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19C Authors

tutorials, commentaries, and study guides on nineteenth century authors, biographical notes, and literary criticism

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Jane Austen web links

December 9, 2010 by Roy Johnson

a selection of web-based archives and resources

This short selection of Jane Austen web links offers quick connections to resources for further study. It’s not comprehensive, and if you have any ideas for additional resources, please use the ‘Comments’ box below to make suggestions.

Jane Austen - portrait

Jane Austen Jane Austen at Mantex
Biographical notes, book reviews, study guides, videos, and web links.

Jane Austen web links Jane Austen at Project Gutenberg
A major collection of free eTexts in a variety of formats.

Wikipedia Jane Austen at Wikipedia
Biographical notes, social background, further reading, and web links.

Film adaptations Jane Austen at the Internet Movie Database
Adaptations for the cinema and television – in various languages. Full details of directors, actors, production, box office, film reviews, trivia, and even quizzes.

Birthplace Jane Austen’s House Museum in Chawton
Resources and a virtual tour at the house where Jane Austen was born. Contains an online shop, educational materials, and links to YouTube videos of conferences and celebration events.

Bath The Jane Austen Centre in Bath
Web site of the exhibition centre, featuring bus tours in the city , a newsletter, online shop, and a Jane Austen quiz.

Pemberley The Republic of Pemberley
Large-scale site covering resources. free eTexts, and discussion groups engaged in ongoing debates about the novels and their characters, plus lists of names and places.

Complete works The Complete Works of Jane Austen
Kindle eBook single download for £0.74 at Amazon – contains all the novels, plus early works. The equivalent of 2,250 pages of text.

Austen Society The Jane Austen Society of the UK
Web site of the semi-academic society, featuring publications, meetings, and discussion groups – plus items on clothing and forthcoming events.

Concordance A Hyper-Concordance to Jane Austen
Japan-based research tool which allows you to locate any word or phrase in context – covers all the novels and the early works.

Resources Jane Austen in Japan
Home pages of Jane Austen web sites, eTexts of all the novels, discussion groups, and academic resources. The work of Victorian specialist Mitsuharu Matsuoka.

Manuscripts Jane Austen’s Fiction Manuscripts
Digitised facsimilies of works in her own handwriting – 1,100 pages – see the original manuscripts of the novels in Jane Austen’s own writing, complete with scholarly annotated print versions of the text.


Cambridge Companion The Cambridge Companion to Jane Austen This fully updated edition offers clear, accessible coverage of the intricacies of Austen’s works in their historical context, with biographical information and suggestions for further reading. Major scholars address Austen’s six novels, the letters and other works, in terms accessible to students and the many general readers, as well as to academics. With seven new essays, the Companion now covers topics that have become central to recent Austen studies, for example, gender, sociability, economics, and the increasing number of screen adaptations of the novels.

© Roy Johnson 2010


Filed Under: Jane Austen Tagged With: English literature, Jane Austen, Literary studies, The novel

Jude the Obscure

October 11, 2016 by Roy Johnson

tutorial, study guide, resources, and web links

Jude the Obscure (1895) was the last of Thomas Hardy’s novels, and it is generally regarded as expressing his most tragic vision of the world. The novel was subject to extensive censorship on grounds of blasphemy and indecency when it was first published. It was this interference with the creative process that led Hardy to give up writing novels. After this point he concentrated instead on writing poetry, and went on to produce some of the greatest and most influential poems of the twentieth century.

Jude the Obscure

In the novel Hardy explores themes that had interested him throughout his career as a novelist – education, class, sexuality, craftsmanship and tradition, the condition of marriage, and the forces of society and conventions that thwart individual ambition.


Jude the Obscure – a note on the text

The novel had a long and complex genesis. Hardy began its composition in 1890, writing from notes he had made in 1887. He worked on the narrative between 1892 and 1894, and it first saw light of day as a serial story in Harper’s New Monthly Magazine published simultaneously in London and New York.

During this time it had three separate titles – The Simpletons, Hearts Insurgent, and The Recalcitrants before Hardy settled on the final title. However, the text of this early version was heavily bowdlerised, and some of the incidents in the story were significantly different from the story in its final edited version.

The novel first appeared in volume form in 1895, published by Osgood McIlvaine. For this edition Hardy restored some of the missing scenes and put slightly different emphasis on the behaviour and motivation of his characters. It was not until Hardy revised the text for the 1912 edition of the ‘Wessex Edition’ of his novels published by Macmillan that the text became ‘stable’.

For a full account of the history of the text, see Patricia Ingham’s study The Evolution of Jude the Obscure.


Jude the Onscure – critical commentary

Structural parallels

Most readers will have little difficulty spotting the structural elements of the novel that twin and echo each other. Jude Fawley marries Arabella Donn, and lives to regret it. Then Sue Bridehead marries Richard Phillotson, and the result is the same. These parallels constitute the first part of the novel.

Sue and Jude then begin to live together, even though they are not married, but society puts obstacles in their way, because of the prejudice against ‘living in sin’. At this stage both Sue and Jude are both technically still married to other people. Jude is married to Arabella who has gone to Australia, and Sue is married to Phillotson, but has separated from him.

In an attempt to break the prejudice that society has against them, Jude and Sue both secure divorces, but they then live in a state of ambiguity. Many of the other characters they live amongst continue to imagine that they are either adulterous or bigamous. The couple make matters worse for themselves by pretending to get married, but they do not actually go through a formal ceremony. These events constitute the two main central sections of the novel.

Finally, Sue decides she must re-marry Phillotson even though she does not love him and finds him physically repulsive. Then Jude too re-marries Arabella (in a drunken stupor). The outcomes are equally disastrous for both characters. For Sue it is a living death, and for Jude it is death itself. These are the closing chapters of the novel. It is not surprising that many readers find these outcomes unbearably tragic – especially so since Jude’s son murders his brother and sister, then hangs himself.

The sensation novel

In the latter part of the nineteenth century there was a vogue for what was called the ‘sensation novel’. These were novels which featured plot elements of murder, disguise, bigamy, madness, blackmail, fraud, theft, kidnapping, incarceration, or disputed wills. They were a sort of half-way house between the conventional novel of social life and the Gothic horror story which also might include ghosts, vampires, ruined castles, and dead bodies.

Hardy steers clear of the Gothic, but he comes close to the sensation novel in his exploration of personal relationships, sexuality, and the conventions of marriage in Jude the Obscure. All the problems of censorship he endured at the first publication of the novel hinged on infractions of what were considered acceptable topics for polite literature.

At a very minor level, Arabella traps Jude into marriage by pretending to be pregnant after they first start their relationship. In other words, they have had sex before marriage – a phenomenon Hardy had featured in many of his other novels and stories – often citing ‘rural customs’ as justification.

Arabella leaves Jude, goes to Australia, and marries another man. She is therefore committing bigamy – but she argues on return that nobody worries about such matters “in the Colony”. When she returns to work at the modernised bar in Christminster, she and Jude spend the night together. The situation is morally problematic: she is technically bigamous – married to two men at the same time. But Jude has a sexual encounter with her that night (about which he later feels ambivalent). Actually, they are married to each other, but since she is also married to someone else (illegally) Jude is guilty by association. Jude however has the slim moral consolation that he does not know she is married to someone else until the next morning.

Jude and Sue spend a number of years living together even though they are not married – during which time they have two children. Hardy’s ‘argument’ against the conventions surrounding conventional marriage are that this period of their lives represents a ‘marriage of true minds’ [Shakespeare: Sonnet 113] as well as bodies (though these are not mentioned). Jude abd Sue are harassed for defying conventions, but they truly love and understand each other.

However, to live in defiance of society has its costs. They find it difficult to find accommodation, and eventually Sue undergoes a religious conversion that leads her into a state of mind in which she feels compelled to obey the letter of the law which she swore in marrying Phillotson. Since she does not love him and feels physically repelled by him, this a form of masochistic self-punishment.

In reaction to this turn of events, Jude does the same thing in re-marrying Arabella – a woman who he does not love, and the results are similarly negative. Hardy is using elements of the sensation novel to highlight his criticisms of the conventions and taboos surrounding marriage. The sensation elements are – bigamy, people ‘living in sin’, children born out of wedlock, and even the murder of children and suicide at the hands of Little Father Time.

Education

The most important secondary theme of the novel is education – and its relation to social class. Jude is the brightest student of the schoolmaster Phillotson, who at the start of the novel is leaving Marygreen to go to Christminster (Oxford) with the ambition of graduating and becoming a clergyman. Hardy accurately captures the relationship between the church and higher education that existed at that time. The sons of middle and upper class families would be privately educated, then expected to go to university as a natural step towards joining the professions – the church, law, medicine, or the army.

Phillotson does not make the grade. He remains a school teacher, and is even demoted to a teaching assistant because of his unorthodox personal life when he condones Sue’s leaving him to live with Jude. This is frowned upon socially, and it is significant that one of his reasons for re-marrying Sue is that it will enhance his chances of professional promotion.

Jude is a similar case – trapped as he is in an upper working class existence, He has the natural talents to teach himself Latin and Greek, which at that time were thought to be the natural subjects of study in what we now call higher education. As a stonemason he knows he has little chance of escaping his social status, yet he is aware that some provision was being made for working students in the universities

Once again Hardy was entirely accurate historically. Ruskin College Oxford was established in 1899 for the education of working men, and the Cambridge ‘extension classes’ were instituted around the same time – though these were to ‘offer’ academic lectures to working people, rather than enrolling them as students who might graduate.

Jude is enterprising enough to write to one of the college masters for advice on gaining entry – only to be rebuffed by a reply telling him he would do better to remain in his present station. Jude is mortified by this response, and it contributes to his growing sense of disillusionment.

Ultimately he is employed in repairing the stonework of the very buildings that have housed the rejection of him intellectual aspirations. The tragic decline of his hopes reaches its nadir when he denounces the former university luminaries who were formerly his cultural heroes.

This thwarting of intellectual ambitions, combined with the problems of his personal life, contribute powerfully to the tragic sense of resolution in the novel. This double sense of disappointment for the characters may be one of the reasons many readers find the novel a difficult literary experience to endure.


Jude the Onscure – study resources

Jude the Obscure Jude the Obscure – Oxford Classics – Amazon UK

Jude the Obscure Jude the Obscure – Oxford Classics – Amazon US

Jude the Obscure Jude the Obscure – Penguin Classics – Amazon UK

Jude the Obscure Jude the Obscure – Penguin Classics – Amazon US

Jude the Obscure Jude the Obscure – Wordsworth Classics – Amazon UK

Jude the Obscure Jude the Obscure – Wordsworth Classics – Amazon US

Jude the Obscure Jude the Obscure – York Notes – Amazon UK

Jude the Obscure The Complete Works of Thomas Hardy – Kindle eBook

Jude the Obscure


Jude the Onscure – chapter summaries

Part First- at Marygreen

I – i   Richard Phillotson takes leave of his favourite pupil Jude Fawley as he goes to Christminster to pursue his ambition of obtaining a degree and becoming a clergyman.

I – ii   Farmert Troutham beats and sacks Jude from his job of scaring birds off the corn. Jude’s great-aunt reproaches him, and he feels he does not want to be grown up. He walks out of the village to look towards Christminster.

I – iii   Jude looks on Christchurch from afar, investing it with romantic powers. A group of wagoners he meets reinforce the notion that life there is lived on a higher plane.

I – iv   The quack physician Vilbert promises to bring Jude his old Latin and Greek primers – but fails to do so. Jude writes to Phillotson for grammar guides, but is disappointed when they do not offer simple formulas for translation.

I – v   Jude expands his aunt’s bakery business and reads classics whilst making his deliveries. He then becomes an apprentice stonemason in a nearby town.

I – vi   Whilst dreaming of Christminster Jude meets Arabella when she throws a pig’s penis at him. He is powerfully attracted to her.

I – vii   Next day despite his wish to study, he goes out with Arabella and they very rapidly become close. Arabella discusses her success with friends, who advise her to secure such a good prospect of marriage by entrapment.

I – viii   Arabella flirts with Jude and leads him on. Arranging for her parents to be absent, she and Jude end up in her house alone at night – upstairs.

I – ix   Two months later Arabella announces that she is pregnant. Jude is only nineteen when he marries her. However, she later reveals that she was ‘mistaken’. Jude immediately feels trapped.

I – x   Jude and Arabella inefficiently kill the pig they have been fattening. They argue about the origin and the state of their marriage.

I – xi   Next day they quarrel again. Jude feels that his marriage is a disaster. He learns from his aunt that bad marriages are a feature of the Fawley family. He thinks of suicide, then gets drunk. When he arrives home Arabella has left – and she emigrates to Australia with her parents.

Part Second – Christminster

II – i   Three years later Jude arrives in Christminster (prompted by a photo of Sue Bridehead, his cousin). He wanders through the city at night, invoking the spirit of its former luminaries.

II – ii   Jude looks for work as a stonemason and also locates Sue Bridehead. He has promised his aunt he will not pursue any sort of romantic liaison with her

II – iii   Jude traces Sue to a Sunday service in church, but still does not approach her, mindful of his still being married. Sue buys two figures of pagan gods Venus and Apollo and keeps them in her room.

II – iv   Jude is consumed by his sexual desire for Sue, but he still regards his marriage vows as a hindrance – until he gets a note form Sue introducing herself as his cousin. They visit Phillotson, who goes on to hire Sue as an assistant teacher.

II – v   Sue is successful as a teacher, and Phillotson begins to develop a romantic interest in her. Jude is disappointed, but feels he is hamstrung because of his marriage to Arabella.

II – vi   Jude is warned again by his aunt to stay away from Sue. He despairs of his plans to become a student, and receives a crushing reply to a letter requesting advice from a college Master.

II – vii   Jude is completely despondent. He resorts to drink, recites Latin in the pub, and goes back to. Marygreen, where he talks about joining the church.

Part Third – at Melchester

III – i   Jude and Sue both move to Melchester to study. She tells him she is engaged to Phillotson, who she will marry after her two years of study.

III – ii<   Jude and Sue spend a day in the countryside and miss the last train home. They stay overnight in a shepherd’s cottage.

III – iii   The next day Sue is reprimanded by her college for staying out. She escapes from confinement, crosses a river, and goes to Jude, who dresses her in his spare clothes.

III – iv   Sue tells Jude about her sexless relationship with a young undergraduate. They exchange criticisms of Christminster, and she promises not to vex him with her religious scepticism.

III – v   Sue moves to Shaston a nearby town and she is dismissed from the college for disgraceful behaviour with Jude. He visits her, even though she is very capricious towards him. He has still not told her he is married.

III – vi   Richard Phillotson has also moved to Shaston. He visits Melchester and learns that Sue has been expelled. At the cathedral he meets Jude, who explains the truth about what happened. Jude meets Sue and tells her about Arabella. They part as friends, not lovers.

III – vii   Sue decides to marry Phillotson, and asks Jude to give her away at the wedding. She rehearses the ceremony with Jude in an empty church.

III – viii   On a visit back to Christminster Jude meets Arabella working in a modernised pub. She persuades him to stay overnight in a nearby village.

