Plot
The series covers the events of the first two books, Titus Groan and Gormenghast. It does not cover any of the events from the third book, Titus Alone.
| Episode | Summary |
|---|---|
| Episode 1 | Depicts the events of the firstly half of Titus Groan, beginning with the birth of Titus and features a number of events including Titus's christening, Steerpike's escape and the events up to the lighting of the fire in the Library. |
| Episode 2 | The episode begins by detailing the conclusion of the events surrounding the fire in the Library. This episode mainly focusses on the events in the second half of Titus Groan, including Sepulchrave's descent into madness and the subsequent death of the Earl and Swelter, Keda's departure and the birth of The Thing, and the banishment of Flay. It ends with the ceremony in which Titus is invested as Earl. |
| Episode 3 | The episode picks up the story eleven years after the events of the previous episode and mainly covers the events from the early part of Gormenghast. Titus, now aged 12, is a schoolboy. The episode includes events such as Irma Prunesquallor's party and her romance with Professor Bellgrove, the murder of Nannie Slagg by Steerpike, and the incarceration of Clarice and Cora. During the episode, Titus begins to rebel and makes his first journey away from the castle, where he meets Flay and sees The Thing. |
| Episode 4 | The final episode covers the remaining events of Gormenghast, in which Titus - now aged 17 - along with Flay and the Doctor discover Steerpike's misdeeds. Events in this episode include Steerpike's murder of Barquentine, the discovery of the twins' corpses, Fuschia's depression, the flood, the search for Steerpike and Titus' wish to leave Gormenghast. |
Read more about this topic: Gormenghast (TV Serial)
Famous quotes containing the word plot:
“Ends in themselves, my letters plot no change;
They carry nothing dutiable; they won’t
Aspire, astound, establish or estrange.”
—Philip Larkin (1922–1986)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)