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The most popular lines from Gone with the Wind are arguably “I’ll think about it later” which is a coping mechanism for the protagonist, Scarlett O’Hara, and “Frankly, my dear, I don’t give a damn” an indifferent profanity from Rhett Butler that was loved by many fans, especially after the movie adaptation. However, beyond those popular lines are some interesting quotes that are based on the themes of war, values, survival, and opportunism in the novel.

War

All wars are sacred to those who have to fight them. If the people that started wars didn’t make them sacred, who would be foolish enough to fight them? But, no matter what rallying cries the  orators give to the idiots who fight, no matter what noble purposes they assign to wars, there is never but one reason for a war. And that is money. All wars are in reality money squabbles. But so few people ever realize it. Their ears are too full of bugles and drums and fine words from stay-at home orators

Rhett Butler to Scarlett at the Confederacy Fundraising

Quoted in Part Two, Chapter XII of the novel, Margaret Mitchell in this quote was trying to say that there is hardly ever a just cause to embark on war but that those who start wars are motivated by economic gains but prey on the sentimentality of the people to make them believe that they have good reasons to go to war.

God is on the side of the strongest battalion

Referring to a saying credited to the French revolutionary Napoleon, the character Rhett Butler in Part One, Chapter VI was trying to explain that the belief that spiritual intervention from God could lead to victory in war was just an illusion because, in reality, wars are won by practical military preparations and good strategies.

It isn’t the darkies, Scarlett. They’re just the excuse. There’ll always be wars because men love wars

In line with Margaret Mitchell’s other views on the war in ‘Gone with the Wind’, Rhett Butler was telling Scarlett here that men would always look for excuses to wage war because of their love of it and not for a justification.

Values

All virtue is merely a matter of prices.

This is saying that people will change their sense of right and wrong depending on what’s at stake. Some people believe they have certain qualities only because circumstances have not tried them to their limits.

Until you’ve lost your reputation, you do not realize what a burden it had always been

This tries to say that it is a difficult burden to try to keep up appearances to please society and what they think of you.

… I am not bothered about matters of honour. What I want, I take if I can get it and so I wrestle with neither angels nor devils

This is talking about indifference to conscience in the pursuit of needs and desires.

…always save something to fear even as you save something to love

This quote was trying to admonish Scarlett O’Hara not to get hardened to the extent of not having love or fear in her because that would cost her other feelings like happiness.

Tomorrow is another day

This upholds the value of hope, optimism, and a fresh start in difficult times.  It is the very last line at the end of the novel as Scarlett decides to return home after a cathartic day.

Opportunism

There is as much money to be made out of the wreckage of a civilisation as from the upbuilding of one

Closely linked to values is opportunism where some take advantage of circumstances no matter how ugly for their own benefit without much consideration for others. Mitchell here was trying to state an economic fact that people get rich from both building civilizations and from its destruction. this quote is found in Rhett Butler’s conversation with Scarlett in Part Two, Chapter IX of the novel.

FAQs

What is the most famous line from Gone with the Wind?

The most famous line from Gone with the Wind is “Frankly, my dear, I don’t give a damn” said by Rhett Butler to Scarlett O’Hara in the last chapter of the novel. It became an endearing profanity for fans, especially after the movie adaptation in 1939.

What were Scarlett’s last words in Gone with the Wind?

Scarlett’s last words in Gone with the Wind were “After all, tomorrow is another day”. It is among the most popular lines from the book and from the movie adaptation. It was Scarlett O’Hara’s characteristic way of dealing with difficult situations by procrastinating the thought to the next day and staying content at the moment.

Which character is known for saying “I’ll think about it tomorrow”?

Scarlett O’Hara is the character known for saying “I’ll think about it tomorrow”. In Gone with the Wind, it became a mantra for Scarlett O’Hara and a mechanism she used to repress her fears and insecurities.

Which character is famous for saying “I don’t give a damn”?

The character Rhett Butler was known for saying “I don’t give a damn” he was a defiant reprobate in the polite southern society of Gone with the Wind and didn’t care about his reputation. his very last lines in the novel were to Scarlett when he told her, “Frankly, my dear, I don’t give a damn”.

Onyeka Osuji

Onyeka is a lecturer of Public Administration and a Literature enthusiast. After gaining accreditation in English Literature, Onyeka analyzes novels on Book Analysis, whilst working as an academic and writing short stories.

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Gone with the Wind Quotes

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Gone with the Wind is a 1939 American film about a strong willed woman and a roguish man who carry on a turbulent love affair in the American south during the American Civil War and Reconstruction Era. It is one of the most popular love stories ever written.

Directed by Victor Fleming. Written by Sidney Howard, based on the novel by Margaret Mitchell.

The greatest romance of all time!taglines

Rhett Butler[edit]

• With enough courage, you can do without a reputation.
• I’m very drunk and I intend on getting still drunker before this evening is over.

Scarlett O’Hara[edit]

• [in the Tombstone] As God is my witness, as God is my witness they’re not going to lick me. I’m going to live through this and when it’s all over, I’ll never be hungry again. No, nor any of my folk. If I have to lie, steal, cheat or kill. As God is my witness, I’ll never be hungry again!
  • Note: bolded portion is ranked #59 in the American Film Institute’s list of the top 100 movie quotations in American cinema.

• I can’t let him go. I can’t. There must be some way to bring him back. Oh, I can’t think about this now! I’ll go crazy if I do! I’ll think about it tomorrow. But I must think about it. I must think about it. What is there to do? What is there that matters? Tara! Home. I’ll go home. And I’ll think of some way to get him back. After all… tomorrow… is another day!
  • Note: bolded portion is ranked #31 in the American Film Institute’s list of the top 100 movie quotations in American cinema.

Dialogue[edit]

Scarlett: Cathleen, who’s that?

Cathleen Calvert: Who?

Scarlett: That man looking at us and smiling. The nasty, dark one.

Cathleen Calvert: My dear, don’t you know? That’s Rhett Butler. He’s from Charleston. He has the most terrible reputation.

Scarlett: He looks as if… as if he knows what I look like without my chemise.

---

Gerald: [the men are discussing the prospect of going to war with the North] And what does the captain of our troops say?

Ashley: Well, gentlemen, if Georgia fights, I go with her. But like my father I hope that the Yankees let us leave the Union in peace.

Man: But Ashley, Ashley, they’ve insulted us!

Charles: You can’t mean you don’t want war!

Ashley: Most of the miseries of the world were caused by wars. And when the wars were over, no one ever knew what they were about.

Gerald: [the other men protest] Now gentlemen, Mr. Butler has been up North I hear. Don’t you agree with us, Mr. Butler?

Rhett: I think it’s hard winning a war with words, gentlemen.

Charles: What do you mean, sir?

Rhett: I mean, Mr. Hamilton, there’s not a cannon factory in the whole South.

Man: What difference does that make, sir, to a gentleman?

Rhett: I’m afraid it’s going to make a great deal of difference to a great many gentlemen, sir.

Charles: Are you hinting, Mr. Butler, that the Yankees can lick us?

Rhett: No, I’m not hinting. I’m saying very plainly that the Yankees are better equipped than we. They’ve got factories, shipyards, coalmines… and a fleet to bottle up our harbors and starve us to death. All we’ve got is cotton, and slaves and… arrogance.

Man: That’s treacherous!

Charles: I refuse to listen to any renegade talk!

Rhett: Well, I’m sorry if the truth offends you.

Charles: Apologies aren’t enough sir. I hear you were turned out of West Point, Mr. Rhett Butler. And that you aren’t received in a decent family in Charleston. Not even your own.

Rhett: I apologize again for all my shortcomings. Mr. Wilkes, Perhaps you won’t mind if I walk about and look over your place. I seem to be spoiling everybody’s brandy and cigars and… dreams of victory.

---

Ashley: Isn’t it enough that you’ve gathered every other man’s heart today? You’ve always had mine. You cut your teeth on it.

Scarlett: Don’t tease me now. Have I your heart, my darling? I love you. I love you.

Ashley: You mustn’t say such things. You’ll hate me for hearing them.

Scarlett: I could never hate you. And I know you must care about me. Oh, you do care, don’t you?

Ashley: Yes, I do care. Oh, can’t we go away and forget we ever said these things?

Scarlett: But how can we do that? Don’t you… don’t you want to marry me?

Ashley: I’m going to marry Melanie.

Scarlett: But you can’t. Not if you care for me!

Ashley: Oh my dear, why must you make me say things that will hurt you? How can I make you understand? You’re so young and unthinking. You don’t know what marriage means.

Scarlett: All I know is that I love you! And you don’t love Melanie!

Ashley: She’s like me, Scarlett. She’s part of my blood and we understand each other.

Scarlett: But you love me!

Ashley: How could I help loving you — you who have all the passion for life that I lack? But that kind of love isn’t enough to make a successful marriage for two people who are as different as we are.

Scarlett: Why don’t you say it, you coward? You’re afraid to marry me. You’d rather live with that silly old fool who can’t open her mouth except to say yes, no, and raise a passel of mealy-mouthed brats just like her!

Ashley: You mustn’t say things about Melanie.

Scarlett: Who are you to tell me I mustn’t? You lead me on, you made me believe you wanted to marry me!

Ashley: Now Scarlett, be fair. I never at any time-

Scarlett: You did! It’s true! You did! I’ll hate you till I die! I can’t think of anything bad enough to call you!

[Scarlett slaps him. He exits and in her fury she throws a vase. Rhett rises from behind the sofa.]

Rhett: Has the war started?

Scarlett: Sir, you… you should have made your presence known.

Rhett: In the middle of that beautiful love scene? That wouldn’t be very tactful, would it? But don’t worry, your secret is safe with me.

Scarlett: Sir, you are no gentleman.

Rhett: And you, miss, are no lady… Don’t think that I hold that against you. Ladies have never held any charm for me.

---

Scarlett: But you are a blockade runner.

Rhett: For profit, and profit only.

Scarlett: Are you tryin’ to tell me you don’t believe in the cause?

Rhett: I believe in Rhett Butler. He’s the only cause I know. The rest doesn’t mean much to me.

---

Rhett: Don’t start flirting with me. I’m not one of your plantation beaux. I want more than flirting from you.

Scarlett: What do you want?

Rhett: I’ll tell you, Scarlett O’Hara, if you’ll take that Southern-belle simper off your face. Someday I want you to say to me the words I heard you say to Ashley Wilkes: «I love you!»

Scarlett: That’s something you’ll never hear from me, Captain Butler, as long as you live.

---

[Rhett has brought Scarlett a new hat]

Rhett: I thought it was about time to get you out of that fake mourning. [shows her how to wear it after she places it on backward] The war stopped being a joke when a girl like you doesn’t know how to wear the latest fashion. And those pantalettes: I don’t know a woman in Paris who wears pantalettes any more.

Scarlett: Oh Rhett, what do they — you shouldn’t talk about such things.

Rhett: You little hypocrite. You don’t mind my knowing about them, just my talking about them.

Scarlett: But really Rhett, I can’t go on accepting these gifts although you are awfully kind.

Rhett: I’m not kind. I’m just tempting you. I never give anything without expecting something in return. Now, I always get paid.

Scarlett: If you think I’ll marry you just to pay for the bonnet, I won’t.

Rhett: Don’t flatter yourself. I’m not a marrying man.

Scarlett: Well, I won’t kiss you for it, either.

Rhett: Open your eyes and look at me. No, I don’t think I will kiss you — although you need kissing badly. That’s what’s wrong with you. You should be kissed, and often, and by someone who knows how.

Scarlett: And I suppose you think you’re the proper person.

Rhett: I might be… if the right moment ever came.

Scarlett: You’re a conceited, blackhearted varmint Rhett Butler. I don’t know why I let come and see me.

Rhett: I’ll tell you why, Scarlett. Because I’m the only man over sixteen and under sixty who’s around to show you a good time.

---

Scarlett: Rhett, don’t. I shall faint.

Rhett: I want you to faint. This is what you were meant for. None of the fools you’ve ever known have kissed you like this, have they? Your Charles, or your Frank, or your stupid Ashley.

---

Rhett: Did you ever think of marrying just for fun?

Scarlett: Marriage, fun? Fiddle-dee-dee. Fun for men, you mean.

---

[Rhett rescues Scarlett from the panicked streets of Atlanta as war approaches]

Rhett: Panic’s a pretty sight, isn’t it? We belong together, Scarlett. Let’s get out of here together. No use staying here, letting the South come down around your ears. Too many nice places to go and visit. Mexico, London, Paris-

Scarlett: With you?