III – ix   Next day Arabella reveals that she contracted a bigamous marriage whilst in Australia. They part inconclusively. He meets Sue and they travel to Marygreen where their aunt is ill. Sue reveals that whilst Phillotson is honourable, she regrets marrying him. Jude gets a letter from Arabella, telling him she is re-joining her Australian husband in London

III – x   Jude visits the composer of an affecting hymn, hoping to share spiritual confidences – only to find him setting up a wine franchise.

Part Fourth – at Shaston

IV – i   Jude visits Sue at her school in Shaston. They are very close, but then she capriciously makes him leave.

IV – ii   Jude’s aunt dies. He meets Sue for the funeral. She reveals her ‘repugnance’ for Phillotson, and she feels trapped in the conventions of marriage.

IV – iii   Jude cannot reconcile his sexual desire for Sue with his religious aspirations – so he burns his books. Sue asks Phillotson if she can go to live with Jude. They exchange notes between their classrooms discussing the matter.

IV -iV   Phillotson consults his friend Gillingham, who advises him to avoid scandal. But Phillotson has come round to a full understanding and acceptance of Sue’s position, and he agrees to let her leave.

IV – v   Jude and Sue elope together. She insists that they are to be ‘just ‘good friends’ and she behaves in a tantalising, contradictory manner towards him. They stay in separate rooms. Arabella has meanwhile asked for a divorce.

IV – vi   Phillotson is asked to resign because of the scandal, but he refuses and defends himself at a public enquiry, then becomes ill. Sue visits him compassionately He asks her to stay, but she refuses – so he thinks to divorce her.

Part Fifth – at Aldbrickham

V – i   The following year both Arabella’s and Phillotson’s divorces become absolute, but Sue does not want to marry Jude. They live together chastely, in separate rooms in the same house.

V – ii   Arabella calls at the house asking for help. When Jude offers to see her, Sue puts up a jealous protest, and in the end offers herself sexually to Jude if he agrees not to help Arabella. Next day Sue exchanges views on Jude and marriage with Arabella, who is going back to her Australian husband.

V – iii   Sue and Jude agree to delay getting married. A letter from Arabella reveals the existence of Jude’s son, who turns up the very next day – an old man in a boy’s body. Sue agrees to be like a mother to him.

V – iv   Sue and Jude go off to the registry office to get married, but they are frightened off by the bad state of other couples there. They go into a church to watch a religious ceremony and come to the same conclusion – that for them marriage would be a dangerous and bad risk.

V – v   Arabella and her husband see Sue and Jude at an agricultural fair. Despite their closeness, Arabella thinks she intuits Sue’s lack of passion. She buys a quack love philtre from Vilbert.

V – vi   Sue and Jude go secretly to London and let it be known they are married. They secure a church restoration commission together, but are dismissed because the locals think they are not married. Jude. Is forced to auction the family furniture.

V – vii   Three years later Sue has two children, Jude is ill, and they have the widow Endlin living with them. Arabella, now a widow, meets Sue whilst she is selling ginger cakes at an agricultural fair at Kennetbridge.

V – viii   Driving back from the fair, Arabella decides she wants Jude back again. She meets Phillotson, who is living in reduced circumstances. Jude decides he wants to go back to Christminster.

Book Sixth – at Christminster again

VI- i   Jude and family arrive in Christminster on Founders’ Day and he is humiliated again over his academic ‘failure’ They cannot find accommodation, and Sue is asked to leave one house because she admits to not being married.

VI – ii   Father Time reproaches Sue for having so many children, then he hangs her son and daughter and himself ‘because we are so many’. When the children are buried Sue wants to open the coffins to see them one last time. Later the same day she gives birth to a dead child.

VI – iii   Sue and Jude recover financially, but Sue falls into intellectual despair and wishes to punish herself. She feels that their relationship has been wrong, self-indulgent, and that she really still belongs to Phillotson. She and Jude argue over this reversal in her beliefs. She insists that Jude leave her and that they revert to being just friends.

VI – iv   Phillotson is brought abreast of events by Arabella. He thinks to accept Sue back again, and writes to tell her so. Sue announces to Jude that she is going to re-marry Phillotson, even though she does not love him.

VI – v   Sue returns to Phillotson, but is forcing herself on principle. He plans a wedding for the next day. Widow Edlin thinks it is an ill-advised venture. They marry in a joyless manner, and Phillotson accepts that the marriage will be loveless and sexless – but good for his career prospects.

VI – vi   Arabella argues with her father and asks Jude for temporary shelter. She brings him news of Sue’s marriage, which sends him back to the public house to drown his sorrows. Arabella gets him drunk, then seduces him.

VI – vii   Arabella moves Jude into her father’s house with an intention of re-marrying him. She organises an all-night drinking party, then the following morning Jude marries her for a second time whilst he is still drunk.

VI – viii   Jude falls ill, and gets Arabella to write to Sue, asking to see her again. But Arabella doesn’t post the letter. Jude goes in the rain to see Sue. They reproach each other, declare their enduring love, then separate.

VI – ix   Arabella meets Jude at the station, and they walk through Christminster whilst he repudiates all his old intellectual heroes. Sue thinks she must make the ultimate sacrifice of making herself sexually available to Phillotson – which she does with great reluctance and distaste.

VI – x   Jude becomes ill again. Mrs Edlin tells him about Sue’s capitulation to Phillotson, and it breaks his spirit. Arabella flirts with the quack doctor Vilbert.

VI – xi   Arabella checks on Jude, and finds he is dead. She nevertheless goes out to the boating party in Christminster with Vilbert. Two days later Mrs Edlin and Arabella exchange views across Jude’s open coffin. Mrs Edlin reports that Sue is worn down and miserable. Arabella thinks that Sue will not feel any peace until death finds her.


Jude the Obscure – principal characters
Jude Fawley young stonemason with academic ambitions
Sue Bridehead Jude’s free-spirited but frigid cousin
Arabella Donn sensuous daughter of a pig farmer
Richard Phillotson a rather puritanical schoolmaster
Little Father Time Arabella and Jude’s melancholy son
Pruscilla Fawley Jude’s great-aunt
Mr Vilbert a quack physician
Mr Cartlett Arabella’s Australian husband

Hardy’s study

Thomas Hardy's study

reconstructed in Dorchester museum


Jude the Obscure – further reading

Jude the Obscure The Cambridge Companion to Thomas Hardy – Amazon UK

Jude the Obscure The Complete Critical Guide to Thomas Hardy – Amazon UK

Jude the Obscure Authors in Context – Thomas Hardy – Amazon UK

Jude the Obscure Oxford Reader’s Companion to Hardy – Amazon UK

Jude the Obscure Thomas Hardy: The Tragic Novels – Amazon UK

The Return of the Native Thomas Hardy: The Tragic Novels – Amazon US

Jude the Obscure A Companion to Thomas Hardy – Amazon UK

Jude the Obscure Palgrave Advances in Thomas Hardy Studies – Amazon UK


Other works by Thomas Hardy

Thomas Hardy Tess of the d'UrbervillesTess of the d’Urbervilles (1891) is probably the most popular of Hardy’s late, great novels. The sub-title is ‘A Pure Woman’, and it is a story which explores the tragic consequences of a young milkmaid who becomes the victim of the men she encounters. First she falls for the spiritual but flawed Angel Clare, and then the physical but limited Alec Durberville takes advantage of her. This novel has some of the most beautiful and the most harrowing depictions of rural working conditions which reveal Hardy as a passionate advocate for those who work the land. It also has a wonderfully symbolic climax at Stonehenge on Salisbury Plain. There is poetry in almost every page.
Thomas Hardy Tess of the d'Urbervilles Buy the book at Amazon UK
Thomas Hardy Tess of the d'Urbervilles Buy the book at Amazon US

 

The WoodlandersThe Woodlanders (1887) Giles Winterbourne, an honest woodsman, suffers with the many tribulations of his selfless love for Grace Melbury, a woman above his station in this classic tale of the West Country. She marries the new doctor, Edred Fitzpiers, but leaves him when she learns he has been unfaithful. She turns instead to Giles, who nobly allows her to sleep in his house during stormy weather, whilst he sleeps outside and brings on his own death. It’s often said that the hero of this novel is the woods themselves – so deeply moving is Hardy’s account of the timbered countryside which provides the backdrop for another human tragedy and a study of rural life in transition.
Thomas Hardy The Woodlanders Buy the book at Amazon UK
Thomas Hardy The Woodlanders Buy the book at Amazon US

 

Wessex TalesWessex Tales Don’t miss the skills of Hardy as a writer of shorter fictions. None of his short stories are really short, but they are beautifully crafted. This is the first volume of his tales in which he was seeking to record the customs, superstitions, and beliefs of old Wessex before they were lost to living memory. Yet whilst dealing with traditional beliefs, they also explore very modern concerns of difficult and often thwarted human passions which he developed more extensively in his longer works.
Thomas Hardy Wessex Tales Buy the book at Amazon UK
Thomas Hardy Wessex Tales Buy the book at Amazon US


Thomas Hardy – web links

Jude the Obscure Thomas Hardy at Mantex
Biographical notes, study guides to the major novels, book reviews. bibliographies, critiques of the shorter fiction, and web links.

Jude the Obscure The Thomas Hardy Collection
The complete novels, stories, and poetry – Kindle eBook single file download for £1.29 at Amazon.

Jude the Obscure Thomas Hardy at Project Gutenberg
A major collection of free eTexts in a variety of digital formats.

Jude the Obscure Thomas Hardy at Wikipedia
Biographical notes, social background, the novels and literary themes, poetry, religious beliefs and influence, biographies and criticism.

Jude the Obscure The Thomas Hardy Society
Dorset-based site featuring educational activities, a biennial conference, a journal (three times a year) with links to the texts of all the major works.

Jude the Obscure The Thomas Hardy Association
American-based site with photos and academic resources. Be prepared to search and drill down to reach the more useful materials.

Jude the Obscure Thomas Hardy on the Internet Movie Database
Adaptations for the cinema and television – in various languages. Full details of directors, actors, production features, box office, film reviews, and even quizzes.

Jude the Obscure Thomas Hardy – online literary criticism
Small collection of academic papers and articles ‘favoring signed articles by recognized scholars and articles published in peer-reviewed sources’.

Jude the Obscure Thomas Hardy’s Wessex
Evolution of Wessex, contemporary reviews, maps, bibliography, links to other web sites, and history.

© Roy Johnson 2016


More on Thomas Hardy
More on the novella
More on literary studies
More on short stories


Filed Under: Thomas Hardy Tagged With: English literature, Literary studies, The novel, Thomas Hardy

La Comedie Humaine

June 23, 2018 by Roy Johnson

La Comédie Humaine is the title Balzac gave to an epic series of novels and stories he wrote depicting French society in the first part of the nineteenth century. It comprises almost 100 finished and fifty unfinished works. The first parts were written without any overall plan, but by 1830  he began to group his first novels into a series called ‘Scènes de la vie privée’.

Gobseck

Honore de Balzac

In 1833, with the publication of Eugenie Grandet, he envisioned a second series called ‘Scènes de la vie de province’. He also devised the strategy of creating characters who were introduced in one novel and then reappeared in another.

This literary technique was a direct reflection of the fact that his novels were serialised in newspapers and magazines. Serial publication was the nineteenth century equivalent of the modern soap opera and the twenty-first century television drama series. Balzac first used this device in his novel of 1834, Le Père Goriot.

He then devised an even more elaborate structure for subsequent works which included private, provincial, and Parisian life, plus political, military, and country life. As the stories, novellas, and novels were moved from one part of this conceptual framework to another, he changed their titles and put them into new groups.

As an enterprising businessman, he also re-published the works in book format and made more money out of the same product. However, he was always hopelessly insolvent – largely because of his lavish life style and because he was paying off the debts on various failed business enterprises.

The logic of this structural framework for his fiction is not always convincing. Lost Illusions for instance is categorised as part of ‘Scenes from Provincial Life’ – and it’s true that the events of the narrative begin and end in Angouleme in south-west France. Yet the majority of the novel takes place in Paris, in a very urban, indeed a metropolitan city.

Balzac actually believed that his grand design and enterprise was something of a quasi-scientific study or research project:

Society resembles nature. For does not society modify Man, according to the conditions in which he lives and acts, into men as manifold as the species in Zoology?

This is essentially a materialist philosophy of the world – one which sees the larger forces in society shaping how people behave and what they believe – rather than the other way round. It is very close to what Marx and Engels only a few years later formulated as classic Marxism. This possibly explains why Balzac was one of the writers they most admired, because he revealed the links between capital accumulation and the ideology of the ruling class.

Balzac also regarded himself as a historian of manners, basing the wide scope of his scheme on the example of Walter Scott, whose work was popular throughout Europe at that time.

French society would be the real author. I should only be the secretary.

He believed that his work should vigorously exalt the Catholic Church and the Monarchy. But he also thought that it was his duty to show the real social forces at work as people fought for their existence in what we would now call a Darwinian struggle for survival. Fortunately for us, his artistic beliefs outweigh his religious and political opinions – though it has to be said that there are many passages of overt proselytising in his work.

Given the interlocking nature of these works and taking into account the huge scale of his endeavour, it is not surprising that the scheme was never completed. Balzac was dead by the age of fifty-two – worn out with overwork.

Notwithstanding the incomplete nature of this grand project, one glance at the lists below reveals the prodigious nature of Balzac’s sheer productivity. There are years in which he wrote not one but two and even three novels that are now considered masterpieces of European literature.


