is poised to become a mass murderer, the villain to his own story, but when his plan fails he reacts with indifference, and after, shows kindness to others. He continues helping Capt. Osborn navigate the Floating Opera’s theatre, as well as the steps of the Dorset Hotel. When Todd finds Mister Haecker overdosing on sleeping pills, he immediately calls for help, saving the man’s life. Todd’s willingness to kill others along with himself showcases how much his cynicism has evolved throughout the story, and the kindness he displays after his plan fails helps his character maintain some redeeming qualities. In the end, Todd still regards the world cynically, but he finds reasons to keep living. He vows to continue writing about himself and his father, and the idea of having a lifelong pursuit brings him comfort previously unfelt: “I would take a good long careful time, then, to tell Dad the story of The Floating Opera. Perhaps I would expire before ending it; perhaps the task was endless, like its fellows. No matter. Even if I died before ending my cigar, I had all the time there was” (252). As Todd settles back into his life, the idea of death doesn’t bring him joy, like it did before. Now, he is content to live life. His character arc creates a message that, while life might not carry any inherent meaning, it can still be enjoyed.

New and old supporting characters contribute additional thematic commentary and conclude their character arcs. Capt. Adam, the captain of the Floating Opera, is present for only a few chapters, but he still reinforces the novel’s themes related to wearing masks. Todd watches Capt. Adam participating in one of the acts and notes he completely changes under the guise of a costume: “In his new role of Mr. Interlocutor, Capt. Adam was transformed into an entirely different person—grammatical, florid, effusive—so that one doubted the authenticity of his original character” (238). During the small amount of time he’s featured on the page, Capt. Adam provides another example of someone adopting a mask and changing their behavior. Unlike Todd or Harrison, Capt. Adam’s transformation is theatrically motivated, which is appropriate for his character, and makes Barth’s commentary on masks and personas more nuanced. In various scenarios in life, whether it be interpersonally, professionally, or artistically, people are more than willing to change how they behave to adapt to their current situation.

Mister Haecker’s storyline offers new thematic developments too. Mister Haecker spends most of his time reiterating the joys of old age, which the other characters call into question. Slowly, his viewpoint cracks, and he tries to kill himself. His attempted suicide provides another last-minute twist to the story. Haecker began the story stoic, and he is healthier than other characters like Capt. Osborn. Haecker’s character is set up to live, and to enjoy his golden years. Instead, he attempts suicide, is institutionalized, and later succeeds in ending his life. His character arc becomes a foil to Todd’s. Todd grows more cynical and suicidal but ends the story content to live. Haecker practices stoicism and optimism, only to be defeated by the bleakness of old age and the doubts of those around him. Mister Haecker becomes a cautionary tale, a morbid result of wearing false masks and succumbing to the cynicism of others. In the final chapters, when Todd isn’t the focus of the narrative, Barth uses his supporting characters, both new and established, to continue finalizing his themes and add late twists and drama. 

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