Rhett: Yes, ma’am. A man who understands you and admires you for just what you are. I figure we belong together, being the same sort. I’ve been waiting for you to grow up and get that sad-eyed Ashley Wilkes out of your heart… Are you going with me or are you getting out?

Scarlett: I hate and despise you, Rhett Butler. I’ll hate and despise you till I die.

Rhett: [amused] Oh no you won’t, Scarlett. Not that long.

---

Rhett: What collateral are you offering?

Scarlett: My ear bobs.

Rhett: Not interested.

Scarlett: Mortgage on Tara.

Rhett: What would I do with a farm?

Scarlett: Oh, you wouldn’t lose. I’d pay you back on next year’s cotton.

Rhett: Not good enough. Have you nothing better?

Scarlett: You once said you loved me. If you still love me, Rhett…

Rhett: You haven’t forgotten. I’m not a marrying man.

Scarlett: No, I haven’t forgotten.

Rhett: You’re not worth $300. You’ll never mean anything but misery to any man.

---

Scarlett: [as he is about to leave to join the Confederate Army] Oh, Rhett! Please, don’t go! You can’t leave me! Please! I’ll never forgive you!

Rhett: I’m not asking you to forgive me. I’ll never understand or forgive myself. And if a bullet gets me, so help me, I’ll laugh at myself for being an idiot. There’s one thing I do know… and that is that I love you, Scarlett. In spite of you and me and the whole silly world going to pieces around us, I love you. Because we’re alike. Bad lots, both of us. Selfish and shrewd. But able to look things in the eyes as we call them by their right names.

Scarlett: Don’t hold me like that!

Rhett: Scarlett! Look at me! I’ve loved you more than I’ve ever loved any woman and I’ve waited for you longer than I’ve ever waited for any woman. [kisses her forehead]

Scarlett: Let me alone!

Rhett: [forces her to look him in the eyes] Here’s a soldier of the South who loves you, Scarlett. Wants to feel your arms around him, wants to carry the memory of your kisses into battle with him. Never mind about loving me, you’re a woman sending a soldier to his death with a beautiful memory. Scarlett! Kiss me! Kiss me… once…

[he kisses her]

---

Scarlett: [after agreeing to marry Rhett] Money does help and of course I am fond of you… If I said I was madly in love with you, you’d know I was lying. You always said we had a lot in common…

Rhett: You’re right, my dear. I’m not in love with you any more than you are with me. Heaven help the man who ever really loves you.

---

Rhett: Of course, the comic figure in all this is the long-suffering Mr. Wilkes! Mr. Wilkes, who can’t be mentally faithful to his wife — and won’t be unfaithful to her technically. Why doesn’t he make up his mind?

Scarlett: Rhett, you-

[Rhett places his hands on either side of Scarlett’s face]

Rhett: Observe my hands, my dear. I could tear you to pieces with them, and I’d do it if it’d take Ashley out of your mind forever. But it wouldn’t. So I’ll remove him from your mind forever this way. I’ll put my hands so — one on each side of your head — and I’ll smash your skull between them like a walnut, and that’ll block him out.

---

Scarlett: I’m not cornered. You’ll never corner me, Rhett Butler, or frighten me. You’ve lived in dirt so long you can’t understand anything else and you’re jealous of something you can’t understand.

Rhett: Jealous, am I? Yes, I suppose I am — even though I know you’ve been faithful to me all along. How do I know? Because I know Ashley Wilkes and his honorable breed. They’re gentlemen! That’s more than I can say for you or for me. We’re not gentlemen, and we have no honor, have we? It’s not that easy, Scarlett. You’ve turned me out while you chased Ashley Wilkes, while you dreamed of Ashley Wilkes. This is one night you’re not turning me out. [suddenly, fiercely kisses her and then carries her protesting up a long flight of stairs to the bedroom, two steps at a time]

---

[Scarlett is pregnant again]

Rhett: Indeed. And who is the happy father?»

Scarlett: You know it’s yours. I don’t want it any more than you do. No woman would want a child of a cad like you… I wish for anybody’s child but yours.

Rhett: Cheer up, maybe you’ll have an accident.

[Scarlett tries to strike him but misses and falls down the stairs.]

---

Scarlett: What are you doing?

Rhett: I’m leaving you, my dear. All you need now is a divorce and your dreams of Ashley can come true.

Scarlett: Oh, no! No, you’re wrong, terribly wrong! I don’t want a divorce. Oh, Rhett, but I knew tonight, when I… when I knew I loved you, I ran home to tell you, oh, darling, darling!

Rhett: Please don’t go on with this. Leave us some dignity to remember out of our marriage. Spare us this last.

Scarlett: This last? Oh, Rhett, do listen to me, I must have loved you for years, only I was such a stupid fool, I didn’t know it. Please believe me, you must care! Melly said you did.

Rhett: I believe you. What about Ashley Wilkes?

Scarlett: I… I never really loved Ashley.

Rhett: You certainly gave a good imitation of it, up till this morning. No, Scarlett, I tried everything. If you’d only met me half way, even when I came back from London.

Scarlett: I was so glad to see you. I was, Rhett, but you were so nasty.

Rhett: And then when you were sick, it was all my fault… I hoped against hope that you’d call for me, but you didn’t.

Scarlett: I wanted you. I wanted you desperately but I didn’t think you wanted me.

Rhett: It seems we’ve been at cross-purposes, doesn’t it? But it’s no use now. As long as there was Bonnie, there was a chance that we might be happy. I liked to think that Bonnie was you, a little girl again, before the war, and poverty had done things to you. She was so like you, and I could pet her and spoil her, as I wanted to spoil you. But when she went, she took everything.

Scarlett: Oh, Rhett, Rhett, please don’t say that. I’m so sorry, I’m so sorry for everything.

Rhett: My darling, you’re such a child. You think that by saying «I’m sorry,» all the past can be corrected. Here, take my handkerchief. Never, at any crisis of your life, have I known you to have a handkerchief.

Scarlett: Rhett! Rhett, where are you going?

Rhett: I’m going to Charleston, back where I belong.

Scarlett: Please, please take me with you!

Rhett: No, I’m through with everything here. I want peace. I want to see if somewhere there isn’t something left in life of charm and grace. Do you know what I’m talking about?

Scarlett: No! I only know that I love you.

Rhett: That’s your misfortune. [turns to walk down the stairs]

Scarlett: Oh, Rhett! [watches Rhett walk to the door] Rhett! [runs down the stairs after him] Rhett, Rhett! Rhett, Rhett… Rhett, if you go, where shall I go? What shall I do?

Rhett: Frankly, my dear, I don’t give a damn.

• The bolded portion ranked #1 in the American Film Institute’s list of the top 100 movie quotations in American cinema.

Taglines[edit]

• The greatest romance of all time!
• The most magnificent picture ever!

Cast[edit]

• Clark Gable — Rhett Butler
• Vivien Leigh — Scarlett O’Hara
• Leslie Howard — Ashley Wilkes
• Olivia de Havilland — Melanie Hamilton
• Thomas Mitchell — Gerald O’Hara
• Barbara O’Neil — Ellen O’Hara
• Evelyn Keyes — Suellen O’Hara
• Ann Rutherford — Carreen O’Hara
• George Reeves — Stuart Tarleton
• Fred Crane — Brent Tarleton
• Hattie McDaniel — Mammy
• Oscar Polk — Pork
• Butterfly McQueen — Prissy
• Victor Jory — Jonas Wilkerson
• Alicia Rhett — India Wilkes

Quotes about Gone with the Wind[edit]

• The myth of the Hispanic menial has been sustained by the same media phenomenon that made «Mammy» from Gone with the Wind America’s idea of the black woman for generations: Maria, the housemaid or counter girl, is now indelibly etched into the national psyche. The big and the little screens have presented us with the picture of the funny Hispanic maid, mispronouncing words and cooking up a spicy storm in a shiny California kitchen.
  • Judith Ortiz Cofer, «The Myth of the Latin Woman: I Just Met a Girl Named María»

• Can we get like Gone with the Wind’ back please? Sunset Boulevard, so many great movies.
  • Donald J Trump February 2020^[1]

See also[edit]

• Gone with the Wind (novel)

External links[edit]

• Gone with the Wind quotes at the Internet Movie Database
• Gone with the Wind at Rotten Tomatoes
• Gone with the Wind at filmsite.org

Gone with the Wind

First-edition cover
Author	Margaret Mitchell
Country	United States
Language	English
Genre	Historical Fiction
Publisher	Macmillan Publishers (United States)
Publication date	June 30, 1936
Media type	Print (hard & paperback)
Pages	1037 (first edition) 1024 (Warner Books paperback)
ISBN	978-0-446-36538-3 (Warner)
OCLC	28491920
Dewey Decimal	813.52
Followed by	Scarlett Rhett Butler’s People

Gone with the Wind is a novel by American writer Margaret Mitchell, first published in 1936. The story is set in Clayton County and Atlanta, both in Georgia, during the American Civil War and Reconstruction Era. It depicts the struggles of young Scarlett O’Hara, the spoiled daughter of a well-to-do plantation owner, who must use every means at her disposal to claw her way out of poverty following Sherman’s destructive «March to the Sea». This historical novel features a coming-of-age story, with the title taken from the poem «Non Sum Qualis eram Bonae Sub Regno Cynarae», written by Ernest Dowson.^[2]

Gone with the Wind was popular with American readers from the outset and was the top American fiction bestseller in 1936 and 1937. As of 2014, a Harris poll found it to be the second favorite book of American readers, just behind the Bible. More than 30 million copies have been printed worldwide.

Gone with the Wind is a controversial reference point for subsequent writers of the South, both black and white. Scholars at American universities refer to, interpret, and study it in their writings. The novel has been absorbed into American popular culture.

Mitchell received the Pulitzer Prize for Fiction for the book in 1937. It was adapted into the 1939 film of the same name, which has been considered to be one of the greatest movies ever made and also received the Academy Award for Best Picture during the 12th annual Academy Awards ceremony. Gone with the Wind is the only novel by Mitchell published during her lifetime.^[3]

Plot[edit]

Part I[edit]

Gone with the Wind takes place in the state of Georgia during the American Civil War (1861–1865) and the Reconstruction Era (1865–1877). The novel opens on the eve of a rebellion in which seven southern states – including Georgia – declared their secession from the United States (the «Union») over a desire to continue the institution of slavery, which was the economic engine of the South. The story begins on April 15, 1861, on a plantation owned by the family of wealthy Irish immigrant Gerald O’Hara. The oldest of the three O’Hara daughters, 16-year-old Scarlett is willful, witty, and intelligent though uninterested in schooling. She is described in the book’s opening sentence as «not beautiful» but in possession of a powerful ability to charm and attract men.^[4]

Scarlett is dismayed to learn that the man for whom she harbors a secret love, her county neighbor Ashley Wilkes, is set to announce his engagement to his cousin Melanie Hamilton. The next day, the Wilkeses throw an all-day party at their estate («Twelve Oaks») where Scarlett spies a dark stranger leering at her. She learns that this man is Rhett Butler and that he has a reputation for seducing young women. Throughout the day, Scarlett attempts to turn Ashley’s head by flirting shamelessly with every man present, including Melanie’s brother Charles. In the afternoon Scarlett finally gets Ashley alone and confesses her love for him, convinced he will return it, but he says only that he cares for her as a friend and intends to marry Melanie. Stung, Scarlett reacts badly, pelting Ashley with insults about himself and Melanie and accusing him of being too cowardly to submit to his real feelings for her. As Ashley departs, Rhett Butler reveals himself from his hiding place in the library – he has overheard their whole exchange. A humiliated Scarlett claims that he is «not a gentleman», to which he admiringly replies «And you are not a lady».^[5]

Scarlett later learns that war has been declared and the men are going to enlist. Feeling petty and vengeful, she accepts a marriage proposal from Melanie’s brother, Charles Hamilton. They marry two weeks later, Charles goes to war, and promptly dies of measles two months later. Scarlett gives birth to his child, Wade Hampton Hamilton.^[6] As a widow, she is bound to dye her dresses black, wear a veil in public, and avoid conversations with young men. Scarlett mourns the loss of her youth, though not the husband she barely knew, and rues her hasty decision to marry Charles.