La Comedie Humaine

1901 edition in sixteen volumes


La Comedie Humaine

Scenes de la vie privee

1829.   At the Sign of the Cat and Racket   (novel)
1830.   The Ball at Sceaux   (novella)
1830.   Vendetta   (novella)
1830.   A Second Home   (novella)
1830.   Study of a Woman   (story)
1830.   Domestic Peace   (story)
1830.   Gobseck   (novel)
1831.   The Grand Breteche   (story)
1832.   La Grenadiere   (story)
1832.   The Deserted Woman   (story)
1832.   Madame Firmiani   (story)
1832.   A Woman of Thirty   (novel)
1832.   Colonel Chabert   (novella)
1832.   The Purse   (story)
1834.   Father Goriot   (novel)
1835.   The Atheist’s Mass   (story)
1835.   The Marriage Contract   (novel)
1836.   The Commission in Lunacy   (novella)
1836.   Albert Savarus   (novella)
1838.   A Daughter of Eve   (novel)
1839.   Beatrix   (novel)
1841.   Letters of Two Brides   (novel)
1842.   A Start in Life   (novel)
1842.   Another Study of Woman   (story)
1843.   The Imaginary Mistress   (novella)
1843.   Honorine   (novella)
1844.   Modeste Mignon   (novel)

Scenes from Provincial Life

1832.   The Vicar of Tours   (novella)
1833.   Eugenie Grandet   (novel)
1833.   The Illustrious Gaudissart   (story)
1836.   The Old Maid   (novel)
1837.   Two Poets   (novel)
1839.   The Collection of Antiquities   (novel)
1839.   A Distinguished Provincial   (novel)
1840.   Pierrette   (novel)
1841.   Ursule Mirouet   (novel)
1842.   The Black Sheep   (novel)
1843.   The Muse of the Department
1843.   Eve and David   (novel)

Scenes from Parisian Life

1836.   Facino Cane   (story)
1837.   Cesar Birotteau   (novel)
1837.   A Harlot High and Low   (novel)
1838.   The Firm of Nucingen   (novel)
1838.   Esther Happy   (novel)
1838.   The Government Clerks
1838.   The Wrong Side of Paris
1840.   Secrets of the Princessm de Cadignan
1840.   Sarrasine   (novella)
1840.   Pierre Grassou   (story)
1843.   What Love Costs an Old Man   (novel)
1844.   A Prince of Bohemia
1846.   The End of Evil Ways   (novel)
1846.   A Man of Business
1846.   Gaudissart II
1846.   The Unconscious Comedians
1847.   The Last Incarnation of Vautrin   (novel)
1854.   The Lesser Bourgeoisie

The Thirteen

1833.   Ferragus   (novel)
1834.   The Duchess of Langeais   (novel)
1835.   The Girl with the Golden Eyes   (novel)

Poor Relations

1846.   Cousin Bette   (novel)
1847.   Cousin Pons   (novel)

Scenes from Political Life

1830.   An Episode Under the Terror   (story)
1840.   Z. Marcas   (novella)
1841.   A Murky Business   (novel)
1847.   The Election

Scenes from Military Life

1829.   The Chouans   (novel)
1830.   A Passion in the Desert

Scenes from Country Life

1833.   The Country Doctor   (novel)
1835.   The Lily of the Valley   (novel)
1839.   The Village Rector   (novel)
1844.   The Peasants

Philosophical Studies

1830.   Farewell
1830.   El Verdugo   (story)
1831.   The Conscript   (story)
1831.   The Wild Ass’s Skin   (novel)
1831.   The Hated Son
1831.   Christ in Flanders
1831.   The Unknown Masterpiece   (story)
1831.   Maitre Cornelius
1831.   The Red Inn   (story)
1831.   The Elixir of Life
1831.   The Exiles   (novel)
1832.   Louis Lambert   (novel)
1834.   The Quest of the Absolute   (novel)
1834.   A Drama on the Seashore   (story)
1834.   The Maranas
1835.   Melmoth Reconciled
1835.   Seraphita   (novel)
1837.   Gambara   (story)
1839.   Massimilia Doni   (story)
1842.   About Catherine de Medici

Analytical Studies

1829.   The Physiology of Marriage
1846.   Little Miseries of Conjugal Life

© Roy Johnson 2018


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Lady Audley’s Secret

July 31, 2016 by Roy Johnson

tutorial, study resources, and chapter summaries

Lady Audley’s Secret was one of the best-selling novels of the nineteenth century – outselling even Dickens, Wilkie Collins, and other popular writers of the period. It belongs to a literary genre known as the ‘sensation novel’ which preceded (and overlapped with) the vogue for Gothic horror stories that became popular later in the century.

Lady Audley's Secret - a tutorial

Indeed Braddon produced her own version of a vampire novel The Good Lady Ducayne in 1896 – which was her sixty-ninth novel. She was known as the ‘queen of the circulating libraries’ because of her enormous productivity and her ability to supply the popular demand for dramatic fiction. She is now mainly remembered for this one novel – and it has to be said that whatever its shortcomings, it is a novel which once read, will not easily be forgotten.


Lady Audley’s Secret – a note on the text

Lady Audley’s Secret first appeared. as weekly instalments in the magazine Robin Goodfellow, running from July to Septermber 1861. It was then serialized as monthly instalments in the Sixpenny Magazine between January and December 1862. The first three-volume book edition was published by Tinsley Brothers in October 1862. Elizabeth Braddon made substantial additions (and some deletions) as the novel passed through new editions. For a detailed account of these changes see the Oxford University World’s Classics edition.

This publishing history emphasises Braddon’s completely professional approach to writing novels as a career and a source of income. Each of these commercial formats (magazines and books) were aimed at slightly different readers, and she maximised her financial success by exploiting both popular and intellectual readerships. Braddon made a lot of money from the sales of this one novel – enough for her to remain financially independent for the rest of her life. Her publisher William Tinsley also made enough to build a villa on the Thames at Barnes, which he called very appropriately ‘Audley Lodge’.


Lady Audley’s Secret – critical commentary

This murder-mystery novel was very successful when it first appeared, and Lady Audley’s Secret remains an excellent example of its kind – to remind us that the serialized narrative with multiple plot lines was a staple of the Victorian circulating libraries – and that it remains a strand of popular culture today in its contemporary forms of the soap opera and the multi-part television series.

Despite its suspense, mystery, multiple plot lines, and the intriguing relationships of its characters, Lady Audley’s Secret is founded upon a rather weak proposition. The novel is based on the idea that a rich aristocrat would marry an unknown person without making any enquiry into her family background or social provenance. Sir Michael Audley is a peer of the realm, and no matter how he might be enchanted by a pretty face and golden curls, it is almost unthinkable that such a man would marry someone who came from what turns out to be a dubious background. She has a father who is a drunk and a mother who is mad, and she herself is already married.

This would be statistically unlikely, since the aristocracy traditionally guarded its priviledges and power largely on the basis of inherited wealth and would not wish to dilute any of that power by marriage and association with a lower class. However, it has to be said that Lady Audley’s Secret is based upon the real life scandal and mystery of 1860 in which Constance Kent was convicted of murder based on the fact that her father had married a second time

Braddon also takes some liberties with the presentation of her anti-heroine Lady Audley – whose real name is initially Helen Maldon. She then becomes Helen Talboys on her marriage to George Talboys, and finally adopts the name Lucy Graham before marrying Sir Michael Audley. She is also given the fictitious name of Mrs Taylor when she is sent into the Belgian ‘madhouse’. The liberty Braddon takes is primarily that she presents Lucy for the first two thirds of the novel as an unblemished beauty with no social baggage or moral weak points – though she does betray some unexplained reservations when accepting Sir Michael’s proposal of marriage.

We are given clues that all might not be as it seems in the first two volumes of the novel. Her former maid Phoebe Marks obviously has compromising information about her in the form of the child’s slipper and lock of hair. Later in the novel, Robert Audley and George Talboys see a portrait which reveals something sinister beneath her attractive outward appearance.

Most of the narrative is relayed from Robert Audley’s point of view, as he tries to solve the problem of the sudden disappearance of his friend George Talboys. But then at the end of Volume II the point of view suddenly switches to the so-called Lucy Graham herself, as she reflects on her former ‘wickedness’ – without at this stage revealing specifically what she has done. She is suddenly presented as a scheming and ruthless woman. This rather gives the game away (unnecessarily) and reveals that Robert’s suspicions are well founded – though the clinching fact of George Talboy’s fate is still witheld.

Robert Audley also gives up on his search for George Talboys in the last Volume of the novel. Since this had been the main focus of his efforts in the first two volumes, it becomes clear that Braddon is merely dragging out the revelation of Lady Audley’s murderous attack until the final chapters. The fact that George’s ‘death’ is mentioned so often also arouses suspicions in the attentive reader that he will in the end still be alive – which turns out to be the case. His barely credible account of escaping from the bottom of the well is delayed until the final pages of the novel This is giving precedence to suspense over narrative logic – which is one of the factors that makes the novel a second rather than a first rate classic.

The sensation novel

In the middle of the nineteenth century there was a vogue for what was called the ‘sensation novel’. This was a variation of the Gothic horror story and normally featured plot elements of murder, disguise, bigamy, madness, blackmail, fraud, theft, kidnapping, incarceration, or disputed wills. Mary Elizabeth Braddon distinguishes herself by including several of these elements in one novel.

Lady Audley’s Secret is all the more effective because it appears to start out as a conventional novel of polite society. A rich widowed landowner with a country estate marries a beautiful young woman who is popular with everyone in his circle. Some members of his family become involved in amorous relationships and vaguely mysterious searches for information. The novel could in its early stages be a production out of the Jane Austen, Charlotte Bronte, or George Eliot tradition.

But as the story unfolds it gets darker and darker in tone. First, suspicion falls on Lady Audley herself. How could such an attractive and popular young woman be involved in issues of duplicity, disappearance, and identity theft? The answer turns out to be even worse than the question. The literary critic Elaine Showalter summarises the plot of Lady Audley’s Secret as follows: “Braddon’s bigamous heroine deserts her child, pushes husband number one down a well, thinks about poisoning husband number two and sets fire to a hotel in which her other male acquaintances are residing”.

We know from the title of the novel that Lady Audley has a secret, but at first we are not sure what it is. Braddon plays fair by scattering clues throughout the narrative. Lucy has kept mementoes of what appears to be a child, and when Robert Audley begins to dig into her past life we suspect her of bigamy. But this thread of the story is overlaid with the disappearance of George Talboys. This muddies the picture for some time, and Robert Audley’s suspicion that Lady Audley has murdered George occupies the central sections of the novel. The reader appears to be dealing with a murder mystery.

But the story is more complex than that. Lady Audley in fact has multiple secrets. She is from a very poor background. She has already married George Talboys. She has then abandoned their child to the care of her drunken father. She has changed her name not once but twice – from Helen Maldon to Helen Talboys on marrying George, and then (to erase her past) to Lucy Graham – prior to marrying Sir Michael Audley to become Lady Lucy Audley.

Her other secrets, not revealed until much later in the novel, are that she tried to murder her first husband George when he re-appeared from Australia. In addition, when her wrongdoing is in danger of being exposed by Robert Audley (and her former maid Phoebe and husband Luke) she tries to kill them all of them by setting fire to the Castle Inn.

Helen Maldon-Lucy Graham is first presented as an attractive, golden-haired heroine by whom everyone is enchanted, but she turns out to be an unscrupulous psychopath. This is one very strong reason why the novel could also be considered a Gothic tale, and Lucy certainly ends up in Gothic circumstances – incarcerated in a Belgian maison de santé where she later dies, leaving the heroes and heroine of the novel to live on in bliss in their rustic fairy-tale cottage on the Thames.

It is worth noting that this element of sensationalism was still prevalent towards the end of the century in the work of writers such as Henry James and Thomas Hardy. James’s late novel The Other House (1896) is a mystery thriller involving the murder of a child, and Hardy’s The Mayor of Casterbridge (1886) involves a cast-off wife who returns unexpectedly.to cause problems for her bigamous husband. Hardy was also toying with bigamy and technically illegal sexual relationships as late as his last novel, Jude the Obscure (1895).


Lady Audley’s secret – study resources

Lady Audley's Secret - a tutorial Lady Audley’s Secret – Oxford Classics – Amazon UK

Lady Audley's Secret - a tutorial Lady Audley’s Secret – Oxford Classics – Amazon US

Lady Audley's Secret - a tutorial Lady Audley’s Secret – Wordsworth Classics – Amazon UK

Lady Audley's Secret - a tutorial Lady Audley’s Secret – Wordsworth Classics – Amazon US

Lady Audley's Secret - a tutorial Lady Audley’s Secret – Penguin Classics – Amazon UK

Lady Audley's Secret - a tutorial Lady Audley’s Secret – Penguin Classics – Amazon US

Lady Audley's Secret - a tutorial The Complete Works of Mary Elizabeth Braddon – Amazon UK

Lady Audley's Secret - a tutorial Mary Braddon: A Study of her Life and Work – Amazon UK


Lady Audley's Secret - a tutorial

first edition 1862


Lady Audley’s Secret – chapter summaries

Volume I

I   Rich widower Sir Michael Audley falls in love with young governess Lucy Graham. She harbours some secret reservations, but accepts his proposal of marriage.

II   George Talboys and Miss Morley compare their apprehensions on returning from Australia. She has been away eduring fifteen years of hardship, and is hoping her fiance will still want her. He has been away for three and a half years after deserting his wife and child, and after much privation has struck gold.

III   Lady Audley and her maid Phoebe Marks have returned from a European tour. Phoebe shows her cousin and lover Luke Marks around Audley Court and its lavish furnishings. They discover a baby’s shoe and some hair in a secret drawer – which Phoebe keeps.

IV   Playboy barrister Robert Audley meets fellow old Etonian George Talboys in the city. Talboys banks his money, then reads in the Times that his wife has just died.

V   Robert and George travel to Ventnor on the Isle of White where Helen Talboys has died. They confirm her identity and locate her grave.

VI   Talboys arranges the financial support for his son by his father-in-law Captain Maldon, then plans to travel to St Petersburg with Robert Audley.

VII   A year later Robert and George go to Audley village, where Lady Audley avoids meeting them. She sends Phoebe Marks to London on a secret errand. A telegram arrives calling Lucy to London, where .

VIII   George and Robert continue their visit Audley Court and inspect Lucy’s private chambers via a secret passageway. They see a portrait of her which looks rather sinister.

IX   Talboys and Lady Audley are both frightened by thunder and lightning during a storm in the night. George has dropped his glove in Lady Audley’s room.

X   Whilst George and Robert are fishing, Robert falls asleep and wakes to find George missing. He searches the estate for him, without success.

XI   Robert dines at Audley Court, where Lucy reports on her fruitless trip to London.. Robert notices bruises on Lucy’s arm, and he vows to find his friend George.

XII   Robert goes to London in search of George, then on to Southampton, where he is told that George visited his son the day before, prior to leaving for Australia.

XIII   Robert goes to Liverpool, but finds no signs of George. On returning to London he draws up a list of all essential facts surrounding the disappearance of his friend. He begins to think in legal terms.

XIV   Alicia and Lady Audley agree to disagree. Lady Audley makes an offer to help Phoebe’s fiance Luke- but he asks for more, with a veiled threat that he has information about her.

XV   Luke and Phoebe get married and take on the Castle Inn nearby. Robert Audley discusses his theories about George Talboys with Lucy, who faints as a result.

XVI   Alicia refuses an offer of marriage from a rich landowner. Robert (with whom she is in love) advises her to be patient. Robert is asked to leave by his uncle as a matter of good form: Robert takes lodgings at the Castle Inn.

XVII   Robert quizzes Phoebe and Luke. He suspects that they have compromising information about Lady Audley.

XVIII   Lady Audley visits Robert at the Castle Inn. They discuss Talboys and his disappearance. When Robert reveals he has letters written to Talboys by his wife, Lucy takes the next train to London. Robert follows her immediately.

XIX   In London he meets Lucy going back to Colchester, and wonders what she has been doing. Returning to his chambers he discovers that a locksmith has been summoned, but when he checks with the man he is told there was a mistake.

Volume II

I   Robert discovers that George’s wife’s letters are missing from his effects., but when he inspects. George’s books he finds an inscription in Helen Maldon’s handwriting which he seems to recognise.

II   Robert goes to Southhampton where young Georgey is living with his drunken grandfather, supervised by the dubious Mrs Plowson. It seems they are in someone’s pay.

III   Georgey tells Robert about ‘the pretty lady’. Robert wishes to take Georgey away and tells and tells Maldon that he thinks George Talboys is dead. Georgey turns out to have very adult tastes in food and drink.

IV   Robert visits Harcourt Talboys, George’s stern and uncompromising father in Dorset. He thinks George’s disappearance has been staged to influence him. Robert spells out his fears, but Mr Talboys refuses to believe him or to alter his attitude.

V   Clara Talboys wishes to avenge her brother’s death: she has two of her brother’s letters which she promises to send to Robert.

VI   Robert returns to London, reflecting on the changeable nature of his quest, and the fact that he has become entangled particularly by so many <em.women in the case.

VII   Sir Michael Audley is ill. Robert visits him and quizzes surgeon friend Mr Dawson, Lucy’s previous employer, who refers him to Lucy’s earlier employed Mrs Vincent.

VIII   Robert traces Mrs Vincent in London. He establishes that the telegram sent to Lucy was a lie, that Lucy’s family came from ‘the seaside’ and that she has travelled abroad. He removes an incriminating address label from her hat box.

IX   Robert travels to north Yorkshire where he discovers the history of Helen Talboys and her relationship to Lucy Graham, and her bankrupt father Captain Maldon. He wonders therefore who is buried in the grave at Ventnor.

X   Robert returns to. Audley where he hears Clara Talboys playing the organ in church. . She quizzes him about his quest for news of her missing brother, and what he knows about Lucy.

XI   Robert forces Lady Audley to listen to his evidence about the disappearance of George, most of which suggests that she is guilty. But she refuses to accept or explain the evidence and accuses Robert of being mad.

XII   Lucy reports Robert’s accusations to her husband (without giving any specific examples). Phoebe Marks arrives blackmailing Lucy for more money, and she brings a letter from Robert threatening further exposure.

Volume III

I   Lucy agrees to pay the money, but insists on doing so in person. She goes back with Phoebe in the middle of the night to the Castle Inn (where Robert is staying) and after locking him in his bedroom, sets fire to the building.

II   The next day Lucy is anxiously awaiting news of the fire to reach Audley Court – but it doesn’t. Robert Audley realises Alicia is in love with him, but he has been enchanted by Clara, George’s sister. Eventually, to Lucy’s astonishment, Robert arrives at Audley.

III   Lucy is cornered by Robert’s circumstantial evidence, and agrees to tell her true story. This includes her mother’s madness, her poverty, marrying George Talboys, their separation, farming out her son’s upbringing to her drunken father, and using Matilda to fake her own death.

IV   In order to avoid scandal, Robert asks Alicia to accompany her father in his exit from Audley Court to London and onwards. Robert telegraphs for details of a psychiatric physician.

V   Doctor Mosgrave arrives next day and listens to Robert’s account of events and of Lucy’s life, and he pronounces her not mad, but dangerous. He also spots that her account of events omits any details of George Talboys. He interviews Lucy then writes a letter of recommendation to a maison de santé in Belgium.

VI   Robert escorts Lucy to the maison fermée, where in an angry outburst she finally reveals that she murdered George Talboys and threw his body into the garden well at Audley.

VII   Robert is conflicted regarding how much of Lucy’s misdeeds he should reveal, since he wishes to protect the family’ name and honour. Sir Michael Audley and Alicia go to Germany. Robert gets a letter from Clara saying that the dying Luke Marks= wants to see him. He is troubled by thoughts of the ‘ghost’ of George Talboys.

VIII   Marks reveals that he has had a secret – which is that he rescued George after Lucy’s murderous attack. George gave him two letters for Robert and Lucy – but they were never delivered. Phoebe witnessed Lucy’s attack on George, but kept the secret together with Luke, who dies the day after his revelation.

IX   Robert visits Harcourt Talboys and wonders how they can contact George in Australia. Robert is in love with Clara, and declares himself to her, but when he returns to London to begin the search, George is there waiting for him, having been in America.

X   Robert marries Clara and lives in an idyllic cottage in Teddington on the Thames, working as a lawyer. Lucy dies in the Belgian sanctuary.


Lady Audley’s Secret – principal characters
Sir Michael Audley a wealthy baronet and estate owner (56)
Alicia Audley his spirited daughter by his first wife
Robert Audley his nephew (and heir) who is studying law (27)
Lucy Graham Sir Michael’s second wife – an ex-governess
George Talboys an ex-Etonian friend of Robert (25)
Harcourt Talboys George’s strict and puritannical father
Clara Talboys George’s beautiful sister
Phoebe Marks maid to Lady Audley
Luke Marks cousin and lover of Phoebe
Mr Dowson the parish surgeon, Lucy’s previous employer
Mrs Vincent private school head (in debt) Lucy’s referee
Captain Maldon Lucy’s drunken father in Portsmouth

Lady Audley’s Secret – further reading

Richard D. Altick Victorian Studies in Scarlet, New York: W.W. Norton, 1979.

Jennifer Carnell, The Literary Lives of Mary Elizabeth Braddon: A Study of Her Life and Work, UK: Sensation Press, 2000.

Ann Cvetkovich, Mixed Feelings: Feminism, Mass Culture, and Victorian Sensationalism, New Jersey: Rutgers University Press, 1992.

P.D. Edwards, Some Mid-Victorian Thrillers: The Sensation Novel, Its Friends and Its Foes, Queensland: University of Queensland Press, 1971.

Winifred Hughes, The Maniac in the Cellar: Sensation Novels of the 1860s, Princeton: Princeton University Press, 2014.

Lyn Pykett, The ‘Improper’ Feminine: The Woman’s Sensation Novel and the New Woman Writing, London: Routledge, 2013.

Anthea Trodd, Domestic Crime in the Victorian Novel, London: Palgrave-Macmillan, 1988.

Robert Lee Wolff, Sensational Victorian: The Life and Fiction of Mary Elizabeth Braddon, New York: Garland Publishers, 1979.

© Roy Johnson 2016


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Late Victorian Gothic Tales

May 14, 2011 by Roy Johnson

mystery, weirdness, supernatural, and horror

For reasons much debated amongst literary historians, there was a revival of the Gothic horror story at the end of the nineteenth century. Within the space of just a few years we have Robert Louis Stevenson’s Dr Jekyll and Mr Hyde (1886), Oscar Wilde’s The Picture of Dorian Gray (1891), H.G.Wells’s The Island of Doctor Moreau (1896), and Bram Stoker’s Dracula (1897). The horror story was also a popular ingredient of the popular mass-circulation magazines which were launched around this time. Robert Luckhurst’s collection Late Victorian Gothic Tales is drawn from these sources, and it aims to show the range of stories by mixing examples from well-established authors with no less chilling takes from lesser-known writers.

Late Victorian Gothic Tales Henry James believed that a horror story should not rely on the traditional trappings of midnight spookiness in ruined abbeys and graveyards for its effect. He thought that the mysterious and the macabre we all the more effective for taking place in the full light of day. His story here – Sir Edmund Orme – has a ghost who appears on the Parade at Brighton on a sunny afternoon. And true to James’s ever-inventive spirit, even though the ghost is of somebody long ago dead (as a result of a gruesome suicide) it turns out to be a force for good. It is a ghost of ‘retributive justice’ which appears to check that an injustice is not repeated.

Oscar Wilde performs the miraculous feat of making a horror story funny. His Lord Arthur Savile’s Crime offers an amusing critique of palm-reading (Cheiromancy as it was known then) which was in vogue at the turn of the century. Lord Arthur singularly fails to act out his destiny, which is to commit murder, despite sending a poisoned bon-bon to Lady Clementina and an exploding clock to the dean of Chichester.

In what he himself described as an ‘unpleasant story’, Rudyard Kipling manages to combine drunkenness, torture, and a contemporary case of a man turning into a rabid animal under the curse of a leper. This was one of his earliest Plain Tales from the Hills which made him famous as an author of Empire.

Arthur Conan Doyle follows a similar pattern in both stories that represent his contribution to the supernatural – his personal belief in which actually contributed to a decline in his literary reputation He has one story of an oblique form of sexual mutilation, and another in which an Egyptian mummy attempts to murder a series of Oxford undergraduates.

What’s clear from this collection is that Gothic horror is a formula sufficiently adaptable to work effectively in any circumstances. Ruined castles, vampires, and coffins in subterranean vaults are not the real essentials. They might help create atmospheric effects, but the basics elements of horror remain existential anxieties – such as predestination, the burden of inheritance, fighting uncontrollable forces , and the threat of death.

Late Victorian Gothic Tales Buy the book at Amazon UK

Late Victorian Gothic Tales Buy the book at Amazon US

© Roy Johnson 2011


Roger Luckhurst (ed), Late Victorian Gothic Tales, Oxford: Oxford University Press, 2009, pp.326, ISBN: 0199538875


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Little Dorrit

August 12, 2015 by Roy Johnson

tutorial, commentary, study resources, characters, and plot

Little Dorrit was first published in monthly instalment between December 1855 and June 1857, then in a single volume by Bradbury and Evans in 1857, with original illustrations by Hablot K. Browne. It was a huge and immediate success, with monthly instalments selling 35,000 copies in 1856.

Little Dorrit title page

first edition – title page

Little Dorrit – critical commentary

The principal theme

The overarching metaphor for the entire novel is that of the prison and imprisonment. The novel begins with two men in prison – Rigaud and Cavalletto – in Marseilles. In the very next chapter, a collection of English travellers (the Meagles family and Clennam) are ‘imprisoned’ in quarantine (against the plague) in the same location.

In fact the novel also ends in a prison during the hot months of summer, when debtor Arthur Clennam is nursed by Little Dorrit in the late stages of his illness. When Clennam finally gets home, it is to find his ‘mother’ imprisoned by her bitterness and self-inflicted martyrdom in the family home which has become almost a tomb.

William Dorrit has been in the Marshalsea prison for twenty-three years – so long that he has become its self-appointed father figure. His daughter Amy has even been born in the prison, and is the love object of John Chivery, the prison warder’s son.

When the newly-enriched Dorrits embark on their Grand Tour of Europe, even the convent at the summit of the Great Saint Bernard Pass is likened to a prison – because it is divided into Spartan cells.

There are also various forms of psychological imprisonment – in addition to Mrs Clennam. William Dorrit is first of all imprisoned in delusions of grandeur. He ignores the fact that he has been in a debtor’s prison for almost a quarter of a century, and gives himself lofty airs and graces, extracting handouts (which he calls ‘tributes’) from his fellow prisoners.

When Dorrit actually does become rich, he is almost equally deluded by his snobbish exercises in social climbing. He seeks out the wealthy and the fashionable in society, and conveniently ignores the fact that he is an ex-jailbird. It is significant that at the height of these endeavours, his psychological collapse takes him back to where he has come from when he makes a bizarre speech at the dinner given by Mrs Meagles, at which he believes he is back in the Marshalsea Prison.

In fact Dickens takes the metaphor of the prison to universal proportions when he creates one of his many pictures of London:

The last day of the appointed week touched the bars of the Marshalsea gate. Black, all night, since the gate had clashed on Little Dorrit, its iron stripes were turned by the early-glowing sun into stripes of gold. Far aslant across the city, over its jumbled roofs, and through the open tracery of its church towers, struck the long bright rays, bars of the prison of this lower world.

Ingratitude

A strong secondary theme running through the events of the narrative is ingratitude. It is often counterpoised against the saintly devotion of Little Dorrit and the gentlemanly code of honour that Arthur Clennam tries to maintain – often to his own disadvantage.

Tip and Fanny, Little Dorrit’s brother and sister, show no gratitude for what is done for them. Amy secures employment for her sister, who returns the favour with nothing but bad grace, and Tip goes from one job that is found for him to another – without a word of thanks or shame that he is so feckless. He even reproaches Clennam for not lending him money when he asks for it – though after an illness in Rome he appears to reform morally, offering to make his sister Amy rich, even if he inherits all his father’s money.

Henry Gowan displays similar levels of selfishness and a cynical unconcern for others. He has had a self-indulgent life, has run up personal debts, pretends to aspirations as a ‘painter’, yet claims he is ‘disappointed’ that his family has not done more for him. There is very little resolution to this strand of the novel.

Plot weaknesses

When Affrey Flintwinch hears noises and has ‘dreams’, the reader may realise that she is sensing that something is wrong in the house of Clennam. But Dickens does not really play fair with the reader, who can have no notion of a twin brother for Jeremiah Flintwinch, a fact which is concealed for the majority of the novel. This is the literary equivalent of pulling a rabbit out of a conjurer’s hat.

Similarly, Pancks’ uncovering of Dorrit’s inheritance is something the reader can know nothing about – it comes as something of a deus ex machina to move the plot forward from Book the First (Poverty) to Book the Second (Riches). There is no really satisfying explanation of how Panks located the information, and his own account is muddied by his idiosyncratic manner of speaking.

The full complications of the plot are exposed by Blandois in his blackmail attempt on Mrs Clennam at the dramatic climax of the novel. This too is resolved in a slightly unsatisfactory manner.

Whilst Blandois is something of a stock villan himself, complete with hooked nose and black moustache, his aquisition of the important information regarding the Clennam family secret comes from Flintwitch’s twin brother who he has met at a quayside tavern in Amsterdam. This is pushing the bounds of coincidence and improbability to an unacceptable degree for most modern tastes.

Another weakness is the lack of continuity between important elements and characters being introduced in the early part of the narrative, then not taken up again until much later. Of course this is a now-recognised feature of the serial novel – multiple plot lines and characters used as points of interest to drag readers through the part-issues of the whole work.


Little Dorrit – Study resources

Little Dorrit Little Dorrit – Oxford World’s Classics – Amazon UK

Little Dorrit Little Dorrit – Oxford World’s Classics – Amazon US

Little Dorrit Little Dorrit – Wordsworth Classics – Amazon UK

Little Dorrit Little Dorrit – Wordsworth Classics – Amazon US

Little Dorrit Little Dorrit – Kindle edition – Amazon UK

Red button Charles Dickens – biographical notes

Red button Little Dorrit – eBook at Project Gutenberg

Red button Little Dorrit – audioBook at LibriVox

Red button Little Dorrit – complete Hablot K. Browne illustrations

Red button The Cambridge Companion to Charles Dickens – Amazon UK

Red button Little Dorrit – York Notes at Amazon UK

Red button Little Dorrit – Brodie’s Notes at Amazon UK

Great Expectations Little Dorrit – Audio book (unabridged) – Amazon UK

Red button Charles Dickens’ London – interactive map

Red button Oxford Reader’s Companion to Charles Dickens – Amazon UK


Little Dorrit – plot summary

Book the First – Poverty

Ch. I   John Baptist Cavalletto and Monsieur Rigaud are being held in jail in Marseilles during a hot summer. Rigaud recounts the history of his marrying a rich young local widow, and her sudden death following an altercation between them. He is taken away to face trial.

Ch. II   Arthur Clennam is returning from twenty years in China following the death of his father. He is in quarantine with the Meagles family, to whom he relates his harsh upbringing. Mr Meagles recounts the history of their daughter Pet and her curious maid, Tattycoram. On release they make their adieux, and Tattycoram complains ambiguously to the mysterious Miss Wade.

Ch. III   Clennam arrives home on a miserable Sunday to a cheerless reception from his puritanical mother. He possesses a watch given to him by his dying father. Servant Mrs Flintwinch relates her curious marriage to Jeremiah and the fact that Clennam’s childhood sweetheart is now available as a widow. Clennam notices Little Dorrit in his mother’s room.