Part II[edit]

Melanie is living in Atlanta with her Aunt Sarah Jane, who is largely called by her childhood nickname «Pittypat». Scarlett’s mother, mistaking Scarlett’s depression at having lost her status as a belle for grief at having lost her husband, suggests that living with Melanie and Pittypat in Atlanta might lift her spirits. After moving to Atlanta, Scarlett’s spirit is revived by the energy and excitement of living in a growing city. She busies herself with hospital work and sewing circles for the Confederate Army, although her heart isn’t in it – she does these things mostly to avoid being gossiped about by the other women of Atlanta society. Additionally, she believes that her efforts may aid Ashley, with whom she is still deeply in love.

Scarlett is mortified when she runs into Rhett Butler, whom she hasn’t seen since her humiliation at Twelve Oaks, while manning a sales stall at a public dance benefiting the troops.^[7] Rhett believes the war is a lost cause but is becoming rich as a blockade runner for profit. Rhett sees through Scarlett’s «lady in mourning» disguise and recognizes her longing to dance with the other young people, so he bids a large amount of gold to win the honor of leading the first dance and chooses Scarlett as his partner. Scarlett scandalizes the city by dancing joyfully while still dressed in widow’s mourning. Her reputation is saved by intervention from Melanie, who is now her sister-in-law and highly respected in Atlanta. Melanie argues that Scarlett is supporting the Confederate cause. Scarlett continues to act recklessly, flirting and going on dates while still in widow’s clothes, but is continually protected by Melanie’s endorsement. She spends much of her time with Rhett Butler. Rhett’s sexual attraction to Scarlett is ever-present, and at one point he enrages her with a silky proposition she become his mistress. Still, she appreciates Rhett for his money, his sophistication, and their shared irritation with the hypocrisy of Atlanta society.^[7]

At Christmas (1863), Ashley is granted a furlough from the army and visits the women in Atlanta. Scarlett struggles to restrain her feelings for him and to remember that he is someone else’s husband. She remains convinced that he is secretly in love with her and that he remains married to Melanie out of duty. Scarlett is heartbroken when Melanie becomes pregnant with Ashley’s child.

Part III[edit]

The war is going badly for the Confederacy. By September 1864, Atlanta is besieged from three sides.^[8] The city becomes desperate as hundreds of wounded Confederate soldiers pour in. Melanie goes into labor with only the inexperienced Scarlett and a young slave named Prissy to assist, as all the trained doctors are attending to the soldiers. The tattered Confederate States Army sets flame to Atlanta before they abandon it to the Union Army. Amidst the chaos, Melanie gives birth to a boy, Beau.

Scarlett tracks down Rhett and begs him to take her, Wade, Melanie, Beau, and Prissy to Tara. Rhett laughs at this idea, explaining that Tara has likely been burned by the Yankees, but still steals an emaciated horse and a small wagon and begins driving the party out of Atlanta. At the edge of the city, Rhett announces that he has had a change of heart and is abandoning Scarlett to join the army in their final, doomed push. Scarlett drives the wagon to Tara, where she is relieved to see that Tara has avoided being burned like so many of her neighbors’ homes. However, the situation is bleak: Scarlett’s mother is dead, her father has lost his mind with grief, her sisters are sick with typhoid fever, the field slaves have left, the Yankees have burned all the cotton, and there is no food in the house.

The long and tiring struggle for survival begins, with Scarlett working in the fields. There are several hungry people and animals, along with an ever-present threat from Yankees who steal or burn what little they can find. At one point, Scarlett kills a Yankee soldier who attempts to invade her home and buries his body in the garden. A long post-war succession of Confederate soldiers returning home stop at Tara to find food and rest. Eventually, Ashley returns from the war, with his idealistic view of the world shattered. Finding themselves alone one day, he and Scarlett share a passionate kiss in the fields, after which he declares that he can’t trust himself with her and that he intends to move his family to New York to get away from her.

Part IV[edit]

Life at Tara slowly begins to recover, but exorbitant taxes are levied on the plantation. Scarlett knows only one man with enough money to help her – Rhett Butler. She puts on her only pretty dress (made from the velvet curtains at Tara), looks for him in Atlanta, and finds him in prison being held on a murder charge and likely to hang. Although she nearly wins him over with a southern belle routine, he declines to help when he realizes her sweetness is an act meant to get at his money. Leaving the jailhouse in a snit, Scarlett meets Frank Kennedy, a middle-aged Atlanta storeowner who is betrothed to Scarlett’s sister, Suellen. Realizing that Frank also has money and that Suellen will turn her back on Tara once she is married, Scarlett hatches a plot to marry Frank. She lies to Frank that Suellen has changed her mind about marrying him. Dazed, Frank succumbs to Scarlett’s charms and marries her two weeks later, knowing he has done «something romantic and exciting for the first time in his life».^[9] Wanting to keep his pretty young wife happy, Frank gives Scarlett the money to pay the taxes.

While Frank has a cold and is pampered by Aunt Pittypat, Scarlett goes over the accounts at Frank’s store and finds that many owe him money. Terrified of the possibility of more taxes and irritated with Frank’s poor business sense, she takes control of the store; her business practices emasculate Frank and leave many Atlantans resentful of her. With a loan from Rhett, she also buys and runs a small sawmill, which is viewed as even more scandalous conduct. To Frank’s relief and Scarlett’s dismay, Scarlett learns she is pregnant, which curtails her business activities for a while. She convinces Ashley to come to Atlanta and manage her mill, all the while still in love with him. At Melanie’s urging and with great trepidation, Ashley accepts. Melanie becomes the center of Atlanta society, and Scarlett gives birth to a girl, Ella Lorena.^[10]

Georgia is under martial law, and life has taken on a new and more frightening tone. For protection, Scarlett keeps Frank’s pistol tucked in the upholstery of his buggy. Her lone trips to and from the mill take her past a shanty town where criminals live. While on her way home one evening, she is accosted by two men who try to rob her, but she escapes with the help of Big Sam, a black former foreman from Tara. Attempting to avenge his wife, Frank and the Ku Klux Klan raid the shanty town, where Frank is shot dead in the fracas. Rhett puts on a charade to keep the raiders from being arrested. He enters the Wilkeses’ home with Hugh Elsing and Ashley, singing and pretending to be drunk. Yankee officers outside question Rhett and he says he and the other men had been at Belle Watling’s brothel that evening, a story Belle later confirms to the officers. The men are indebted to Rhett, and his reputation among them improves somewhat, but the men’s wives – except Melanie – are livid at owing their husbands’ lives to the town madam. Later, at Frank’s funeral, Rhett asks Scarlett to marry him.^[11] She refuses at first, but after a little repartee, he kisses her passionately, and in the heat of the moment, she accepts. One year later, Scarlett and Rhett announce their engagement, which becomes the talk of the town.

Part V[edit]

Mr. and Mrs. Butler honeymoon in New Orleans, spending lavishly. Upon returning to Atlanta, the couple builds a gaudy new mansion on Peachtree Street. Rhett happily pays for the house to be built to Scarlett’s specifications, but describes it as an «architectural horror».^[12] Shortly after moving into the house, the sardonic jabs between them turn into quarrels. Scarlett wonders why Rhett married her and then, «with real hate in her eyes»,^[12] tells Rhett she is going to have a baby, which she does not want. Wade is seven years old in 1869 when his half-sister Eugenie Victoria, is born. She has blue eyes like Gerald O’Hara, and Melanie nicknames her «Bonnie Blue» in reference to the Bonnie Blue Flag of the Confederacy. When Scarlett is feeling well again, she makes a trip to the mill and talks to Ashley, who is alone in the office. In their conversation, she comes away believing Ashley still loves her and is jealous of her intimate relations with Rhett. She returns home and tells Rhett she does not want more children. From then on, they sleep separately, and when Bonnie is two years old, she sleeps in a little bed beside Rhett. Rhett turns his attention completely toward Bonnie, pampering her and working to ensure her a good reputation for when she enters society.

Melanie plans a surprise birthday party for Ashley. Scarlett goes to the mill to stall him there until the celebration – a rare opportunity to be alone together. He tells her how pretty she looks, and they reminisce about the old days and how far their lives have departed from what they imagined for themselves. They share an innocent embrace but are spotted in the moment by Ashley’s sister, India. Before the party has even begun, a rumor of an affair between Ashley and Scarlett explodes across Atlanta, eventually reaching Rhett and Melanie. Melanie refuses to accept any criticism of Scarlett, and India is expelled from the Wilkes home. Rhett, drunker than Scarlett has ever seen him, returns home from the party long after Scarlett. His eyes are bloodshot, and his mood is dark and violent. He enjoins Scarlett to drink with him, but she declines with deliberate rudeness. Rhett pins her to the wall and tells her they could have been happy together. He then takes her in his arms and carries her to her bedroom, where they engage in an intercourse. The next morning, a chagrined Rhett leaves town with Bonnie and Prissy for three months. Scarlett is uncertain about her feelings surrounding Rhett, for whom she feels a mixture of desire and revulsion, and she learns she is pregnant with her fourth child.

When Rhett returns, Scarlett is strangely happy for his return. Rhett comments on her paleness, and Scarlett tells him that she is pregnant. Rhett sarcastically asks if the father is Ashley; Scarlett calls him a cad and says that no woman would want his baby, to which he replies, «Cheer up, maybe you’ll have a miscarriage.»^[13] She lunges at him, but misses and tumbles down the stairs. She is seriously ill for the first time in her life, having lost the baby and broken her ribs. Rhett is wildly remorseful and fears Scarlett will die. Sobbing and drunk, he seeks consolation from Melanie and confesses that he acted horribly out of jealousy about Ashley. Scarlett goes to Tara with Wade and Ella, seeking to regain her strength and vitality from «the green cotton fields of home».^[14] When she returns healthy to Atlanta, she sells the mills to Ashley. Bonnie is four years old in 1873. Spirited and willful, she has her father wrapped around her finger, and Atlanta society is charmed by Rhett’s transformation from scandalous playboy to doting father. Rhett buys Bonnie a Shetland pony, teaching her to ride sidesaddle and paying a trainer to teach the pony to jump. One day, Bonnie asks her father to raise the bar to one-and-a-half feet. He gives in, warning her not to come crying if she falls. During the jump, Bonnie falls and dies of a broken neck.

In the dark days and months following Bonnie’s death, Rhett is often drunk and disheveled, while Scarlett, though equally bereaved, is more presentable. Melanie miraculously conceives a second child, but loses the baby and soon dies due to complications. As she comforts the newly widowed Ashley, Scarlett finally realizes that she stopped loving him long ago and that perhaps she never did. She is shocked to realize that she has always, sincerely, deeply loved Rhett Butler and that he has loved her in return. She returns home, brimming with her new love, and determined to begin anew with him. She discovers him packing his bags. In the wake of Melanie’s death, Rhett has decided that he wants to rediscover the calm Southern dignity he once knew in his youth and is leaving Atlanta to find it. Scarlett tries to persuade Rhett to either stay or take her with him, but Rhett explains that while he once loved Scarlett deeply, the years of hurt and neglect have killed that love. He leaves and doesn’t look back. In the midst of her grief, Scarlett consoles herself with the knowledge that she still has Tara. She plans to return there with the certainty that she can recover and win Rhett back, because «tomorrow is another day.»^[15]

Characters[edit]

Main characters[edit]

• Katie Scarlett Hamilton-Kennedy-Butler née O’Hara: is the oldest O’Hara daughter. Scarlett’s forthright Irish blood is always at variance with the French teachings of style from her mother. Scarlett marries Charles Hamilton, Frank Kennedy, and Rhett Butler, all the while wishing she were married instead to Ashley Wilkes. She has three children, one from each husband: Wade Hampton Hamilton (son to Charles Hamilton), Ella Lorena Kennedy (daughter to Frank Kennedy), and Eugenie Victoria «Bonnie Blue» Butler (daughter to Rhett Butler). She miscarries a fourth child during a quarrel with Rhett when she accidentally falls down the stairs.^[13] Scarlett is secretly scornful of Melanie Wilkes,^[16] wife to Ashley. Melanie shows nothing but love and devotion toward Scarlett and considers her a sister throughout her life because Scarlett married Melanie’s brother Charles. Scarlett is unaware of the extent of Rhett’s love for her or that she might love him.^[17]
• Captain Rhett K. Butler: is Scarlett’s admirer and her third husband. He is often publicly shunned for his scandalous behavior^[5] and sometimes accepted for his charm. Rhett declares he is not a marrying man and propositions Scarlett to be his mistress,^[18] but marries her after the death of Frank Kennedy. He says he won’t risk losing her to someone else, since it is unlikely she will ever need money again.^[11] At the end of the novel, Rhett confesses to Scarlett, «I loved you but I couldn’t let you know it. You’re so brutal to those who love you, Scarlett.»^[15]
• Major George Ashley Wilkes: The gallant Ashley marries his cousin, Melanie, because, «Like must marry like or there’ll be no happiness.»^[5] A man of honor, Ashley enlists in the Confederate States Army though he says he would have freed his slaves after his father’s death if the war hasn’t done it first.^[14] Although many of his friends and relations are killed in the Civil War, Ashley survives to see its brutal aftermath. Ashley is «the Perfect Knight»,^[19] in the mind of Scarlett, even throughout her three marriages. «She loved him and wanted him and did not understand him.»^[20]
• Melanie Wilkes née Hamilton: is Ashley’s wife and cousin. Melanie is a humble, serene and gracious Southern woman.^[21] As the story unfolds, Melanie becomes progressively physically weaker, first by childbirth, then «the hard work she had done at Tara»,^[21] and she dies after a miscarriage.^[22] As Rhett Butler says, «She never had any strength. She’s never had anything but heart.»^[22]