Ch. IV   Affrey Flintwinch has a ‘dream’ in which she sees her husband in a meeting with his double who takes away a metal box. Flintwinch catches his wife and threatens her in a menacing manner.

Ch. V   Clennam announces to his mother that he is quitting the family business, and in spite of her venomously wrathful response, he asks her if his late father has ever wronged somebody (which he suspects may be the case). His mother immediately appoints Flintwinch as a business partner. Affrey then tells Clennam about Little Dorrit, which arouses his curiosity.

Ch. VI   Although Dorrit is not named, the chapter recounts the history of his twenty-five year incarceration in the Marshalsea Prison. It includes the birth of his daughter Amy in the prison. He stays there so long that he becomes the ‘father of the Marshalsea’, to whom fellow inmates give ‘tributes’ (charitable gifts) when they are released.

Ch. VII   The history of Amy (Little Dorrit) and her childhood in the prison. She becomes a guardian to her helpless father, and finds employment for her elder sister Fanny as a dancer. Her brother ‘Tip’ fails in every job he is given, and ends up back in the prison as a debtor.

Ch. VIII   Outside the prison, Clennam meets Frederick Dorrit (‘Dirty Dick’) who introduces him to his brother William. Clennam meets Amy and her brother and sister. Dorrit explains the system of ‘Testimonials’, and Clennam gives him money. However, Clennam is caught by the night curfew and is forced to spend the night in the prison. He perceives a link between the Dorrit family and his mother.

Ch. IX   Clennam receives Amy at the prison, then they walk out into London, where he quizzes her about the connection with his family. She asks for understanding and tolerance for her father, and reveals that his main creditor is Tite Barnacle. On return they meet her simple and undeveloped friend Maggy.

Ch. X   Clennam visits the Circumlocution Office in search of information regarding Dorrit’s creditors. Barnacle Junior refers him to Tite Barnacle in Grosvenor Mews, who refers him back to the Office, where various officials are completely obstructive. He meets Mr Meagles, who is frustrating the enquiries of the patient inventor Doyce. They all repair to Bleeding Heart Yard, where Doyce lives.

Little Dorrit Flintwinch

Mr Flintwinch has a mild attack of irritability

Ch. XI   Rigaud has been acquitted at his trial, and escaped to avoid public censure. He meets Cavalletto at a boarding house in Chalons-sur-Soane and seeks to enlist him as a servant again – but Cavalletto escapes early the following morning.

Ch. XII   Clennam, Meagles, and Doyce visit Bleeding Heart Yard in search of Plornish, who finds it hard to obtain work (and has been in prison himself). Mrs Plornish explains their connections with Little Dorrit which come via Casby, the landlord of the Yard. Clennam arranges via Plornish to pay off Tip’s debt to a dubious horse trader.

Ch. XIII   Clennam then visits the Casby household, and realises that Casby is an empty fraud. He also meets Panks, the rent-collector, then his childhood sweetheart Flora Casby, who has become an embarrassing featherbrain. He feels so sorry for her that he accepts an invitation to stay for what turns out to be a comic dinner. Afterwards he walks with Panks into the city and comes across Cavalletto, who has been run over by a mail coach.

Ch. XIV   Little Dorrit arrives at Clennam’s lodgings with Maggy at midnight to ‘thank’ him for releasing Tip. She thinks Mrs Clennam has learned the secret of her prison home from Flintwinch. Amy and Maggy are locked out of the prison because it is so late, and spend a grim and frightening night in the streets, where they encounter a woman who is about to commit suicide.

Ch. XV   Affrey Flintwinch again encounters mysterious noises in the house, then overhears a dispute between her husband and Mrs Clennam. She is menaced by her husband once again.

Ch. XVI   Clennam walks to Twickenham to see Mr Meagles, and on his way. meets Doyce, who needs a business partner for his enterprise. Clennam thinks of falling in love with Minnie (Pet) Meagles, but then decides against it. Tattycoram has been in touch with Miss Wade, who has offered her a position if she needs one. Clennam asks Meagles for advice regarding a plan to join Doyce as partner.

Ch. XVII   The following day Clennam meets Henry Gowan at the ferry and immediately becomes jealous of him. The company are joined by Barnacle Junior for dinner, and Doyce reveals Gowan’s dubious background and feckless nature to Clennam, who remains deeply conflicted in his feelings about Pet.

Ch. XVIII   John Chivery, the Marshalsea lock-keeper’s son has nursed a life-long romantic passion for Amy. He presents cigars to William Dorrit on a Sunday, then locates Amy on the Iron Bridge, where he wishes to declare his feelings for her. But she refuses to let him do so.

Ch. XIX   William Dorrit tries to encourage his bedraggled brother Frederick to smarten himself up. He then notes that the lock-keeper Mr Chivery is not as friendly to him as usual and complains to Amy about Frederick’s descent into wretchedness. He falls into a passion of maudlin self-pity, alternating with periods of delusory self-aggrandisement. Amy watches over him throughout the night.

Ch. XX   Amy goes to visit her sister at the theatre where she is a dancer. Fanny takes Amy to see Mrs Merdle whose son has proposed marriage to her. Fanny has misled Mrs Merdle into thinking that she comes from a distinguished family. However, Mrs Merdle thinks it would be social suicide to have her son marry socially beneath him and she bribes Fanny to stay away from the boy, who is a hopeless booby. Fanny complains unjustly to her sister in a patronising manner.

Little Dorrit Maggie

Maggie – Little Mother

Ch. XXI   Mr Merdle’s prodigious wealth and his position in Harley Street at the pinnacle of Society. His step son Sparkler is a feckless wastrel who proposes marriage to young women at random. Merdle throws a lavish reception attended by prominent people from the Law, the Church, and the Treasury who toady up to him and dine at his expense whilst he consumes very little himself. Although his physician confirms that there is nothing physically wrong with him, Merdle suffers from a mysterious ‘complaint’.

Ch. XXII   Dorrit becomes critical of Clennam because his ‘testimonials’ are not sustained. Gatekeeper Chivery asks Clennam to visit his wife, who reveals that her son has fallen into a permanent fit of despair because he has been rejected by Amy. She pleads with Clennam to intercede with Amy on her son’s behalf. Clennam meets Amy on the bridge, then Maggy, who bears begging letters from Dorrit and Tip addressed to Clennam. He pays Dorrit, but not Tip.

Ch. XXIII   Meagles arranges for Clennam to become Daniel Doyce’s business partner. Clennam is visited at the workshop in Bleeding Heart Yard by Flora Casby and Mr F’s Aunt. Flora flirts with Clennam, claiming that she wants to help Little Dorrit. Pancks reveals that Casby had nothing to do with Little Dorrit’s placement with Mrs Clennam and he asks Clennam for information on the Dorrit family. Clennam tells him, on condition that Panks reveals any new information about them. Panks then collects rents in the Yard.

Ch. XXIV   Little Dorrit visits the Casby home where Flora says she wants to employ her. Flora paints an over-romanticised picture of herself and Clennam designed to establish a claim on him. After-dinner Panks interviews Amy: he knows all about her family and claims to know what her future will be. After this he becomes omnipresent in the lives of the Dorrits.

Ch. XXV   Panks’s second life lodging with the Ruggs in Pentonville. He invites John Chivery to a Sunday lunch and introduces him to Anastasia Rugg who has sued a local baker for breach of promise. Panks also befriends Cavalletto who is now lodging in Bleeding Heart Yard.

Ch. XXVI   Clennam cannot sustain his resolution not to be attracted to Pet Meagles, and he cannot fight down his dislike for his rival Henry Gowan. The cynic Gowan patronises Doyce and invites Clennam to visit his mother at Hampton Court. Over dinner there is a snobbish exchange on the nation’s decline and ancestor worship of the Barnacles and Stiltstalkings. Mrs Gowan quizzes Clennam about Pet, claiming that the Meagles are social climbing, trying to make an alliance with her family. Clennam tries to explain that this is not the case but she refuses to believe him.

Ch. XXVII   Meagles suddenly reports to Clennam that Tattycoram has gone missing. They trace her to an old house in Mayfair where she is staying with Miss Wade. Meagles entreats her to return to the family but she refuses. Miss Wade behaves scornfully to the two men and reveals that she like Tattycoram is an orphan with no name.

Ch. XXVIII   Meagles advertises for Tattycoram in the newspaper but in return only receives begging letters from the public. Clennam and Daniel Doyce go to the Meagles for the weekend, where Clennam meets Pet by the river. She plucks at Clennam’s heart strings by telling him how happy she is to be in love with Henry Gowan. Clennam thinks that she is destined to be unhappy but swallows his unrequited love and congratulates her.

Ch. XXIX   Mrs Clennam quizzes Little Dorrit about Panks who was taken to visiting the house more frequently. Little Dorrit tells her nothing. When Panks leaves, Affrey accidentally shuts herself out of the house, but Blandois (Rigaud) suddenly appears in the street and climbs through a window to let her in.

Ch. XXX   Blandois and Jeremiah Flintwinch appear to recognise each other when they meet. Blondois has arrived with a letter of introduction and credit from Paris. He wishes to meet Mrs Clennam who is surprisingly open and even confessional with him. He asks Flintwinch to show him around the house, tries (and fails) to get him drunk, and predicts that they will become close friends. Yet next day he goes straight back to Paris.

Ch. XXXI   Mrs Plornish’s impoverished father Old Nandy is let out of the workhouse for his birthday treat. Little Dorrit takes him to the prison, meeting her sister Fanny en route who snobbishly thinks Amy is lowering the family’s social standing. The birthday treat is paid for by Clennam who joins them whilst Dorrit loftily patronises Old Nandy. Tip appears and insults Clennam for not lending him money. Dorrit reproaches his son.

Ch. XXXII   Clennam seeks an audience with Little Dorrit at the prison and asks her why she has been avoiding him. He fails to see that she is in love with him. He wants to know if she’s hiding anything from him, which she denies. She feels completely embarrassed by his revelations regarding his feelings for Pet Meagles. Panks suddenly appears, takes Clennam to meet Mr Rugg, and reveals that they have uncovered some important documents.

Ch. XXXIII   Mrs Gowan explains to Mrs Merdle why and how she has ‘consented’ to the marriage of her son Henry to Pet Meagles. The truth is that they want her son Henry’s debts paid off. Mrs Merdle then reproaches her husband for being too preoccupied with his work. Edmund Sparkler appears and confirms that he is a dimwit who knows virtually nothing.

Ch. XXXIV   Although Clennam is still trying to be honourably fair to his rival Henry Gowan he is disturbed when Gowan reveals his cynical and disappointed views at not having succeeded socially and not been better treated by his family. The marriage goes ahead and is attended by many of the Barnacles.

Ch. XXXV   Panks reveals the he has uncovered a huge legacy due to Dorrit. He has financed the search with his own money plus loans from Rugg and Casby. Clennam goes to the Casby house where Flora is as garrulous as ever but kind to Amy. Clennam and Little Dorrit go to the prison and break the news to Dorrit, who promises to repay everybody.

Ch. XXXVI   Dorrit immediately becomes imperious with the prison Marshal; Fanny buys dresses and bonnets; and Tip re-pays Clennam’s loan in a condescending manner. There is a celebratory feast for all the Collegians then a grand departure at which they forget Amy. Clennam brings her down from her room where she has fainted.

Little Dorrit

a monthly instalment

Book the Second – Riches

Ch. I   The Dorrits, the Gowans, and Blandois all converge in a convent at the summit of the Saint Bernard Pass on route to Italy. Little Dorrit meets Pet Meagles (now Mrs Gowan) for the first time, befriends her, and shows her a message from Clennam.

Ch. II   Mr Dorrit has hired the lofty Mrs General at great cost to complete the education of his two daughters. Mrs General is devoid of opinions and is entirely composed of surface polish.

Ch. III   Fanny and Edward snobbishly reproach Amy for helping Mrs Gowan and for her connection with Clennam, who they now regard as beneath them socially. Dorrit mediates but thinks Clennam should cease to be acquainted with their family. Dorrit protests when he finds someone in their hotel rooms, but backs down when outfaced by Mrs Merdle. Amy now feels separated from her father and oppressed by the presence of a maid. The party eventually reaches Venice where Amy travels around alone.

Ch. IV   Little Dorrit writes to Clennam telling him she has met Pet Meagle and thinks she should have a better husband than Henry Gowan. She also tells him that she misses the Dorrit of old, and that she wishes to be remembered as she herself was previously. She asks Clennam not to forget her.

Ch. V   Dorrit complains about Amy to Mrs General because she is keeping the memory of the Marshalsea prison alive. He then cruelly reproaches Amy on entirely selfish grounds – to which Mrs General responds by offering tips on pronunciation. When Amy wishes to meet the Gowans, Tip reveals that they are friends of the Merdles. Dorrit sees this as a seal of approval – at which his brother Frederick suddenly erupts in protest against all this snobbery and money worship.

Ch. VI   Fanny and Amy visit Gowan who is painting the portrait of Blandois. When Gowan’s dog takes a dislike to Blandois, Gowan kicks it into submission. On the way back, Fanny and Amy meet Sparkler who is besotted with Fanny. He is invited into the house and then in the evening to the opera, where Blandois reveals that the dog is now dead.

Ch. VII   Fanny thinks Mrs General is setting her cap at her father. Sparkler is still in pursuit of Fanny. Henry Gowan grudgingly accepts a commission from Dorrit. Amy and her friend Minnie both dislike Blandois, who they think killed Gowan’s dog. There is a patronising visit from Mrs Merdle after which the family transfer to Rome.

Ch. VIII   Clennam takes up Doyce’s patent application with the Circumlocution Office, ‘starting again from the beginning’. He is missing Little Dorrit and starting to feel that he is now too old for sentimental attachments. Dowager Mrs Gowan calls on the Meagles and patronises them regarding her son and his wife. She continues to maintain the fiction that they pursued her family.

Little Dorrit Flora

Flora’s hour of inspection

Ch. IX   The Meagles decided to go to Italy to look after Pet, who is expecting a baby. Henry Gowan has run up further debts. Clennam sees Tattycoram with Miss Wade and Blandois. He follows them to Casby’s house, but is delayed in a comic interlude by Flora and Mr F’s Aunt. When he asks Casby about Miss Wade he gets no information. However, Panks reveals that Casby holds money for Miss Wade, which she collects occasionally.

Ch. X   Late one night Clennam meets Blandois going into his mother’s house, and wonders what the connection between them can be. Clennam protests his being there, but Mrs Clennam treats Blandois as a business contact. Flintwinch is summoned, and Mrs Clennam asks her son to leave whilst they conduct their business. Affrey Flintwinch cannot tell Clennam what is going on.

Ch. XI   Little Dorrit writes to Clennam from Rome describing the Gowan’s poor lodgings and Pet’s being very much alone. Gowan is continuing his dissolute lifestyle, and yet his wife continues to be devoted to him. They now have an infant son. Sparkler has followed Fanny to Rome, and Little Dorrit herself feels homesick and keeps the memory of her former poverty alive.

Ch. XII   Mr Merdle gives one of his lavish dinners which is attended by the Great and the Good. Powerful dignitaries regale each other with mind numbing anecdotes and jokes which are not funny. They agree to support the advancement of Sparkler, and are pleased to note his social connection with the now-wealthy Dorrit family. Merdle and Decimus Tite are brought together, after which it is announced that Sparkler is appointed to a high position in the Circumlocution Office.

Ch. XIII   Panks calls on Mrs Plornish in her new shop (Happy Cottage) in Bleeding Heart Yard. Cavalletto is frightened after seeing Blandois in the street. Clennam calls by and invites Pancks to dinner. Pancks reveals that he has invested thousands in one of Merdle’s enterprises. Clennam obliquely tells Panks of his misgivings about his mother. Panks tempts him with easy money to be made from investments. He thinks he can’t lose because of Merdle’s immense capital and government connections.

Ch. XIV   In Rome, Fanny feels trapped by her association with the gormless Sparkler, and is particularly resentful about being patronised by Mrs Merdle. She confides in Amy, but ends up engaged to be married to Sparkler.

Ch. XV   Dorrit wishes Amy to announce his forthcoming marriage to Mrs General, but she refuses to do so. There is a stand-off between the two women. Fanny gets married then goes off with Sparkler and Dorrit to England, leaving Amy alone in Rome with Mrs General.

Ch. XVI   Dorrit in London is visited by Merdle, who offers to ‘help’ him financially, now that they are connected by the marriage of their children. Dorrit basks in the glory of his association with the fabulously wealthy Merdle.

Little Dorrit

At Mr John Chivery’s tea table

Ch. XVII   Flora Casby visits Dorrit at his hotel, in quest of information about Blandois who has gone missing after visiting Clennam and Co. Dorrit visits Mrs Clennam that evening, but nobody has any additional information on Blandois. Further mysterious happenings are noted by Affrey Flintwinch.

Ch. XVIII   Dorrit is visited by John Chivery, who he first abuses but then gives £100 for a treat to the Collegians. He then travels across France to Italy making plans and buying presents for Mrs General on the way.

Ch. XIX   Dorrit arrives back in Rome late at night and is peeved to observe the close harmony between Little Dorrit and his brother Frederick. He insists that Frederick is ‘fading fast’ and begins paying court to Mrs General. However, it is Dorrit himself who is fading, and at a dinner given by Mrs Meagles he makes a speech believing he is back in the Marshalsea prison. Amy takes him back home, where he dies the same night.

Ch. XX   Panks has located Miss Wade at an address in Calais, which Clennam visits, seeking information about Blandois. She reveals that she has employed him for some dubious purpose in Italy, but will tell Clennam nothing further. She produces Tattycoram, and they argue about her sentimental links with the Meagles family.

Ch. XXI   Clennam reads a biographical note given to him by Miss Wade. In it she recounts her unhappy childhood as an orphan, and her perverse nature by which she spurns all offers of friendship and help. She forms passionate but conflicted attachments to both men and women, and feels a strong kinship with the cynic Henry Gowan.

Ch. XXII   Doyce goes to work abroad, leaving Clennam in sole charge of their enterprise. They discuss the need for fiscal caution. Cavalletto recognises Blandois from Clennam’s description, and agrees to go in search of him.

Ch. XXIII   Clennam is frustrated by his lack of information about Blandois. He visits his mother and appeals to her, but she refuses to help him or tell him anything. He also asks Affrey, but she is scared and merely refers to mysterious noises in the house and the recurrence what she calls her ‘dreams’.

Ch. XXIV   Fanny is bored with her husband Sparkler. Her brother Edward (Tip) has sacked and paid off Mrs General following the death of his father (and uncle). They are visited by Mr Merdle who is in a rather strange state. He borrows a penknife before leaving them.

Ch. XXV   Mrs Merdle attends a society party where rumours of a peerage for Mr Merdle are circulating. But the host is later called out when it is revealed that Merdle has committed suicide in the public baths. He has been exposed as a forger and a robber, and his bank collapses.

Ch. XXVI   Clennam has invested everything with Merdle, and is now ruined. He is distraught about his responsibility towards his partner Doyce. He makes a public confession of his culpability, despite Mr Rugg advising him to be cautious and restrained. He is imprisoned in the Marshalsea, and is given Little Dorrit’s old room.

Ch. XXVII   Young John Chivery battles with his feelings of rivalry whilst showering comforts on Clennam in the jail. He explains his discomfort in a comically ambiguous manner, but finally reveals to Clennam that Little Dorrit is in love with him. Clennam is puzzled and does not know what to do with this information.

Ch. XXVIII   Clennam is visited in jail: first by Ferdinand Barnacle, who advises him to give up his struggles with the Circumlocution Office; next by Mr Rugg who wants him to enter into litigation; and finally by Blandois, who writes a letter to Mrs Clennam giving her a week to accept his ‘proposal’ – which is a threat of blackmail. Blandois taunts Clennam regarding his connections with Miss Wade and Mrs Gowan. Mrs Clennam agrees to meet Blandois in a week’s time.

Little Dorrit

Damocles (Blandois)

Ch. XXIX   Little Dorrit returns from Italy and visits Clennam in jail. She has come with her brother Edward who is enquiring into his father’s will. Amy offers Clennam all her money to release him from bankruptcy, but Clennam turns down her offer on very high-minded principal, and even advises her to stay away from him and the prison, and enjoy a better life for herself.

Ch. XXX   Blandois visits Mrs Clennam, where Affrey finally rebels and refuses to obey Flintwinch’s commands. Blandois is threatening Mrs Clennam with information regarding the family’s secret history and the codicil to a will, all of which he has obtained from Flintwinch’s twin brother in Antwerp. He has also given copies of these compromising documents to Amy in the prison in a tightly controlled plot. It is also revealed that Mrs Clennam is not Arthur’s mother.

Ch. XXXI   Mrs Clennam gets up from her wheelchair to dash to the prison, where she confesses the truth to Amy, who forgives her in saintly fashion. They dash back to the house to meet the deadline set by Blandois, but on arrival they find that the house has collapsed, killing him.

Ch. XXXII   Clennam continues to be ill in jail. Casby bullies Panks, who finally rebels and resigns from his job as debt collector. He humiliates Casby by cutting off his hair in front of his tenants in Bleeding Heart Yard.

Ch. XXXIII   Mr Meagles goes in search of the papers secured by Blandois. He asks Miss Wade in Calais, who denies all knowledge of them. But on his return to London Tattycoram brings him the original metal box and wishes to be reunited with the Meagles family. He passes the box over to Little Dorrit and goes off in search of Doyce.

Ch. XXXIV   Little Dorrit once again offers to share her ‘entire fortune’ with Clennam, but he again refuses her offer, whereupon she reveals that she has no fortune – all her money disappeared in the Merdle collapse – and she confesses her profound love for him. Flora visits to recount her love for her ‘rival’ Amy, and Mr Meagles arrives with Doyce to take up his business again with Clennam, following which Clennam and Amy get married in a quiet ceremony.


Mont Blanc pen

Mont Blanc – Charles Dickens special edition


Little Dorrit – principal characters
John Baptist Cavalletto a Genoese sailor and adventurer
Monsieur Rigaud (later Lagnier, then Blandois) a bogus ‘gentleman’ and an assassin
Mr Meagles a retired banker
Mrs Meagles his wife
Minnie (Pet) their pretty and pampered daughter (20)
Tattycoram (Harriet) Pet’s conflicted maid, a foundling
Arthur Clennam a gentleman and former businessman (40)
Mrs Clennam his ‘mother’, a bitter and puritanical martyr
Jeremiah Flintwinch her servant and later business partner
Affrey Flintwinch his browbeaten and abused wife
Miss Wade a strong-willed man-hater and orphan
William Dorrit an elderly self-deluded debtor – the Father of the Marshalsea
Frederick Dorrit his brother, a down-at-heel clarionet player
Amy (Little) Dorrit William’s selfless and loyal daughter (20)
Fanny Dorrit her sister – a dancer
Edward (‘Tip’) Dorrit her feckless and wayward brother
Lord Decimus Tite Barnacle controller of the Circumlocution Office
Clarence Barnacle his son
Ferdinand Barnacle his lacklustre son
Mr Plornish a plasterer at Bleeding Heart Yard (30)
Sally Plornish his wife
Maggy Amy’s simple friend (28 – but mentally 10)
Daniel Doyce an engineer and inventor
Christopher Casby landlord of Bleeding Heart Yard
Flora Casby (Finching) his daughter, Clennam’s old sweetheart, now a garrulous and feather-brained widow
Pancks his nail-biting rent collector
Mr F’s Aunt Flora’s ‘legacy’ from her late husband Finching
Henry Gowan a talentless and cynical would-be ‘artist’
John Chivery Amy’s admirer, the prison lock-keeper’s son
Mrs Mary Chivery a tobacco shop keeper
Mr Merdle an unscrupulous and wealthy banker
Mrs Merdle his vicious social-climbing wife
Edmund Sparkler Mrs Merdle’s dim-witted son by her first husband
Mr Rugg Pentonville debt collector and Panks’s landlord
Amastasia Rugg his daughter, a husband-hunter
Lord Lancaster Stiltstalking a retired Circumlocution Office official
Mrs Gowan a snobbish elderly ‘Beauty’
Mrs General widow, governess to the Dorrits

Charles Dickens – Further reading

Biography

Red button Peter Ackroyd, Dickens, London: Mandarin, 1991.

Red button John Forster, The Life of Charles Dickens, Forgotten Books, 2009.

Red button Edgar Johnson, Charles Dickens: His Tragedy and Triumph, Little Brown, 1952.

Red button Fred Kaplan, Dickens: A Biography, Johns Hopkins University Press, 1998.

Red button Frederick G. Kitton, The Life of Charles Dickens: His Life, Writings and Personality, Lexden Publishing Limited, 2004.

Red button Michael Slater, Charles Dickens, Yale University Press, 2009.

Criticism

Red button G.H. Ford, Dickens and His Readers, Norton, 1965.

Red button P.A.W. Collins, Dickens and Crime, London: Palgrave, 1995.

Red button Philip Collins (ed), Dickens: The Critical Heritage, London: Routledge, 1982.

Red button Jenny Hartley, Charles Dickens and the House of Fallen Women, London: Methuen, 2009.

Red button Andrew Sanders, Authors in Context: Charles Dickens, Oxford University Press, 2009.

Red button Jeremy Tambling, Going Astray: Dickens and London, London: Longman, 2008.

Red button Donald Hawes, Who’s Who in Dickens, London: Routledge, 2001.

 


Other works by Charles Dickens

Charles Dickens Pickwick PapersPickwick Papers (1836-37) was Dickens’ first big success. It was issued in twenty monthly parts and is not so much a novel as a series of loosely linked sketches and changing characters featured in reports to the Pickwick Club. These recount comic excursions to Rochester, Dingley Dell, and Bath; duels and elopements; Christmas festivities; Mr Pickwick inadvertently entering the bedroom of a middle-aged lady at night; and in the end a happy marriage. Much light-hearted fun, and a host of memorable characters.
Charles Dickens Pickwick Papers Buy the book here

 

Charles Dickens Oliver TwistOliver Twist (1837-38) expresses Dickens’ sense of the vulnerability of children. Oliver is a foundling, raised in a workhouse, who escapes suffering by running off to London. There he falls into the hands of a gang of thieves controlled by the infamous Fagin. He is pursued by the sinister figure of Monks who has secret information about him. The plot centres on the twin issues of personal identity and a secret inheritance (which surface again in Great Expectations). Emigration, prison, and violent death punctuate a cascade of dramatic events. This is the early Victorian novel in fine melodramatic form. Recommended for beginners to Dickens.
Charles Dickens Oliver Twist Buy the book here


Charles Dickens – web links

Little Dorrit Charles Dickens at Mantex
Biographical notes, book reviews, tutorials and study guides, free eTexts, videos, adaptations for cinema and television, further web links.

Little Dorrit Charles Dickens at Wikipedia
Biography, major works, literary techniques, his influence and legacy, extensive bibliography, and further web links.

Little Dorrit Charles Dickens at Gutenberg
A major collection of free eTexts of the major works in a variety of formats.

Little Dorrit Dickens on the Web
Major jumpstation including plots and characters from the novels, illustrations, Dickens on film and in the theatre, maps, bibliographies, and links to other Dickens sites.

Little Dorrit The Dickens Page
Chronology, eTexts available, maps, filmography, letters, speeches, biographies, criticism, and a hyper-concordance.

Little Dorrit Charles Dickens at the Internet Movie Database
Adaptations of the major novels and stories for the cinema and television – in various languages

Little Dorrit A Charles Dickens Journal
An old HTML website with detailed year-by-year (and sometimes day-by-day) chronology of events, plus pictures.

Little Dorrit Hyper-Concordance to Dickens
Locate any word or phrase in the major works – find that quotation or saying, in its original context.

Little Dorrit Dickens at the Victorian Web
Biography, political and social history, themes, settings, book reviews, articles, essays, bibliographies, and related study resources.

Little Dorrit Charles Dickens – Gad’s Hill Place
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Lost Illusions

June 28, 2018 by Roy Johnson

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Lost Illusions (Illusions Perdues) (1837-1843) is one of Balzac’s greatest novels. It is in three parts and originally appeared in serial form. The three volumes which make up the whole work are The Two Poets (1837), A Great Man in Embryo (1839) and Eve and David (1843). The story begins in the provinces, moves to Paris, then returns to provincial life. There is also a sequel in the equally outstanding A Harlot High and Low (1838-1847).

Lost Illusions

Honore de Balzac


Lost Illusions – commentary

Structure

The basic structure of the whole work is quite simple – but it has subtle and complex relationship to the main themes of the narrative.

Part One begins in the provinces – the south-west city of Angouleme, where two ambitious young friends David and Lucien are keen to pursue their ambitions. David stays at home to develop research into the printing industry and he lives a settled domestic life. Lucien takes the opposite approach and elopes with a married woman in search of literary fame in Paris (which the critic Walter Benjamin called ‘the capital of the nineteenth century’).

Part Two is entirely given up to Lucien’s rise and fall as a writer and a socialite. It presents an excoriating critique of journalism, newspapers, the theatre, and literary commerce in general. Lucien is feted and lionised on a very flimsy basis – largely on the strength of his good looks. He struggles to survive because he lacks income, and when his money runs out he is thrown on the social scrap heap.

Part Three returns to the provinces where these two themes are merged again. Lucien becomes the prodigal son back home: David is on the verge of commercial success. But both are struggling against superior forces. David is the innocent victim of legal and commercial sharks, and he is lucky to survive in time to collect his rightful legacy. Lucien makes matters worse for his family, and after deciding to commit suicide is rescued only by falling into the clutches of a master criminal.

At first sight, the three parts do not seem to be well integrated. Part Two is so long it appears to overwhelm the two adjacent parts. And the narrative in Part Three is forced to jump backwards chronologically to explain what has been happening in Angouleme whilst Lucien was in Paris. But there is an important compositional factor which should be taken into account on the issue of overall coherence.

Balzac’s writing method

Balzac conceived and wrote his novels as the separate minor parts of a gigantic undertaking, La Comedie Humaine. This enormous compilation is an attempt to render the whole of French society and its development in the early part of the nineteenth century. It was a fictional world generated in what the critic George Saintsbury calls a ‘somewhat haphazard and arbitrary’ manner.