Secondary characters[edit]

Scarlett’s immediate family[edit]

• Ellen O’Hara née Robillard: is Scarlett’s mother. Of French ancestry, Ellen married Gerald O’Hara, who was 28 years her senior, after her true love, Philippe Robillard, died in a bar fight. She is Scarlett’s ideal of a «great lady».^[23] Ellen ran all aspects of the household and nursed slaves as well as poor whites.^[23] She dies from typhoid in August 1864 after nursing Emmie Slattery.^[16]
• Gerald O’Hara: is Scarlett’s Irish father.^[4] An excellent horseman,^[20] Gerald likes to jump fences on horseback while intoxicated, which eventually leads to his death.^[24] Gerald’s mind becomes addled after the death of his wife, Ellen.^[25]
• Susan Elinor «Suellen» Benteen née O’Hara: is Scarlett’s younger sister, born in 1846, whom Scarlett mostly despised due to her opinion of Suellen being «an annoying sister with her whining and selfishness». She became sickened by typhoid during the siege of Atlanta.^[18] After the war, Scarlett steals and marries Suellen’s beau, Frank Kennedy.^[9] Later, Suellen marries Will Benteen and they have a child, Susie.^[21]
• Caroline Irene «Carreen» O’Hara: is Scarlett’s youngest sister, born in 1848. She was also ill with typhoid during the siege of Atlanta.^[18] She is infatuated with and later engaged to Brent Tarleton, who dies in the war.^[26] Broken-hearted by Brent’s death, Carreen eventually joins a convent.^[24]
• Gerald O’Hara Junior: are the three sons of Ellen and Gerald who died in infancy and are buried 100 yards from the house. Each was named after the father; they were born and died in quick succession. The headstone of each boy is inscribed «Gerald O’Hara, Jr.»^[23]
• Charles Hamilton: is Melanie Wilkes’ brother and Scarlett’s first husband. Charles is a shy and loving man.^[5] Father to Wade Hampton, Charles dies of pneumonia caused by measles, before reaching a battlefield or seeing his son.^[6]
• Wade Hampton Hamilton: is the son of Scarlett and Charles, born in early 1862. He was named for his father’s commanding officer, Wade Hampton III.^[6]
• Frank Kennedy: is Suellen O’Hara’s former fiancé and Scarlett’s second husband. Frank is an unattractive older man. He originally proposes to Suellen but instead, Scarlett marries him for his money to pay the taxes on Tara.^[27] Frank is unable to comprehend Scarlett’s fears and her desperate struggle for survival after the war. He is unwilling to be as ruthless in business as Scarlett is.^[27] Unknown to Scarlett, Frank is involved in the Ku Klux Klan. He is «shot through the head»,^[28] according to Rhett Butler, while attempting to defend Scarlett’s honor after she is attacked.
• Ella Lorena Kennedy: is the daughter of Scarlett and Frank.^[10]
• Eugenie Victoria «Bonnie Blue» Butler: is Scarlett and Rhett’s pretty and spoiled daughter, as Irish in looks and temper as Gerald O’Hara, with the same blue eyes. She is doted on by her father and later dies in a fatal accident while riding her horse.^[12]

Tara[edit]

• Mammy: is Scarlett’s nurse. A slave, she originally was owned by Scarlett’s grandmother and raised her mother, Ellen O’Hara.^[20] Mammy is «head woman of the plantation».^[30]
• Pork: is Gerald O’Hara’s valet and his first slave. He won Pork in a game of poker (as he did the plantation Tara, in a separate poker game).^[23] When Gerald died, Scarlett gave his pocket watch to Pork. She offered to have the watch engraved, but Pork declined the offer.
• Dilcey: is Pork’s wife and an enslaved woman of mixed Indian and African descent.^[31] Scarlett encourages her father to buy Dilcey and her daughter from John Wilkes, the latter as a favor to Dilcey that she never forgets.^[20]
• Prissy: is Dilcey’s daughter.^[31] Prissy is Wade’s nurse and goes with Scarlett to Atlanta.^[6]
• Jonas Wilkerson: is the Yankee overseer of Tara before the Civil War.^[31]
• Big Sam: is a strong, hardworking field slave and the foreman at Tara. In post-war lawlessness, Sam rescues Scarlett from would-be thieves.^[32]
• Will Benteen: is a «South Georgia cracker»,^[26] Confederate soldier, and patient listener to the troubles of all. Will lost part of his leg in the war and walks with the aid of a wooden stump. He is taken in by the O’Haras on his journey home from the war; after his recovery, he stays on to manage the farm.^[26] Fond of Carreen O’Hara, he is disappointed when she decides to enter a convent.^[24] He later marries Suellen and has at least one child, Susie, with her.^[21]

Clayton County[edit]

• India Wilkes: is the sister of Honey and Ashley Wilkes. She is described as plain. India was courted by Stuart Tarleton before he and his brother Brent both fell in love with Scarlett.^[4]
• Honey née Wilkes (married last name unknown): is the sister of India and Ashley Wilkes. Honey is described as having the «odd lashless look of a rabbit».^[5]
• John Wilkes: is the owner of «Twelve Oaks»^[20] and patriarch of the Wilkes family. John Wilkes is educated and gracious.^[5] He dies during the siege of Atlanta.^[18]
• Tarleton Boys: Boyd, Tom, and the twins, Brent and Stuart: The red-headed Tarleton boys were in frequent scrapes, loved practical jokes and gossip, and «were worse than the plagues of Egypt»,^[4] according to their mother. The inseparable twins, Brent and Stuart, at 19 years old were six feet two inches tall.^[4] All four boys were killed in the war, the twins just moments apart at the Battle of Gettysburg.^[33] Boyd was buried somewhere in Virginia.^[34]
• Tarleton Girls: Hetty, Camilla, ‘Randa and Betsy: The stunning Tarleton girls have varying shades of red hair.^[30]
• Beatrice Tarleton: is the mistress of the «Fairhill» plantation.^[30] She was a busy woman, managing a large cotton plantation, a hundred negroes, and eight children, and the largest horse-breeding farm in Georgia. Hot-tempered, she believed that «a lick every now and then did her boys no harm».^[4]
• Calvert Family: Raiford, Cade, and Cathleen: are the O’Haras’ Clayton County neighbors from another plantation, «Pine Bloom».^[33] Cathleen Calvert was Scarlett’s friend.^[30] Their widowed father Hugh married a Yankee governess.^[35] Raiford is killed at Gettysburg. Next to Scarlett, Cathleen «had had more beaux than any girl in the County»,^[33] but eventually married their former Yankee overseer, Mr. Hilton.
• Fontaine Family: Joe, Tony and Alex are known for their hot tempers. Joe is killed at Gettysburg,^[34] while Tony murders Jonas Wilkerson in a barroom and flees to Texas, leaving Alex to tend to their plantation.^[36] Grandma Fontaine, also known as «Old Miss«, is the wife of old Doc Fontaine, the boys’ grandfather. «Young Miss» and young Dr. Fontaine, the boys’ parents, and Sally Fontaine née Munroe, wife to Joe,^[37] make up the remaining family of the «Mimosa» plantation.^[35]
• Emmie Wilkerson née Slattery: is a poor white woman. The daughter of Tom Slattery, her family lived on three acres along the swamp bottoms between the O’Hara and Wilkes plantations.^[23] Emmie gave birth to an illegitimate child fathered by Jonas Wilkerson, a Yankee and the overseer at Tara.^[31] The child died. Emmie later married Jonas. After the war, flush with carpetbagger cash, they try to buy Tara, but Scarlett refuses the offer.^[38]

Atlanta[edit]

• Sarah Jane «Pittypat» Hamilton: acquired the nickname «Pittypat» in childhood because of the way she walked on her tiny feet. Aunt «Pittypat» is a spinster who lives in the red-brick house at the quiet end of Peachtree Street in Atlanta. The house is half-owned by Scarlett (after the death of Charles Hamilton). Her finances are managed by her brother, Henry, whom she doesn’t especially care for. Aunt Pittypat raised Melanie and Charles Hamilton after the death of their father, with considerable help from her slave, «Uncle» Peter.^[39]
• Henry Hamilton: is Aunt Pittypat’s brother, an attorney, and the uncle of Charles and Melanie.^[39]
• «Uncle» Peter: is an older slave, who serves as Aunt Pittypat’s coach driver and general factotum. Uncle Peter looked after Melanie and Charles Hamilton when they were young.^[39]
• Beauregard «Beau» Wilkes: is Melanie and Ashley’s son, who is born in Atlanta when the siege begins and transported to Tara after birth.^[40]
• Archie: is an ex-convict and former Confederate soldier who was imprisoned for the murder of his adulterous wife (who was having an affair with his own brother) before the war. Archie is taken in by Melanie and later becomes Scarlett’s coach driver.^[10]
• Meade Family: Atlanta society considers Dr. Meade to be «the root of all strength and all wisdom».^[39] He looks after injured soldiers during the siege with assistance from Melanie and Scarlett.^[41] Mrs. Meade is on the bandage-rolling committee.^[39] Their two sons are killed in the war.^[41]
• Merriwether Family: Mrs. Dolly Merriwether is an Atlanta dowager along with Mrs. Elsing and Mrs. Whiting.^[39] Post-war she sells homemade pies to survive, eventually opening her own bakery.^[21] Her father-in-law Grandpa Merriwether fights in the Home Guard^[42] and survives the war. Her daughter Maybelle marries René Picard, a Louisiana Zouave.^[7]
• Belle Watling: is a prostitute^[43] and brothel madam^[36] who is portrayed as a loyal Confederate.^[43] Melanie declares she will acknowledge Belle when she passes her in the street, but Belle tells her not to.^[28]

Robillard family[edit]

• Pierre Robillard: is the father of Ellen O’Hara. He was staunchly Presbyterian even though his family was Roman Catholic. The thought of his daughter becoming a nun was worse than her marrying Gerald O’Hara.^[23]
• Solange Robillard née Prudhomme: is the mother of Ellen O’Hara and Scarlett’s grandmother. She was a dainty Frenchwoman who was snooty and cold.^[20]
• Eulalie and Pauline Robillard: are the married sisters of Ellen O’Hara who live in Charleston.^[6]
• Philippe Robillard: is the cousin of Ellen O’Hara and her first love. Philippe died in a bar fight in New Orleans around 1844.^[20]

Biographical background and publication[edit]

Born in 1900 in Atlanta, Margaret Mitchell was a Southerner and writer throughout her life. She grew up hearing stories about the American Civil War and the Reconstruction from her Irish-American grandmother, Annie Fitzgerald Stephens, who had endured its suffering while living on the family plantation, Rural Home. Her forceful and intellectual mother, Maybelle Stephens Mitchell, was a suffragist who fought for the rights of women to vote.^[44]

As a young woman, Mitchell found love with an army lieutenant. He was killed in World War I, and she would carry his memory for the remainder of her life. After studying at Smith College for a year during which time her mother died from the 1918 pandemic flu, Mitchell returned to Atlanta. She married, but her husband was an abusive bootlegger. Mitchell took a job writing feature articles for the Atlanta Journal at a time when Atlanta debutantes of her class did not work. After divorcing her first husband, she married again to a man who shared her interest in writing and literature. He had been the best man at her first wedding.^[45]

Margaret Mitchell began writing Gone with the Wind in 1926 to pass the time while recovering from a slow-healing injury from an auto crash.^[46] In April 1935, Harold Latham of Macmillan, an editor looking for new fiction, read her manuscript and saw that it could be a best-seller. After Latham agreed to publish the book, Mitchell worked for another six months checking the historical references and rewriting the opening chapter several times.^[47] Mitchell and her husband John Marsh, a copy editor by trade, edited the final version of the novel. Mitchell wrote the book’s final moments first and then wrote the events that led to them.^[48] Gone with the Wind was published in June 1936.^[49]

Title[edit]

The author tentatively titled the novel Tomorrow Is Another Day, from its last line.^[50] Other proposed titles included Bugles Sang True, Not in Our Stars, and Tote the Weary Load.^[47] The title Mitchell finally chose is from the first line of the third stanza of the poem «Non Sum Qualis Eram Bonae sub Regno Cynarae» by Ernest Dowson:

I have forgot much, Cynara! gone with the wind,
Flung roses, roses riotously with the throng,
Dancing, to put thy pale, lost lilies out of mind …^[51]

Scarlett O’Hara uses the title phrase when she wonders if her home on a plantation called «Tara» is still standing, or if it had «gone with the wind which had swept through Georgia».^[16] In a general sense, the title is a metaphor for the demise of a way of life in the South before the Civil War. When taken in the context of Dowson’s poem about «Cynara», the phrase «gone with the wind» alludes to erotic loss.^[52] The poem expresses the regrets of someone who has lost his feelings for his «old passion», Cynara.^[53] Dowson’s Cynara, a name that comes from the Greek word for artichoke, represents a lost love.^[54]

It is also possible that the author was influenced by the connection of the phrase «Gone with the wind» with Tara in a line of James Joyce’s Ulysses in the chapter «Aeolus».