In any given year, Balzac might be working on two or even three separate parts of La Comedie Humaine. He would write (and publish) one novel, then later write another separate book dealing with a minor character from the first. It was rather like the completion of a huge literary jigsaw puzzle – one which progressively expanded the more he wrote.

To make matters more complex, he often changed the titles of the separate parts when they were transferred from serial publication in newspapers and magazines into single volume book format. All of these factors tend to militate against structural consistency. It is a miracle that La Comedie Humaine is as coherent as it is.

Names

There is an interesting reflection of social manners in the use of names throughout the novel. Lucien is the most obvious example. His name is not Lucien Rubempré, but Lucien Chardon. He has adopted a new patronymic because it disguises his origins as the son of a chemist, and the borrowed name has more aristocratic associations. But as soon as this deception is uncovered in fashionable society, he is ostracised as a parvenu and social climber – which is what he is.

Anais de Bargeton privately adopts the name of Louise for Lucien alone as a flirtatious link between them. She wants the pleasure of a mild affair without endangering her social reputation. She drops this affectation as soon they elope to Paris then go their separate ways

Baron Sixte du Chatelet, the dilettante ‘tax collector’ is a social fraud. He has adopted the ‘aristocratic particle’ de quite illegitimately to enhance his social standing. It is significant that Mme de Bargeton introduces him as Monsieur Chatelet at her salon in order to humiliate him before the other guests. However, it does not stop her eventually marrying him.

It is also worth noting in this regard that Balzac himself did exactly the same thing. He called himself Honore de Balzac without any legitimate claim to this distinction.

The business of literature

Balzac was intensely conscious of all aspects of what might be crudely termed ‘the book trade’. Lost Illusions contains scenes and even explanatory essays on all aspects of what is called ‘literary production’ – particularly its commercial elements. These range from the printing of books and even the production of the paper from which they are made.

It also includes the distribution of literary products and their reception into the marketplace. In addition he deals with the establishment of literary reputations via criticism and popular journalism, and the manner in which these are manipulated via very dubious commercial practices.

The novel starts with a study in printing technology as old miser Sechard sells his antiquated hand press equipment and cheats his son in doing so. There are full accounts of typography, setting type in cases, and the laborious process of proof-reading and editing text.

When Lucien reaches Paris he is confronted by all sorts of good and bad practices. His literary friends in the Cénacle have high ideals, but they live in poverty and earn their livings through odd-jobbing.

Perhaps the most amusing example of Balzac’s scathingly ironic view of the literary world comes when Lucien visits the offices of a newspaper. The naive young literary would-be expects to find grand premises, staffed by hard-working editors and creative journalists. Instead he finds a shabby one-man office concerned only with ‘subscriptions’. The newspaper is run by an editor who visits only occasionally, and it is written by journalists who do not exist. Copy for the publication is cobbled together on the fly from various sources, produced by writers unpaid and unseen.

Lucien’s friends in the Céacle and his colleague Etienne Lousteau give him warnings that represent Balzac’s extremely negative views on the business of journalism and the establishment of literary reputations. Reviewers accept bribes and produce their sycophantic criticism accordingly; they even extract favours from publishers and writers in exchange for favourable mention; and if refused, they will turn and pour scorn on the very same production.

The seedy side of the book trade is also exposed, with both reviewers and booksellers exhorting free copies from publishers, then selling them on at a profit. Wholesalers are motivated entirely by per item discounts and percentage reductions – with the actual value of the work in question completely disregarded.

The implications of all the literary activities to which Lucien is introduced are that books are a commodity like anything else such as cabbages or sacks of coal. Publishers are only interested in milking established literary reputations or whatever happens to be fashionable at the moment.

This seemingly cynical view of publishing is based on harsh economic realities. The publisher Dauriat explains the situation very clearly. He needs to make an advance payment to the author, then pay for good reviews in order to make the resulting sales profitable.

Obviously this is the sceptical-cum-cynical view of an author commenting on negative aspects of the business of publishing. But Balzac was himself a printer and a bookseller who knew the commercial aspects of the business first hand – from which he both profited and suffered. It is interesting to note that the system he exposes is virtually the same today – almost two centuries later.

Balzac knew this world very well – because he was a writer who also owned print production, and just like his idol Walter Scott, he virtually bankrupted himself by trying to combine the roles of writer, printer, and publisher. In fact, despite his immense success as a novelist, most of his earnings were swallowed up paying off debts – which were increased because of the extravagant life style he enjoyed.

Balzac is unrelenting in exposing the dubious and even corrupt relations that exist between journalists, theatre management, dramatists, actors, and the commercial enterprise in general. Authors pay to have their scripts considered; reviewers are instructed by newspaper editors how to report on theatrical productions; and organised groups of people (claqueurs and siffleurs) are paid to applaud or whistle at particular scenes and actors. Almost everywhere there is money oiling the wheels of reputations – and the last consideration of all is artistic merit.

Lucien’s review of a play featuring the eighteen year old actress Coralie who becomes his lover is hailed as a ground-breaking journalistic novelty. But it is nothing more than a plot summary with whimsical touches and entire paragraphs blatantly puffing up the two principal performers. The clear inference is that the feuilletons are pedalling second-rate material.

Lost Illusions

La Comedie Humaine – 1901 edition in sixteen volumes

The business of business

Balzac was fascinated by the economic realities of life, and was keen to expose the detailed workings of material production, economic exchange, accountancy, and the system of banking and money which underpinned it all. Indeed, he even reproduces the solicitors’ accounts of David Sechard’s debts to show how legal fees have tripled the original amount of Lucien’s original three forged ‘bills’. (These are what we would now call ‘cheques’).

The scheming Cointet brothers illustrate perfectly the role of enterprises swallowing up their competitors to enlarge their own hold on the market. But they are not just printers: they are also paper manufacturers. These two essential parts of literary production had not yet become separated. Even more surprisingly, they also act as bankers.

It is not surprising that Balzac was much admired by Karl Marx, who believed that in works such as Lost Illusions the author exposed the essence of capitalism in all its moral, social, legal, and economic workings.

The realist novel

Balzac was one of the founders of what we now call the ‘realist novel’ – that is, fictional narratives which give an accurate and unsparing account of the society and its workings. A realist novel will normally include recognisable locations, credible characters, and dramas which reveal the way the world really operates. They also commonly offer a sharply critical view of social conflicts, and are prepared to explore topics such as corruption, poverty, crime, and other negative aspects of human behaviour.

Balzac creates a detailed and comprehensive account of the social milieu in which his dramas take place. The beginning of Illusions Perdues is set in the provincial location of Angouleme, and he provides what is virtually a sociological description of the city, its geography and economic history, plus the class stratification of its inhabitants.

This might at first seem like mere scene setting, but it demonstrates the provincial world from which the protagonist Lucien Chardon wishes to escape in his quest for fame in the capital, Paris. It also reveals how even the topography of a location can have an influence on the people who live there

In addition to this socio-economic understanding of society, Balzac also has an incredibly detailed perception of its physical details and their implications. His description of a house both reinforces the realism of its presentation (rather like a Dutch interior painting) and shows that he is vitally aware of the surfaces, the textures, colours, and the fabrics of the world in which his characters live.

When Lucien makes his first visit to Mme de Bargeton, he is overawed by entering a level of society far above his own. But the narrative reveals Balzac’s critical view of the Bargetons’ down-at-heel aspirations to domestic grandeur:

Lucien walked up the old staircase with chestnut banisters, the steps of which ceased to be of stone after the first flight. Crossing a shabby little anteroom and a large drawing-room, dimly lit, he found his sovereign lady in a small salon with wainscots of wood, carved in eighteenth-century style and painted grey. The upper parts of the door were painted in camaieu. The panelling was decorated with old red damask, poorly matched. The old-fashioned furniture was apologetically concealed under loose covers in red and white check. The poet caught sight of Madame de Bargeton seated on a couch with a thinly-padded quilt, in front of a round table covered with green baize, on which an old-fashioned, two-candled sconce with a paper shade above it cast its light.


Lost Illusions – study resources

Lost Illusions Lost Illusions – Penguin Classics – Amazon UK

Lost Illusions Lost Illusions – Penguin Classics – Amazon US

Lost Illusions Lost Illusions – Random House – Amazon UK

Lost Illusions Lost Illusions – Random House – Amazon US

Lost Illusions Illusions perdues – Wikipedia

All characters in La Comedie Humaine

Cambridge Companion to Balzac – Cambridge UP – Amazon UK

Lost Illusions


Lost Illusions – plot summary

Part I – The Two Poets

Old miser Sechard sells an out-of-date printing press to his son David, who employs his poor school friend Lucien Chardon as a proof-reader. The two young men are soul mates with idealistic cultural and intellectual ambitions.

Lucien is introduced to local Angouleme society lioness Mme de Bargeton by her admirer the Baron Sixte du Chatelet. Lucien is flattered and falls in love with her. She decides to cultivate and promote him as a poet, and persuades him to change his name to Rubempré. Lucien would like David to share his good fortune, but his friend turns down the offer. David is very shyly in love with Lucien’s sister Eve.

Lucien delivers a poetry recital amongst the Angouleme elite, who are bored and snobbishly insult him. David proposes marriage to Eve, with a view to creating a business that can support Lucien in his ambition. David delivers a lecture on paper-making techniques to Eve in order to explain his plans. David’s miserly father refuses to help him improve the house he lives in.

Lucien develops his affair with Mme de Bargeton, and lives off the earnings of his mother, his sister, and David. But Lucien is frustrated by the refusal of Nais to give in to his romantic demands. Du Chatelet spreads rumours about the affair and eventually a duel is fought. Nais decides to leave for Paris and demands that Lucien go with her. Lucien borrows more money from David and his family.

Part II – A Great Man in Embryo

Du Chatelet follows Anais and Lucien to Paris, advising her not to compromise herself. Lucien spends money he cannot afford on fashionable clothes, but at the opera he becomes disenchanted with Anais – and she with him. He is ostracised when it is revealed he is a chemist’s son. Du Chatelet acts ambiguously but gives him sound advice. Lucien decides to renounce society and joins a group of poor Bohemian artists, convinced he will soon become rich and famous.

Lucien begins to approach booksellers with his novel and collection of poems. He finds a publisher but rejects the terms he is offered. Fellow writer Daniel d’Arthez encourages him and advises him to avoid journalism. The fellowship club together to give Lucien support, and he continues to accept money from his family.

Lucien decides he will take the risk and attempt to earn a living from journalism. He visits a newspaper office, only to discover that there is almost nobody in charge. He shows his collection of sonnets to Etienne Lousteau, who warns him against the corrupt world of journalism and the shabby end of book trading and criticism.

Lousteau takes Lucien into the grubby but fashionable world of journalism and the book trade in the wooden galleries of the Palais-Royal. A publisher pours scorn on poetry but agrees to read Lucien’s work. Lousteau takes Lucien to the theatre where they mix with actresses and critics.

Lousteau explains the complex financial networks of patronage, bribes, backstabbing, and ownership that connects theatre management, reviewers, and newspaper editors. He holds out a tempting but tainted offer to Lucien, who is suddenly the object of interest to the young actress Coralie. Lucien writes a review of the play and is immediately invited to join the staff of a newspaper.

The journalists enjoy a debauched dinner party with the actresses, during which newspapers are criticised by the very people who write for them. The actress Coralie takes Lucien back home where he remains for two days in the sumptuous apartment maintained by her rich ‘protector’ Camusot.

After improving the manuscript of his novel, the Cénacle reproach Lucien for becoming a journalist. His relationship with Coralie is exposed by her protector Camusot, who reluctantly condones it. Lucien attends a newspaper editorial meeting where they discuss the invention of canards, but his collection of sonnets is still refused by publisher Dauriat.

Lousteaux instructs him on how to write negative critical articles. Lucien writes a damning critique of a Dauriat publication, which prompts Dauriat to buy Lucien’s poems outright and harness his services. Lucien then writes another article praising the same book. He also writes a column satirising Mme de Bargeton and Baron du Chatelet.

Lucien’s theatre reviews are heavily edited to suit the theatre’s relationship with the newspapers. He is introduced to the organisation of claques, siffleurs, and re-selling of complementary seats. Lucien and Coralie throw a lavish dinner party at which his success as a journalist is ‘crowned’.

Lucien mixes in the aristocratic society that once shunned him. He is encouraged to get rid of Coralie, join the political conservatives, and apply for royal permission to adopt the name Rubempré. He is implored to stop attacking Mme de Bargeton, whom he meets again and who flatters him.

Lucien lives beyond his means, runs up debts, and does less and less work. He moves away from literature towards politics. Lousteau explains the journalistic system of blackmailing celebrities who have something to hide.

Lucien unsuccessfully tries to raise money, and gambles away the little he has. The Céacle warns him not to join the Royalists, but he ignores them. He becomes an object of ridicule and a symbol of betrayal. He pays for good reviews of Coralie’s new performance and is forced to write a damning review of d’Arthez’ excellent new book. Coralie fails in her new part, and Lucien is refused his promotion to the name Rubempré.

His review arguments spill over into a duel, in which he is injured. He becomes bankrupt and when Coralie dies he hasn’t enough money to pay for her funeral. He forges bills in his brother-in-law’s name, pays off his debts, and decides to go back home.

Part III – An Inventor’s Tribulations

Lucien arrives back in the Angouleme region to discover that David and the family have been plunged into debt because of the forged bills.

Previously, Eve took over the press whilst David pursued his dream of new paper making techniques. They enter into a dubious business relationship with rival printers Cointet. Eve is shocked to learn the truth about her brother Lucien’s degenerate life in Paris. Then his forged bills arrive in Angouleme.

David and Eve cannot meet the bill, which has been loaded with extra legal charges. The bill is sent back to Lucien, who is advised to delay matters – which merely adds further costs. David consults lawyer Petit-Claud who is in the pay of the Cointet brothers. Finally the legal costs are three times the size of the original debt. Petit-Claud inflames tensions between David and old Sechard, who still refuses to help his son, who goes into hiding to avoid arrest.

David succeeds with his new invention. Both the Cointets and his own father want to know his secret. Petit-Claud ties to arrange a financially advantageous marriage. At this point Lucien reaches home.

Lucien is accepted back into the family – but with reservations on both sides. He is suddenly celebrated as a writer in the local press – but the adulation has been artificially arranged by Petit-Claud.

Petit-Claud pretends to assist Lucien, whilst secretly plotting against him. Lucien orders stylish new clothes from Paris and attends a grand celebration held in his honour. He plans to flatter Louise again and wangle a research grant for David. But David is tricked with a forged letter to emerge from hiding and is arrested.

Lucien decides to commit suicide but when he leaves home he is dissuaded by a Spanish priest Carlos Herrera (Vautrin the arch-criminal in disguise). Vautrin promises him financial support in exchange for Lucien’s allegiance.