Structure[edit]

Coming-of-age story[edit]

Margaret Mitchell arranged Gone with the Wind chronologically, focusing it on the life and experiences of the main character, Scarlett O’Hara, as she grew from adolescence into adulthood. During the time span of the novel, from 1861 to 1873, Scarlett ages from sixteen to twenty-eight years. This is a type of Bildungsroman,^[55] a novel concerned with the moral and psychological growth of the protagonist from youth to adulthood (coming-of-age story). Scarlett’s development is affected by the events of her time.^[55] Mitchell used a smooth linear narrative structure. The novel is known for its exceptional «readability».^[56] The plot is rich with vivid characters.

Genre[edit]

Gone with the Wind is often placed in the literary subgenre of the historical romance novel.^[57] Pamela Regis has argued that is more appropriately classified as a historical novel, as it does not contain all of the elements of the romance genre.^[58] The novel has been described as an early classic of the erotic historical genre because it is thought to contain some degree of pornography.^[59]

Plot elements[edit]

Slavery[edit]

Slavery in the United States in Gone with the Wind is a backdrop to a story that is essentially about other things.^[60] Southern plantation fiction (also known as Anti-Tom literature, in reference to reactions to Harriet Beecher Stowe’s anti-slavery novel, Uncle Tom’s Cabin of 1852) from the mid-19th century, culminating in Gone with the Wind, is written from the perspective and values of the slaveholder and tends to present slaves as docile and happy.^[61]

Caste system[edit]

The characters in the novel are organized into two basic groups along class lines: the white planter class, such as Scarlett and Ashley, and the black house servant class. The slaves depicted in Gone with the Wind are primarily loyal house servants, such as Mammy, Pork, Prissy, and Uncle Peter.^[62] House servants are the highest «caste» of slaves in Mitchell’s caste system.^[36] They choose to stay with their masters after the Emancipation Proclamation of 1863 and subsequent Thirteenth Amendment of 1865 sets them free. Of the servants who stayed at Tara, Scarlett thinks, «There were qualities of loyalty and tirelessness and love in them that no strain could break, no money could buy.»^[63]

The field slaves make up the lower class in Mitchell’s caste system.^[36][64] The field slaves from the Tara plantation and the foreman, Big Sam, are taken away by Confederate soldiers to dig ditches^[8] and never return to the plantation. Mitchell wrote that other field slaves were «loyal» and «refused to avail themselves of the new freedom»,^[36] but the novel has no field slaves who stay on the plantation to work after they have been emancipated.

American William Wells Brown escaped from slavery and published his memoir, or slave narrative, in 1847. He wrote of the disparity in conditions between the house servant and the field hand:

During the time that Mr. Cook was overseer, I was a house servant – a situation preferable to a field hand, as I was better fed, better clothed, and not obliged to rise at the ringing bell, but about a half-hour after. I have often laid and heard the crack of the whip, and the screams of the slave.^[65]

Faithful and devoted slave[edit]

Although the novel is more than 1,000 pages long, the character of Mammy never considers what her life might be like away from Tara.^[67] She recognizes her freedom to come and go as she pleases, saying, «Ah is free, Miss Scarlett. You kain sen’ me nowhar Ah doan wanter go», but Mammy remains duty-bound to «Miss Ellen’s chile».^[11] (No other name for Mammy is given in the novel.)

Eighteen years before the publication of Gone with the Wind, an article titled, «The Old Black Mammy», written in the Confederate Veteran in 1918, discussed the romanticized view of the mammy character persisting in Southern literature:

for her faithfulness and devotion, she has been immortalized in the literature of the South; so the memory of her will never pass, but live on in the tales that are told of those «dear dead days beyond recall».^[68][69]

Micki McElya, in her book Clinging to Mammy, suggests the myth of the faithful slave, in the figure of Mammy, lingered because white Americans wished to live in a world in which African Americans were not angry over the injustice of slavery.^[70]

The best-selling anti-slavery novel, Uncle Tom’s Cabin by Harriet Beecher Stowe, published in 1852, is mentioned briefly in Gone with the Wind as being accepted by the Yankees as «revelation second only to the Bible».^[63] The enduring interest of both Uncle Tom’s Cabin and Gone with the Wind has resulted in lingering stereotypes of 19th-century black slaves.^[71] Gone with the Wind has become a reference point for subsequent writers about the South, both black and white alike.^[72]

Southern belle[edit]

The southern belle is an archetype for a young woman of the antebellum American South upper class. The southern belle was believed to be physically attractive but, more importantly, personally charming with sophisticated social skills. She is subject to the correct code of female behavior.^[73] The novel’s heroine, Scarlett O’Hara, charming though not beautiful, is a classic southern belle.

For young Scarlett, the ideal southern belle is represented by her mother, Ellen O’Hara. In «A Study in Scarlett», published in The New Yorker, Claudia Roth Pierpont wrote:

The Southern belle was bred to conform to a subspecies of the nineteenth-century «lady» … For Scarlett, the ideal is embodied in her adored mother, the saintly Ellen, whose back is never seen to rest against the back of any chair on which she sits, whose broken spirit everywhere is mistaken for righteous calm^[74]

However, Scarlett is not always willing to conform. Kathryn Lee Seidel, in her book, The Southern Belle in the American Novel, wrote:

part of her does try to rebel against the restraints of a code of behavior that relentlessly attempts to mold her into a form to which she is not naturally suited.^[75]

The figure of a pampered southern belle, Scarlett lives through an extreme reversal of fortune and wealth and survives to rebuild Tara and her self-esteem.^[76] Her bad belle traits (Scarlett’s deceitfulness, shrewdness, manipulation, and superficiality), in contrast to Melanie’s good belle traits (trust, self-sacrifice, and loyalty), enable her to survive in the post-war South and pursue her main interest, which is to make enough money to survive and prosper.^[77] Although Scarlett was «born» around 1845, she is portrayed to appeal to modern-day readers for her passionate and independent spirit, determination, and obstinate refusal to feel defeated.^[78]

Historical background[edit]

Marriage was supposed to be the goal of all southern belles, as women’s status was largely determined by that of their husbands. All social and educational pursuits were directed towards it. Despite the Civil War and the loss of a generation of eligible men, young ladies were still expected to marry.^[79] By law and Southern social convention, household heads were adult, white propertied males, and all white women and all African Americans were thought to require protection and guidance because they lacked the capacity for reason and self-control.^[80]

The Atlanta Historical Society has produced a number of Gone with the Wind exhibits, among them a 1994 exhibit titled, «Disputed Territories: Gone with the Wind and Southern Myths». The exhibit asked, «Was Scarlett a Lady?», finding that historically most women of the period were not involved in business activities as Scarlett was during Reconstruction when she ran a sawmill. White women performed traditional jobs such as teaching and sewing, and generally disliked work outside the home.^[81]

During the Civil War, Southern women played a major role as volunteer nurses working in makeshift hospitals. Many were middle- and upper-class women who had never worked for wages or seen the inside of a hospital. One such nurse was Ada W. Bacot, a young widow who had lost two children. Bacot came from a wealthy South Carolina plantation family that owned 87 slaves.^[82]

In the fall of 1862, Confederate laws were changed to permit women to be employed in hospitals as members of the Confederate Medical Department.^[83] Twenty-seven-year-old nurse Kate Cumming from Mobile, Alabama, described the primitive hospital conditions in her journal:

They are in the hall, on the gallery, and crowded into very small rooms. The foul air from this mass of human beings at first made me giddy and sick, but I soon got over it. We have to walk, and when we give the men any thing kneel, in blood and water; but we think nothing of it at all.^[84]

Battles[edit]

The Civil War came to an end on April 26, 1865, when Confederate General Johnston surrendered his armies in the Carolinas Campaign to Union General Sherman. Several battles are mentioned or depicted in Gone with the Wind.

Early and mid war years[edit]

• Seven Days Battles, June 25 – July 1, 1862, Richmond, Virginia, Confederate victory.^[7]
• Battle of Fredericksburg, December 11–15, 1862, Fredericksburg, Virginia, Confederate victory.^[34]
• Streight’s Raid, April 19 – May 3, 1863, in northern Alabama. Union Colonel Streight and his men were captured by Confederate General Nathan Bedford Forrest.^[34]
• Battle of Chancellorsville, April 30 – May 6, 1863, in Spotsylvania County, Virginia, near the village of Chancellorsville, Virginia, Confederate victory.^[34]

Ashley Wilkes is stationed on the Rapidan River, Virginia, in the winter of 1863,^[85] later captured and sent to a Union prison camp, Rock Island.^[86]

• Siege of Vicksburg, May 18 – July 4, 1863, Vicksburg, Mississippi, Union victory.^[34]
• Battle of Gettysburg, July 1–3, 1863, fought in and around the town of Gettysburg, Pennsylvania, Union victory. «They expected death. They did not expect defeat.»^[34]
• Battle of Chickamauga, September 19–20, 1863, northwestern Georgia. The first fighting in Georgia and the most significant Union defeat.^[86]
• Chattanooga Campaign, November–December 1863, Tennessee, Union victory. The city became the supply and logistics base for Sherman’s 1864 Atlanta Campaign.^[86]

Atlanta Campaign[edit]

The Atlanta Campaign (May–September 1864) took place in northwest Georgia and the area around Atlanta.

Confederate General Johnston fights and retreats from Dalton (May 7–13)^[8] to Resaca (May 13–15) to Kennesaw Mountain (June 27). Union General Sherman suffers heavy losses to the entrenched Confederate army. Unable to pass through Kennesaw, Sherman swings his men around to the Chattahoochee River where the Confederate army is waiting on the opposite side of the river. Once again, General Sherman flanks the Confederate army, forcing Johnston to retreat to Peachtree Creek (July 20), five miles northeast of Atlanta.

• Battle of Atlanta, July 22, 1864, just southeast of Atlanta. The city would not fall until September 2, 1864. Heavy losses for Confederate General Hood.
• Battle of Ezra Church, July 28, 1864, Sherman’s failed attack west of Atlanta where the railroad entered the city.
• Battle of Utoy Creek, August 5–7, 1864, Sherman’s failed attempt to break the railroad line at East Point, into Atlanta from the west, heavy Union losses.
• Battle of Jonesborough, August 31 – September 1, 1864, Sherman successfully cut the railroad lines from the south into Atlanta. The city of Atlanta was abandoned by General Hood and then occupied by Union troops for the rest of the war.

March to the Sea[edit]

The Savannah Campaign was conducted in Georgia during November and December 1864.

President Lincoln’s murder[edit]

Although Abraham Lincoln is mentioned in the novel 14 times, no reference is made to his assassination on April 14, 1865.

Manhood[edit]

Ashley Wilkes is the beau ideal of Southern manhood in Scarlett’s eyes. A planter by inheritance, Ashley knew the Confederate cause had died.^[88] However Ashley’s name signifies paleness. His «pallid skin literalizes the idea of Confederate death».^[89]

Ashley contemplates leaving Georgia for New York City. Had he gone North, he would have joined numerous other ex-Confederate transplants there.^[88] Ashley, embittered by war, tells Scarlett he has been «in a state of suspended animation» since the surrender. He feels he is not «shouldering a man’s burden» at Tara and believes he is «much less than a man – much less, indeed, than a woman».^[21]

A «young girl’s dream of the Perfect Knight»,^[19] Ashley is like a young girl himself.^[90] With his «poet’s eye»,^[91] Ashley has a «feminine sensitivity».^[92] Scarlett is angered by the «slur of effeminacy flung at Ashley» when her father tells her the Wilkes family was «born queer».^[20] (Mitchell’s use of the word «queer» is for its sexual connotation because queer, in the 1930s, was associated with homosexuality.)^[93] Ashley’s effeminacy is associated with his appearance, his lack of forcefulness and sexual impotency.^[94] He rides, plays poker, and drinks like «proper men», but his heart is not in it, Gerald claims.^[20][95] The embodiment of castration, Ashley wears the head of Medusa on his cravat pin.^[20][93]

Scarlett’s love interest, Ashley Wilkes, lacks manliness, and her husbands – the «calf-like»^[5] Charles Hamilton, and the «old-maid in britches»,^[5] Frank Kennedy – are unmanly as well. Mitchell is critiquing masculinity in southern society since Reconstruction.^[96] Even Rhett Butler, the well-groomed dandy,^[97] is effeminate or «gay-coded».^[98] Charles, Frank and Ashley represent the impotence of the post-war white South.^[89] Its power and influence have been diminished.

Scallawag[edit]

The word «scallawag» is defined as a loafer, a vagabond, or a rogue.^[99] Scallawag had a special meaning after the Civil War as an epithet for a white Southerner who accepted and supported Republican reforms.^[100] Mitchell defines scallawags as «Southerners who had turned Republican very profitably.»^[101] Rhett Butler is accused of being a «damned Scallawag».^[102] In addition to scallawags, Mitchell portrays other types of scoundrels in the novel: Yankees, carpetbaggers, Republicans, prostitutes, and overseers. In the early years of the Civil War, Rhett is called a «scoundrel» for his «selfish gains» profiteering as a blockade-runner.^[43]

As a scallawag, Rhett is despised. He is the «dark, mysterious, and slightly malevolent hero loose in the world».^[103] Literary scholars have identified elements of Mitchell’s first husband, Berrien «Red» Upshaw, in the character of Rhett.^[103] Another sees the image of Italian actor Rudolph Valentino, whom Margaret Mitchell interviewed as a young reporter for The Atlanta Journal.^[104][105] Fictional hero Rhett Butler has a «swarthy face, flashing teeth and dark alert eyes».^[17] He is a «scamp, blackguard, without scruple or honor».^[17]

Themes[edit]

Survival[edit]

If Gone with the Wind has a theme it is that of survival. What makes some people come through catastrophes and others, apparently just as able, strong, and brave, go under? It happens in every upheaval. Some people survive; others don’t. What qualities are in those who fight their way through triumphantly that are lacking in those that go under? I only know that survivors used to call that quality «gumption.» So I wrote about people who had gumption and people who didn’t.^[1]
— Margaret Mitchell, 1936

Critical reception[edit]

Reviews[edit]

The sales of Margaret Mitchell’s novel in the summer of 1936, as the nation was recovering from the Great Depression and at the virtually unprecedented high price of three dollars, reached about 1 million by the end of December.^[56] The book was a bestseller by the time reviews began to appear in national magazines.^[48] Herschel Brickell, a critic for the New York Evening Post, lauded Mitchell for the way she «tosses out the window all the thousands of technical tricks our novelists have been playing with for the past twenty years.»^[106]

Ralph Thompson, a book reviewer for The New York Times, was critical of the length of the novel, and wrote in June 1936:

I happen to feel that the book would have been infinitely better had it been edited down to say, 500 pages, but there speaks the harassed daily reviewer as well as the would-be judicious critic. Very nearly every reader will agree, no doubt, that a more disciplined and less prodigal piece of work would have more nearly done justice to the subject-matter.^[107]

Some reviewers compared the book to William Thackeray’s Vanity Fair and Leo Tolstoy’s War and Peace. Mitchell claimed Charles Dickens as an inspiration and called Gone with the Wind a «‘Victorian’ type novel.»^[108]

Helen Keller, whose father had owned slaves and fought as a Confederate captain and who had later supported the NAACP and the ACLU, read the 12-volume Braille edition.
The book brought her fond memories of her southern infancy but she also felt sadness comparing that with what she knew about the South.^[110]

Scholarship: Racial, ethnicity and social issues[edit]

Gone with the Wind has been criticized for its stereotypical and derogatory portrayal of African Americans in the 19th century South.^[111] Former field hands during the early days of Reconstruction are described behaving «as creatures of small intelligence might naturally be expected to do. Like monkeys or small children turned loose among treasured objects whose value is beyond their comprehension, they ran wild – either from perverse pleasure in destruction or simply because of their ignorance.»^[36]

Commenting on this passage of the novel, Jabari Asim, author of The N Word: Who Can Say It, Who Shouldn’t, and Why, says it is «one of the more charitable passages in Gone With the Wind, Margaret Mitchell hesitated to blame black ‘insolence’ during Reconstruction solely on ‘mean niggers’,^[36] of which, she said, there were few even in slavery days.»^[112]

Critics say that Mitchell downplayed the violent role of the Ku Klux Klan and their abuse of freedmen. Author Pat Conroy, in his preface to a later edition of the novel, describes Mitchell’s portrayal of the Ku Klux Klan as having «the same romanticized role it had in The Birth of a Nation and appears to be a benign combination of the Elks Club and a men’s equestrian society».^[113]

Regarding the historical inaccuracies of the novel, historian Richard N. Current points out:

No doubt it is indeed unfortunate that Gone with the Wind perpetuates many myths about Reconstruction, particularly with respect to blacks. Margaret Mitchell did not originate them and a young novelist can scarcely be faulted for not knowing what the majority of mature, professional historians did not know until many years later.^[114]

In Gone with the Wind, Mitchell explores some complexities in racial issues. Scarlett was asked by a Yankee woman for advice on whom to appoint as a nurse for her children; Scarlett suggested a «darky», much to the disgust of the Yankee woman who was seeking an Irish maid, a «Bridget».^[63] African Americans and Irish Americans are treated «in precisely the same way» in Gone with the Wind, writes David O’Connell in his 1996 book, The Irish Roots of Margaret Mitchell’s Gone With the Wind. Ethnic slurs on the Irish and Irish stereotypes pervade the novel, O’Connell claims, and Scarlett is not an exception to the terminology.^[115] Irish scholar Geraldine Higgins notes that Jonas Wilkerson labels Scarlett: «you highflying, bogtrotting Irish».^[116] Higgins says that, as the Irish American O’Haras were slaveholders and African Americans were held in bondage, the two ethnic groups are not equivalent in the ethnic hierarchy of the novel.^[117]

The novel has been criticized for promoting plantation values and romanticizing the white supremacy of the antebellum south. Mitchell biographer Marianne Walker, author of Margaret Mitchell and John Marsh: The Love Story Behind Gone with the Wind, believes that those who attack the book on these grounds have not read it. She said that the popular 1939 film «promotes a false notion of the Old South». Mitchell was not involved in the screenplay or film production.^[118]

James Loewen, author of Lies My Teacher Told Me: Everything Your American History Textbook Got Wrong, says this novel is «profoundly racist and profoundly wrong».^[111] In 1984, an alderman in Waukegan, Illinois, challenged the book’s inclusion on the reading list of the Waukegan School District on the grounds of «racism» and «unacceptable language». He objected to the frequent use of the racial slur nigger. He also objected to several other books: The Nigger of the ‘Narcissus’, Uncle Tom’s Cabin, and Adventures of Huckleberry Finn for the same reason.^[119]

Mitchell’s use of color in the novel is symbolic and open to interpretation. Red, green, and a variety of hues of each of these colors, are the predominant palette of colors related to Scarlett.^[120]

The novel came under intense criticism for alleged racist and white supremacist themes in 2020 following the murder of George Floyd, and the ensuing protests and focus on systemic racism in the United States.^[121]

Awards and recognition[edit]

In 1937, Margaret Mitchell received the Pulitzer Prize for Fiction for Gone with the Wind and the second annual National Book Award for Fiction from the American Booksellers Association.^[122] It is ranked as the second favorite book by American readers, just behind the Bible, according to a 2008 Harris poll.^[123] The poll found the novel has its strongest following among women, those aged 44 or more, both Southerners and Midwesterners, both whites and Hispanics, and those who have not attended college. In a 2014 Harris poll, Mitchell’s novel ranked again as second, after the Bible.^[124] The novel is on the list of best-selling books. As of 2010, more than 30 million copies have been printed in the United States and abroad.^[125] More than 24 editions of Gone with the Wind have been issued in China.^[125] Time magazine critics Lev Grossman and Richard Lacayo included the novel on their list of the 100 best English-language novels published between 1923 and 2005.^[126][127] In 2003, the book was listed at number 21 on the BBC’s The Big Read poll of the UK’s «best-loved novel».^[128]

Censorship[edit]

Gone with the Wind frequently has been the center of controversy.

In 1978, the book was banned from English classrooms in the Anaheim Union High School District in Anaheim, California.^[129]

In 1984, the book was challenged in the Waukegan, Illinois, School District due to the novel’s use of the word nigger.^[129]

Adaptations[edit]

Gone with the Wind has been adapted several times for stage and screen:

• The novel was the basis of the classic Academy Award-winning 1939 film of the same name. The film has been considered one of the greatest Hollywood movies ever made, and upon release, was immensely popular in its own right. It was produced by David O. Selznick and stars Clark Gable, Vivien Leigh and Olivia de Havilland.^[130]
• The book was adapted into a musical, Scarlett, which opened in Tokyo in 1970 (in 1966 it was produced as a nine-hour play without music), and in London in 1972, where it was reduced to four hours. The London production opened in 1973 in Los Angeles, and again in Dallas in 1976.^[131]
• The Japanese Takarazuka Revue produced a musical adaptation of the novel, Kaze to Tomo ni Sarinu, which was performed by the all-female Moon Troupe in 1977.^[132][133] The most recent performance was in January 2014 by the Moon Troupe, with Todoroki Yuu as Rhett Butler and Ryu Masaki as Scarlett O’Hara.^[134][135]
• A 2003 French musical adaptation was produced by Gérard Presgurvic, Autant en emporte le vent.^[136]
• The book was adapted into a British musical, Gone with the Wind, and opened in 2008 in the U.K. at the New London Theatre.^[137]
• A full-length three-act classical ballet version, with a score arranged from the works of Antonín Dvořák and choreographed by Lilla Pártay, premiered in 2007 as performed by the Hungarian National Ballet. It was revived in their 2013 season.^[138]
• A new stage adaptation by Niki Landau premiered at the Manitoba Theatre Center in Winnipeg, Canada in January 2013.^[139]

In popular culture[edit]

Gone with the Wind has appeared in many places and forms in popular culture:

Books, television and more[edit]

• A 1945 cartoon by World War II cartoonist Bill Mauldin shows an American soldier lying on the ground with Margaret Mitchell’s bullet-riddled book. The caption reads: «Dear, Dear Miss Mitchell, You will probably think this is an awful funny letter to get from a soldier, but I was carrying your big book, Gone with the Wind, under my shirt and a  …»^[140]
• The novelist Vladimir Nabokov considered Gone with the Wind to be a «cheap novel» and in his Bend Sinister a book meant to resemble it is used as toilet paper.^[141][142]
• In the season 3 episode of I Love Lucy, «Lucy Writes a Novel», which aired on April 5, 1954, «Lucy» (Lucille Ball) reads about a housewife who makes a fortune writing a novel in her spare time. Lucy writes her own novel, which she titles Real Gone with the Wind.^[143]
• Gone with the Wind is the book that S. E. Hinton’s runaway teenage characters, Ponyboy and Johnny, read while hiding from the law in the young adult novel The Outsiders (1967).^[144]
• A film parody titled «Went with the Wind!» aired in a 1976 episode of The Carol Burnett Show.^[145] Burnett as Starlett descends a long staircase wearing a green curtain complete with hanging rod. The outfit, designed by Bob Mackie, is displayed at the Smithsonian Institution.^[146]
• Mad magazine created a parody of the novel «Groan with the Wind» (1991),^[147] in which Ashley was renamed Ashtray and Rhett became Rhetch. It ends with Rhetch and Ashtray running off together.^[90]
• A pictorial parody in which the slaves are white and the protagonists are black appeared in a 1995 issue of Vanity Fair titled «Scarlett ‘n the Hood».^[148]
• In a MADtv comedy sketch (2007),^[149] «Slave Girl #8» introduces three alternative endings to the film. In one ending, Scarlett pursues Rhett wearing a jet pack.^[150]

Collectibles[edit]

On June 30, 1986, the 50th anniversary of the day Gone with the Wind went on sale, the U.S. Post Office issued a 1-cent stamp showing an image of Margaret Mitchell. The stamp was designed by Ronald Adair and was part of the U.S. Postal Service’s Great Americans series.^[151]

On September 10, 1998, the U.S. Post Office issued a 32-cent stamp as part of its Celebrate the Century series recalling various important events in the 20th century. The stamp, designed by Howard Paine, displays the book with its original dust jacket, a white Magnolia blossom, and a hilt placed against a background of green velvet.^[151]

To commemorate the 75th anniversary (2011) of the publication of Gone with the Wind in 1936, Scribner published a paperback edition featuring the book’s original jacket art.^[152]

The Windies[edit]

The Windies are ardent Gone with the Wind fans who follow all the latest news and events surrounding the book and film. They gather periodically in costumes from the film or dressed as Margaret Mitchell. Atlanta, Georgia is their meeting place.^[153]

Legacy[edit]

One story of the legacy of Gone with the Wind is that people worldwide incorrectly think it was the «true story» of the Old South and how it was changed by the American Civil War and Reconstruction. The film adaptation of the novel «amplified this effect».^[154] The plantation legend was «burned» into the mind of the public.^[155] Moreover, her fictional account of the war and its aftermath has influenced how the world has viewed the city of Atlanta for successive generations.^[156]

Some readers of the novel have seen the film first and read the novel afterward. One difference between the film and the novel is the staircase scene, in which Rhett carries Scarlett up the stairs. In the film, Scarlett weakly struggles and does not scream as Rhett starts up the stairs. In the novel, «he hurt her and she cried out, muffled, frightened.»^[157][158]

Earlier in the novel, in an intended rape at Shantytown (Chapter 44), Scarlett is attacked by a black man who rips open her dress while a white man grabs hold of the horse’s bridle. She is rescued by another black man, Big Sam.^[159] In the film, she is attacked by a white man, while a black man grabs the horse’s bridle.

The Library of Congress began a multiyear «Celebration of the Book» in July 2012 with an exhibition on Books That Shaped America, and an initial list of 88 books by American authors that have influenced American lives. Gone with the Wind was included in the Library’s list. Librarian of Congress, James H. Billington said:

This list is a starting point. It is not a register of the ‘best’ American books – although many of them fit that description. Rather, the list is intended to spark a national conversation on books written by Americans that have influenced our lives, whether they appear on this initial list or not.^[160]

Among books on the list considered to be the Great American Novel were Moby-Dick, Adventures of Huckleberry Finn, The Great Gatsby, The Grapes of Wrath, The Catcher in the Rye, Invisible Man, and To Kill a Mockingbird.

Throughout the world, the novel appeals due to its universal themes: war, love, death, racial conflict, class, gender and generation, which speak especially to women.^[161] In North Korea, readers relate to the novel’s theme of survival, finding it to be «the most compelling message of the novel».^[162] Margaret Mitchell’s personal collection of nearly 70 foreign language translations of her novel was given to the Atlanta Public Library after her death.^[163]

On August 16, 2012, the Archdiocese of Atlanta announced that it had been bequeathed a 50% stake in the trademarks and literary rights to Gone With the Wind from the estate of Margaret Mitchell’s deceased nephew, Joseph Mitchell. Margaret Mitchell had separated from the Catholic Church.^[164] However, one of Mitchell’s biographers, Darden Asbury Pyron, stated that Margaret Mitchell had «an intense relationship» with her mother, who was a Roman Catholic.

The GI Joe: A Real American Hero character Scarlett’s last name is O’Hara and is from Atlanta, Georgia, although the code name seems to relate to her being a redhead.^[165]

Publication history[edit]

Original manuscript[edit]

Although some of Mitchell’s papers and documents related to the writing of Gone with the Wind were burned after her death, many documents, including assorted draft chapters, were preserved.^[166] The last four chapters of the novel are held by the Pequot Library of Southport, Connecticut.^[167]

Publication and reprintings (1936 – US)[edit]

The first printing of 10,000 copies contains the original publication date: «Published May, 1936». After the book was chosen as the Book-of-the-Month Club’s selection for July, the publication was delayed until June 30. The second printing of 25,000 copies (and subsequent printings) contains the release date: «Published June, 1936». The third printing of 15,000 copies was made in June 1936. Additionally, 50,000 copies were printed for the Book-of-the-Month Club July selection. Gone with the Wind was officially released to the American public on June 30, 1936.^[168]

Sequels and prequels[edit]

Although Mitchell refused to write a sequel to Gone with the Wind, Mitchell’s estate authorized Alexandra Ripley to write a sequel, which was titled Scarlett.^[169] The book was subsequently adapted into a television mini-series in 1994.^[170] A second sequel was authorized by Mitchell’s estate titled Rhett Butler’s People, by Donald McCaig.^[171] The novel parallels Gone with the Wind from Rhett Butler’s perspective. In 2010, Mitchell’s estate authorized McCaig to write a prequel, which follows the life of the house servant Mammy, whom McCaig names «Ruth». The novel, Ruth’s Journey, was released in 2014.^[172]

The copyright holders of Gone with the Wind attempted to suppress publication of The Wind Done Gone by Alice Randall,^[173] which retold the story from the perspective of the slaves. A federal appeals court denied the plaintiffs an injunction (Suntrust v. Houghton Mifflin) against publication on the basis that the book was a parody and therefore protected by the First Amendment. The parties subsequently settled out of court and the book went on to become a New York Times Best Seller.

A book sequel unauthorized by the copyright holders, The Winds of Tara by Katherine Pinotti,^[174] was blocked from publication in the United States. The novel was republished in Australia, avoiding U.S. copyright restrictions.

Away from copyright lawsuits, Internet fan fiction has proved to be a fertile medium for sequels (some of them book-length), parodies, and rewritings of Gone with the Wind.^[175]

Numerous unauthorized sequels to Gone with the Wind have been published in Russia, mostly under the pseudonym Yuliya Hilpatrik, a cover for a consortium of writers. The New York Times states that most of these have a «Slavic» flavor.^[176]

Several sequels were written in Hungarian under the pseudonym Audrey D. Milland or Audrey Dee Milland, by at least four different authors (who are named in the colophon as translators to make the book seem a translation from the English original, a procedure common in the 1990s but prohibited by law since then). The first one picks up where Ripley’s Scarlett ended, the next one is about Scarlett’s daughter Cat. Other books include a prequel trilogy about Scarlett’s grandmother Solange and a three-part miniseries of a supposed illegitimate daughter of Carreen.^[177]

Copyright status[edit]

Gone with the Wind has been in the public domain in Australia since 1999 (50 years after Margaret Mitchell’s death).^[178] On January 1, 2020, the book entered the public domain in the European Union (70 years after the author’s death). Under an extension of copyright law, Gone with the Wind will not enter the public domain in the United States until 2031.^[179]

See also[edit]

• Lost Laysen, 1916 novella also written by Margaret Mitchell
• Southern literature
• Southern Renaissance
• Le Monde‘s 100 Books of the Century

References[edit]

Further reading[edit]

• Adams, Amanda. «‘Painfully Southern’: Gone with the Wind, the Agrarians, and the Battle for the New South», Southern Literary Journal (2007) 40:58–75.
• Bevilacqua, Kathryne. «History Lessons from Gone With the Wind», Mississippi Quarterly, 67 (Winter 2014), 99–125.
• Bonner, Peter. «Lost In Yesterday: Commemorating The 70th Anniversary of Margaret Mitchell’s Gone With The Wind «. Marietta, GA: First Works Publishing Co., Inc., 2006.
• Brown, Ellen F. and John Wiley, Margaret Mitchell’s Gone With the Wind: A Bestseller’s Odyssey from Atlanta to Hollywood. Lanham, MD: Taylor Trade, 2011.
• Dickey, Jennifer W. A Tough Little Patch of History: Gone with the Wind and the Politics of Memory. Fayetteville, AR: University of Arkansas Press, 2014.
• Farr, Finis. Margaret Mitchell of Atlanta: The Author of Gone with the Wind. New York: Morrow, 1965.
• Gomez-Galisteo, M. Carmen The Wind Is Never Gone Sequels, Parodies and Rewritings of Gone with the Wind. Jefferson, NC: McFarland, 2011.
• Haag, John. «Gone With the Wind in Nazi Germany», Georgia Historical Quarterly 73#2 (1989): 278–304. in JSTOR
• Harwell, Richard, ed. Gone with the Wind as Book and Film Columbia, SC: University of South Carolina Press, 1983.
• Harwell, Richard, ed. Margaret Mitchell’s Gone with the Wind Letters, 1936–1949. New York: Macmillan, 1976.
• Haskell, Molly. Frankly My Dear: Gone with the Wind Revisited. New Haven, CT: Yale University Press, 2010.
• Pyron, Darden Asbury, ed. Recasting: Gone with the Wind in American Culture. Florida International University Press, 1983.
• Pyron, Darden Asbury. Southern Daughter: The Life of Margaret Mitchell and the Making of Gone with the Wind. Athens, GA: Hill Street Press, 1991.
• Rubin, Anne Sarah. «Revisiting Classic Civil War Books: ‘Why Gone with the Wind Still Matters; or, Why I Still Love Gone with the Wind‘«, Civil War History (March 2013) 59#1 pp 93–98 online

External links[edit]

• Gone with the Wind at Faded Page (Canada)
• Gone with the Wind (public domain in Australia) at eBooks@Adelaide (The University of Adelaide Library)
• Margaret Mitchell: American Rebel – American Masters documentary (PBS)
• The Scarlett Letter, a quarterly publication devoted to the Gone with the Wind phenomenon

August 11, 2022 5:00 AM EST

These Gone With the Wind quotes will inspire you to grab a copy of the book, or at least watch the movie!

If you have ever asked yourself (or anyone else) if Gone With The Wind “is any good”, I am not sure if we can be friends.

This story has it all: drama, war, love triangles, grief, and life lessons.

The filming of the movie itself had all of those same elements, except for war.

If you are wondering what Gone With the Wind’s most famous quote is, keep reading!

It is right at number one of these famous, bitter, romantic, and profound quotes!

It is an exceptionally well-written piece, and if you haven’t read it, I hope this snippet will inspire you to grab a copy, or at least watch the movie!

Don’t forget to also read these free spirit quotes for those with a wild heart.

If you like this article, we suggest you explore our most popular quotes article, a list of short inspirational quotes for daily encouragement. 

Read more related content on our inspirational quotes category page.

Most famous Gone With the Wind quotes

1. “Frankly, my dear, I don’t give a damn.” ― Rhett Butler

You will also enjoy our article on grandpa quotes.

2. “I’m very drunk and I intend on getting still drunker before this evening’s over.”― Rhett Butler

3. “You’d rather live with that silly little fool who can’t open her mouth except to say “yes” or “no” and raise a passel of mealy-mouthed brats just like her.” ― Scarlett O’Hara

4. “Tara! Home. I’ll go home. And I’ll think of some way to get him back.” ― Scarlett O’Hara

5. “As God is my witness they’re are not going to lick me. I’m going to live through this and when its all over, I’ll never be hungry again. No, nor any of my folk. If I have to lie, steal, cheat, or kill, as God is my witness, I’ll never be hungry again.” ― Scarlett O’Hara

Gone With the Wind quotes from Rhett Butler

6. “I can’t go all my life waiting to catch you between husbands.” ― Rhett Butler

You will also enjoy our article on Catch Me If You Can quotes.

7. “No, I don’t think I will kiss you, although you need kissing, badly. That’s what’s wrong with you. You should be kissed and often, and by someone who knows how.” ― Rhett Butler

8. “Well, my dear, take heart. Some day, I will kiss you and you will like it. But not now, so I beg you not to be too impatient.” ― Rhett Butler

9. “An apt observation,” he answered airily, “And, you, Miss, are no lady.” ― Rhett Butler

10. “Dear Scarlett! You aren’t helpless. Anyone as selfish and determined as you are is never helpless. God help the Yankees if they should get you.” ― Rhett Butler

11. “You’re so brutal to those who love you, Scarlett. You take their love and hold it over their heads like a whip.” ― Rhett Butler

12. “Never pass up new experiences Scarlett, they enrich the mind.” ― Rhett Butler

13. “No, my dear, I’m not in love with you, no more than you are with me, and if I were, you would be the last person I’d ever tell. God help the man who ever really loves you. You’d break his heart, my darling, cruel, destructive little cat who is so careless and confident she doesn’t even trouble to sheathe her claws.” ― Rhett Butler

14. “I’ve loved you more than I’ve ever loved any woman and I’ve waited for you longer than I’ve waited for any woman.” ― Rhett Butler

15. “A cat’s a better mother than you.” ― Rhett Butler

16. “I love you. Because we’re alike. Bad lots both of us.” ― Rhett Butler

17. “You’re like the thief who isn’t the least bit sorry he stole but is terribly terribly sorry he’s going to jail.” ― Rhett Butler

18. “You’re throwing away happiness with both hands and reaching out for something that will never make you happy.” ― Rhett Butler

19. “I wonder if anyone but me realizes what goes on in that head back of your deceptively sweet face.” ― Rhett Butler

20. “I want to make you faint. I will make you faint. You’ve had this coming to you for years. None of the fools you’ve known have kissed you like this – have they? Your precious Charles or Frank or your stupid Ashley… I said your stupid Ashley. Gentlemen all – what do they know about women? What do they know about you? I know you.” ― Rhett Butler

Also read these powerful Dante’s Inferno quotes highlighting central themes.

Gone With the Wind quotes from Scarlett O’Hara

21. “Great balls of fire. Don’t bother me anymore, and don’t call me sugar.” ― Scarlett O’Hara

22. “What a cool liar you are, Melly!” ― Scarlett O’Hara

23. “I can’t think about that right now. If I do, I’ll go crazy. I’ll think about that tomorrow.” ― Scarlett O’Hara

24. “Sir,” she said, “you are no gentleman!” ― Scarlett O’Hara

25. “He looks as if…as if he knows what I look like without my shimmy.” ― Scarlett O’Hara

Also read these memorable Dumb and Dumber quotes that will make your day.

Which of these Gone With The Wind quotes is your favorite?

This is my second favorite book in the world and my favorite classic movie.

How could it possibly be anything other than exquisite, between Vivien Leigh’s meme-worthy facial expressions, and Clark Gable’s tall, dark, and handsome look? 

While researching this article I discovered things about the production of the film that are shocking!

For starters, segregation was still practiced in the US and cast members, like Hattie McDaniel, were not allowed in the theaters for the premier.

She was the first black woman to win an Oscar and she deserved it for sure!

Lastly, Vivien Leigh was chosen for the role of Scarlett after producers reviewed 1400 auditions!

Which of these Gone With The Wind quotes and lines is your favorite?

Have any other quote from the movie or the book to add?

Leave it below in the comment section!

‘Gone With The Wind’ is a historical novel from the Civil War written by Margaret Mitchell and it involves the story of Scarlett O’Hara a flirtatious belle from the south and her consuming love for the seemingly unattainable Ashley.

The story is being told from the viewpoint of Scarlett O’Hara and this narrative helps the readers to comprehend her motivations and how the Civil War comes knocking at the doorstep. In a matter of months, her home, her country, and everything is jeopardized.

‘Gone With The Wind’ revolves around the triangle love story of Scarlett O’Hara, Ashley Wilkes and Rhett Butler set against the background of Civil War where Scarlett is obsessed with Ashley because she cannot have him and Rhett is in love with Scarlett. Margaret Mitchell in the story gives us a glimpse of the struggle to survive and the hardships. This book is considered a masterpiece of American literature which was adapted and made into one of the greatest movies of all time directed by Victor Fleming.

Here is a list of ‘Gone With The Wind’ quotes that are famous, romantic, and bitter and will inspire you to give it a read.

If you like this content then you will definitely like our other content on Scarlett O’Hara quotes and ‘The Sound of Music’ quotes.

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Famous Quotes From ‘Gone With The Wind’

Here is the list of curated quotes from the book which makes it one of the greatest pieces of literature.

1.  “Death, taxes and childbirth! There’s never any convenient time for any of them.”

-Scarlett O’ Hara.

2.  “Hardships make or break people.”

-Rhett Butler.

3.  “ She had become what Grandma Fontaine had counseled against, a woman who had seen the worst and so had nothing else to fear.”

-Margaret Mitchell.

4.  “It will come to you, this love of the land. There’s no gettin’ away from it if you’re Irish.”

-Gerald O’Hara.

5.  “I’d cut up my heart for you to wear if you wanted it.”

-Scarlett O’Hara.

6.  “That’s Rhett Butler. He’s from Charleston. He has the most terrible reputation.”

-Cathleen Calvert.

7.  “Life’s under no obligation to give us what we expect. We take what we get and are thankful it’s no worse than it is.”

-Ashley Wilkes.

8.  “And apologies, once postponed, became harder and harder to make, and finally impossible.”

-Scarlett O’Hara.

9.  “To her mind there were few, if any, qualities that outweighed gumption.”

-Margaret Mitchell.

10.  “Until you’ve lost your reputation, you never realize what a burden it was or what freedom really is.”

-Margaret Mitchell.

11.  “Burdens are for shoulders strong enough to carry them.”

-Margaret Mitchell.

12.  “Vanity was stronger than love at sixteen and there was no room in her hot heart now for anything but hate.”

-Scarlett O’Hara.

13.  “Life’s under no obligation to give us what we expect.”

-Margaret Mitchell.

14.  “I am afraid of facing life without the slow beauty of our old world that is gone.”

-Margaret Mitchell.

15.  “I’ll go home. And I’ll think of some way to get him back.”

-Scarlett O’Hara.

16.  “Longing hearts could only stand so much longing.”

-Margaret Mitchell.

17.  “The land is the only thing in the world worth working for, worth fighting for, worth dying for, because it’s the only thing that lasts»

-Gerald O’Hara.

18.  “The liar was the hottest to defend his veracity, the coward his courage, the ill-bred his gentlemanliness, and the cad his honor”

-Margaret Mitchell.

19.  “How closely women clutch the very chains that bind them!”

-Margaret Mitchell.

20.   “The soft green grasses where she had sat were cut to bits by heavy cannon wheels.”

—Margaret Mitchell.

21. «SCARLETT O’HARA WAS not beautiful, but men seldom realized it when caught by her charm as the Tarleton twins were.»

-Margaret Mitchell, first line of ‘Gone With The Wind’.

22.  «I’ll think of it all tomorrow, at Tara. I can stand it then. Tomorrow, I’ll think of some way to get him back. After all, tomorrow is another day.»

-Scarlett O’Hara, final lines of ‘Gone With The Wind’.

Quotes From ‘Gone With The Wind’ Movie

Here’s a list of quotes from the classic movie based on the novel of the same name.

23.  “I’ll never be hungry again. No, nor any of my folk. If I have to lie, steal, cheat or kill. As God is my witness, I’ll never be hungry again.”

-Scarlett O’Hara.

24.  “And you, miss, are no lady. Don’t think I hold that against you. Ladies have never held any charm for me.”

-Rhett Butler.

25. “You’re so brutal to those who love you, Scarlett. You take their love and hold it over their heads like a whip.”

-Rhett Butler.

26.  “Tara! Home. I’ll go home. And I’ll think of some way to get him back. After all… tomorrow is another day.”

-Scarlet O’Hara.

27.  “So I thought, why not me and my money? Really, Scarlett, I can’t go all my life waiting to catch you between husbands. ”

-Rhett Butler.

28.  “There’s one thing I do know… and that is that I love you, Scarlett. In spite of you and me and the whole world going to pieces around us, I love you. Because we’re alike. Bad lots, both of us. Selfish and shrewd. But able to look things in the eyes as we call them by their right names.”

-Rhett Butler.

29.  “War, war, war. This war talk’s spoiling all the fun at every party this spring. I get so bored I could scream. Besides, there isn’t going to be any war.

-Scarlett O’Hara.

30.  “I can shoot straight, if I don’t have to shoot too far.”

-Scarlett O’Hara.

31.  “Oh Ashley, Ashley, I love you.”

-Scarlett O’Hara.

32.  “I can’t think about that right now. If I do, I’ll go crazy. I’ll think about that tomorrow.”

-Scarlett O’Hara.

33.  “Oh, no, you ain’t. If you don’t care what folks says about this family, I does. And I done told you and told you, you can always tell a lady by the way she eats in front of people — like a bird.”

-Mammy.

34.  “Now isn’t this better than sitting at a table? A girl hasn’t got but two sides to her at the table.”

-Scarlett O’Hara.

35.  “Ooh, if I just wasn’t a lady, what wouldn’t I tell that varmint.”

-Scarlett O’Hara.

36.  “It ain’t fittin’… it ain’t fittin’. It jes’ ain’t fittin’… It ain’t fittin.”

-Scarlett O’Hara.

37.  “Mrs. Hamilton is in mourning, Captain Butler. But I’m sure any of our Atlanta belles would be proud to…”

-Dr Meade.

38.  “Marriage, fun? Fiddle-dee-dee. Fun for men you mean.”

-Scarlett O’Hara.

39.  “Oh, Miss Scarlett, I don’t know nothing ’bout birthin’ babies! I don’t know how I could’ve told such a lie!”

-Prissy.

40.  “You’d rather live with that silly little fool who can’t open her mouth except to say ‘yes’ or ‘no’ and raise a passel of mealy-mouthed brats just like her.”

-Scarlett O’Hara.

41.“Great balls of fire. Don’t bother me anymore, and don’t call me sugar.”

-Scarlett O’Hara.

42.  “Frankly, my dear, I don’t give a damn.”

-Rhett Butler.

Rhett Butler Quotes From The Book ‘Gone With The Wind’

A dark, dashing and scandalous man who brings excitement to Scarlett’s life, here’s a list of quotes from Rhett Butler.

43.  “Now that you’ve got your lumber mill and Frank’s money, you won’t come to me as you did to the jail, so I see I shall have to marry you.”

-Rhett Butler.

44. “No, my dear, I’m not in love with you, no more than you are with me, and if I were, you would be the last person I’d ever tell. God help the man who ever really loves you. You’d break his heart, my darling, cruel, destructive little cat who is so careless and confident she doesn’t even trouble to sheathe her claws.”

-Rhett Butler.

45.  “Well, my dear, take heart. Some day, I will kiss you and you will like it. But not now, so I beg you not to be too impatient.”

-Rhett Butler.

46. “I’ve loved you more than I’ve ever loved any woman and I’ve waited for you longer than I’ve waited for any woman.”

-Rhett Butler.

47.  “I want to make you faint. I will make you faint. You’ve had this coming to you for years. None of the fools you’ve known have kissed you like this – have they? Your precious Charles or Frank or your stupid Ashley… I said your stupid Ashley. Gentlemen all – what do they know about women? What do they know about you? I know you.”

-Rhett Butler.

48. “A cat’s a better mother than you.”

-Rhett Butler.

49.  “You still think you’re the cutest trick in shoe leather.”

-Rhett Butler.

50.  “Take a good look my dear. It’s an historic moment you can tell your grandchildren about — how you watched the Old South fall one night.”

-Rhett Butler.

51.  “My darling, you’re such a child. You think that by saying, ‘I’m sorry,’ all the past can be corrected.”

-Rhett Butler.

52. “No, I don’t think I will kiss you, although you need kissing, badly. That’s what’s wrong with you. You should be kissed and often, and by someone who knows how.”

-Rhett Butler.

53. “I’m very drunk and I intend on getting still drunker before this evening’s over.”

-Rhett Butler.

Here at Kidadl, we have carefully created lots of interesting family-friendly quotes for everyone to enjoy! If you liked our suggestions for quotes from ‘Gone with The Wind’ then why not take a look at quotes from ‘Beowulf’, or quotes from ‘Frankenstein’.