Meanwhile Petit-Claud persuades Eve and David to reach a compromise with the Cointets, who enforce a disadvantageous business deal. Lucien’s money arrives a day too late to save them. Cointet goes on to become rich; David gives up his experiments and inherits his father’s fortune. Petit-Claud advances his legal career. For news of Lucien the reader is referred to the next instalment of the Comedie Humaine, which was to be A Harlot High and Low.


Illusions Perdues – characters
Jerome-Nicolas Sechard a miserly printing press and vineyard owner
David Sechard his son, a typographist with scientific ambitions
Lucien Chardon David’s poor school friend, a handsome would-be writer
Mme Anais de Bargeton an attractive social lioness with snobbish ambitions
Baron Sixte du Chatelet a dilettante tax collector with social ambitions
Daniel d’Arthez a talented writer, Lucien’s close friend in the artistic fellowship
Etienne Lousteau a successful young freelance journalist
Coralie an eighteen year old Jewish actress
Camusot a rich and retired silk merchant and Coralie’s ‘protector’
Dauriat a publisher at Palais-Royale
Boniface Cointet a paper-maker, printer, and banker in Angouleme
Cerizet David’s duplicitous employee
Pierre Petit-Claud an ambitious and scheming provincial solicitor
Vautrin a master criminal, ex-convict, and homosexual (real name Jaques Collin)

© Roy Johnson 2018


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Man and Wife

February 21, 2017 by Roy Johnson

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Man and Wife (1870) was one of the novels in which Wilkie Collins undertook to expose social injustice – in this case the absurdities which existed in British marriage laws. It was his ninth published novel. As someone who had briefly studied law himself, Collins took a keen interest in legal matters, particularly how they applied to domestic life. He himself never married, even though he maintained two separate families who lived quite close to each other in London’s fashionable West End. The novel explores both the social and legal problems which arise from bad law and the cruelties inflicted on women trapped in abusive marriages.

Man and Wife


Man and Wife – a note on the text

Man and Wife first appeared as a serial in Cassell’s Magazine between January and June 1870. It was simultaneously serialized in the United States by Harper’s Weekly and then published as a novel in three volumes by F.S. Ellis, to which Collins added a preface, a dedication, and an appendix. He often felt that he needed to explain and justify the subjects he chose for his novels, because they were considered slightly scandalous at the time, and many critics doubted the realistic validity of his subject matter.


Man and Wife – critical commentary

Principal issues

Readers will have no difficulty in appreciating that the main elements of the novel are the legal problems surrounding ‘irregular’ marriage, the social status of women, and irregularities and differences between the laws of England and of Scotland.

There are several long discussions between characters on the subject of the ‘irregular’ Scottish marriage. The essence of this is that a marriage did not need to be announced in advance (by the issuing of ‘banns’) did not need to take place in a place of worship, and did not need to be solemnised by a member of the church. A marriage could be legally established by mere assertion of the two parties concerned – with no scrutiny of the validity of their claim.

The problems and anomalies to which this arrangement might give rise are fully explored in the events of the novel, and full recognition is given to the fact that differences of legal opinion could arise on the status of a particular union.

Arnold Brinkworth marries Blanche Lundie in a perfectly orthodox manner in England – but is then shocked to discover that he is considered to have previously married Anne Silvester. This is because he merely announced himself as her husband and stayed overnight in the same remote inn where she was waiting for Geoffrey Delamayn.

Anne Silvester has a verbal agreement with Geoffrey Delamayne that they will marry in secret. She writes to him asserting their understanding, and he replies in agreement. And that letter alone is later regarded as ‘proof’ of their marriage.

Even though she later hates Delamayne, Anne agrees to respect the agreement and thereby sacrifices herself so that no shadow of scandal will blemish the marriage of her friend Blanche to Arnold. The tragic consequence of her action is that on the strength of this Delamayne eventually imprisons her (which the law permits) and plans to murder her so that he can marry the rich Mrs Glenarm.

Add to these instances the sad story of Hester Dethridge’s marriage to an abusive husband from which she cannot escape, and the reader is presented with a whole range of complexities arising from bad law and the uncertain outcome of marriage (at any time). Wilkie Collins was obviously sceptical of the institution, as he reveals rather satirically when describing the wedding ceremony:

Thus, the service began—rightly-considered the most terrible surely of all mortal ceremonies—the service which binds two human beings, who know next to nothing of each other’s natures, to risk the tremendous experiment of living together till death parts them—the service which says, in effect if not in words, Take your leap in the dark: we sanctify but we don’t insure it!

The sensation novel

Man and Wife is often seen as the opening work of Wilkie Collins’ ‘later period’ in which he took a ‘moral and didactic’ approach to social issues of the day. This is most evident in the close relationship of his marriage law subject matter and the constitutional changes taking place at the time, notably the Married Women’s Property Act (1870).

But the novel also contains many elements of the sensation novel which had made his earlier works of the 1860s so popular – notably secret marriage, bigamy, blackmail, domestic violence, incarceration, and murder.

The main plot gets under way with two non-marriages which assume legal status. The first is Anne’s proposal of a secret marriage to Geoffrey Delamayne. This takes place purely on paper – in a letter from Anne asserting their union which also contains Geoffrey’s affirmative reply.

The second occurs when Arnold visits Anne at the inn pretending to be her husband. This leads directly to what Collins presents as the absurdity of the ‘irregular Scottish marriage’. They are deemed to be married merely because they spend the night together under the same roof.

More seriously, because of this innocent accident Arnold later becomes guilty of bigamy when he marries Blanche. The whole of the second part of the novel is driven by attempts to unravel this Scottish marriage and to counter its social ramifications.

Part of the plotting and counter-plotting involves blackmail. The scurrilous waiter Bishopriggs gains possession of the vital letter of understanding between Anne and Geoffrey Delamayne. When Bishopriggs threatens to reveal its contents unless he is well compensated, Anne counter-threatens the same thing, which will make the letter worthless. (However, it is a serious flaw in the plot that he parts with it for the measly sum of five pounds.)

The mysterious figure of the dumb cook Hester Dethridge is eventually revealed as a victim of domestic violence. She is married to a man who is a drunkard, who takes and squanders all the money she earns, and who beats her savagely. Her written confession which presents this catalogue of abuse is clearly offered by Wilkie Collins as a polemical illustration of the lack of women’s rights at the time.

The abuse is so severe that Hester feels she has no alternative but to remove its source – so she eventually murders her husband. She rather improbably escapes detection – but she is ever afterwards haunted by a recurrent homicidal impulse.

This finds its ultimate outlet when she is forced to assist Geoffrey Delamayne in his attempt to murder Anne using the same method she has used. But instead of helping him, she strangles him – though he appears to have a stroke at the same moment. It is not altogether clear if she is the actual killer – but she is nevertheless incarcerated as a result – in a mental asylum from which she will not be released for the rest of her life.

Dramatic structure

Wilkie Collins produced the novel as a prose narrative for serial publication in Cassell’s Magazine. As such it sits alongside literary works in the novel genre produced by his contemporaries Dickens, Gaskell, Braddon, and Trollope. But it is quite clear that there is a strong sense of a stage drama underpinning the structure of the work.

The fact is that he first conceived the story as a play, and one of its principal weaknesses is that the narrative is comprised of a series of rather long-winded ‘conversational’ interludes sewn together by episodes of a quite different pace and style.

The main scenes in the unfolding of the plot are very static, and they take place usually in the drawing room, dining room, summer-house, library, or some other location easily rendered under the proscenium arch of a traditional stage.

There are lots of comings and goings in and out of doorways, and lots of situations packed with dramatic irony. It is closer in tone and genre to a country house comedy of manners than to the serious and dark melodrama into which the novel turns during its third and final volume.

Perhaps the most surprising structural weakness occurs at the end of the novel. Just as the story is being brought to its climax and the main theme of the story (the Anne-Geoffrey non-marriage) is being resolved – Collins interrupts the dramatic tension by inserting the potted biography of Hester Dethridge. This is a blatant passage of propaganda on the subject of women trapped in abusive relationships – and as such it completely disrupts the tone of the main narrative.

Moreover it culminates in Hester’s murder of her abusive husband in a scene which is very badly explained in terms of dramatic invention. We are asked to believe that Hester puts her hands through a lath and plaster wall, suffocates her husband with a wet towel, then somehow repairs the wall leaving ‘nothing disturbed or altered’. Geoffrey then plans to murder Anne in a gimcrack reprisal of the same method in the final scene, which is as rushed as it is far-fetched.


Man and Wife – study resources

Man and Wife Man and Wife – Oxford Classics – Amazon UK

Man and Wife Man and Wife – Oxford Classics – Amazon US

Man and Wife Man and Wife – Facsimilie Publisher – Amazon UK

Man and Wife Man and Wife – Facsimilie Publisher – Amazon US

Basil The Complete Works of Wilkie Collins – Kindle eBook

Basil Man and Wife – eBook formats at Gutenberg


Man and Wife 1875

1875 edition


Man and Wife – plot synopsis

Prologue

I. Ambitious John Vanborough feels that his wife is holding back his chances of rising socially. He discovers that his marriage is technically invalid and throws himself at rich widow Lady Jane Parnell.

II. He marries her, enters parliament, and becomes famous. Delamayne enters parliament and becomes solicitor general. Vanborough commits suicide, leaving his daughter Anne Sylvester to be raised by Lady Julia Lundie, where she is governess to Blanche her step-daughter.

The Story

There is a garden party at the estate of Sir Patrick Lundie. Anne Sylvester is at odds with the termagant Lady Lundie. Sir Patrick discusses inheritance with young Arnold Brinkworth, who proposes to Blanche Lundie. Anne bullies Geoffrey Delamayne into a secret marriage because he has been paying court to her. News arrives that Delamayne’s father is ill, so he deputes his friend Arnold to explain his absence to Anne.

Second Scene

Arnold takes the news to a distraught Anne at a nearby inn. They unwisely pass themselves off as newlyweds. Arnold misses his train and is forced to stay overnight. When Blanche arrives, Anne hides Arnold and gives Blanche a partial explanation.

Third Scene

Delamayne is in London. His father wishes him to marry, and his brother Julius presents an attractive alternative in rich widow Mrs Glenarm.

Fourth Scene

Blanche, Arnold, and Geoffrey assemble at Windygates to discuss Anne, who is in hiding . There are lots of dramatic ironies and much consideration of irregular Scottish marriages. A visiting surgeon makes a case against physical exercise, and predicts that Geoffrey is internally flawed. Anne suddenly returns to the house and is rejected by Geoffrey. Anne disappears again, and is pursued by Sir Patrick and Blanche. Anne sends Blanche a letter of terminal farewell. Sir Patrick urges marriage as a solution for Arnold and Blanche, to which Arnold agrees. Anne is traced to Glasgow.

Fifth Scene

In Glasgow Anne receives contradictory advice on her legal status under Scottish law. She then collapses at the hotel.

Sixth Scene

Geoffrey jousts verbally with Mrs Glenarm to whom he is secretly engaged. He trains for a running race – and shows signs of weakness. Blanche questions the waiter Bishopbriggs about Anne’s letter which he plans to use in blackmailing Geoffrey and Mrs Glenarm.

Seventh Scene

On the evening of his wedding Arnold is questioned by Sir Patrick about Geoffrey’s secret – which he feels he cannot honourably reveal. Arnold and Blanche marry and go on honeymoon. Letters arrive from Anne sacrificing herself and revealing the truth about her meeting with Arnold. Geoffrey’s marriage to Mrs Glenarm is announced in the newspapers, as is the attempted blackmail of Mrs Glenarm. Anne moves to London.

Eighth Scene

Anne confronts the blackmailer Bishopriggs and pays him five pounds for her letter.

Ninth Scene

Anne confronts Mrs Glenarm and they dispute the veracity of Geoffrey’s claim that Anne is married to Arnold.

Tenth Scene

Lady Lundie intervenes and interrogates the inn-keeper Mrs Inchbare. She then plots further with Mrs Glenarm.

Eleventh Scene

Lady Lundie confront’s Blanche and convinces her that Arnold was already married to Anne, her closest friend. She then takes her away to London.

Twelfth Scene

Anne visits Geoffrey in Fulham, and is rejected anew. But Sir Patrick interprets Anne’s letters to and from Geoffrey as proof that they were married under Scottish law.

Thirteenth Scene

Geoffrey loses the running race in Fulham and collapses after the event.

Fourteenth Scene

There is a meeting of lawyers to consider the legal status of the disputed marriage. Sir Patrick argues the case for Arnold and Blanche. He produces Anne’s ‘marriage’ letter which proves the case – and Anne chooses to sacrifice herself for Blanche’s sake.

Fifteenth Scene

Sir Patrick visits Lord Holcome who is dying. He has made a new will with provision for Geoffrey (and possibly Anne) but dies before the codicil can be signed.

Final Scene

Geoffrey Delamayne takes his ‘wife’ Anne to the lodgings run by Hester Dethridge. He plans to sue for a ‘divorce’ but cannot make a legal case. When his father dies, he imprisons Anne in the cottage. His brother Julius proposes to honour the unsigned codicil to his father’s will if Geoffrey will agree to a separation. Geoffrey refuses. and becomes ill. Hester sees an apparition of some kind and tells Geoffrey he must leave. Geoffrey reads Hester’s confession of how she killed her abusive husband. He prepares to murder Anne in the same way, but when he makes the attack through a bedroom wall he has a stroke, whilst Hester has another homicidal vision and kills him.

Epilogue

Six months later Hester has been placed in a mental asylum, Mrs Glenarm is in the process of becoming a nun, and Anne has become Lady Lundie by marrying Sir Patrick.


Man and wife – principal characters
Delamayne an ambitious lawyer who becomes Lord Holchester
Julius Delamayne his elder son, who inherits the title
Geoffrey Delamayne his profligate younger son
Lady Julia Lundie a proud Scottish widow
Blanche Lundie her young step-daughter
Sir Patrick Lundie a retired lawyer
Anne Silvester governess and friend to Blanche
Arnold Brinkworth friend of Geoffrey, suitor to Blanche
Hester Dethridge a dumb cook and landlady
Mrs Glenarm a rich young widow
Samuel Bishopriggs a crusty old Scottish waiter

Man and Wife – further reading

William M. Clarke, The Secret Life of Wilkie Collins, London: Ivan R. Dee, 1988.

Tamar Heller, Dead Secrets: Wilkie Collins and the Female Gothic, New Haven: Yale University Press, 1992.

Winifred Hughes, The Maniac in the Cellar: Sensation Novels of the 1860s, Princeton: Princeton University Press, 2014.

Sue Lonoff, Wilkie Collins and his Victorian Readers: A Study in the Rhetoric of Authorship, New York: AMS Press, 1982.

Catherine Peters, The King of Inventors: A Life of Wilkie Collins, Princeton: Princeton University Press, 2014.

Walter C. Phillips, Dickens, Reade, and Collins: Sensation Novelists, New York: Library of Congress, 1919.

Lynn Pykett, Wilkie Collins: New Casebooks, London: Palgrave-Macmillan, 1998.

Nicholas Rance, Wilkie Collins and Other Sensation Novelists: Walking the Moral Hospital, London: Palgrave-Macmillan, 1991.

© Roy Johnson 2017


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Filed Under: Wilkie Collins Tagged With: English literature, Literary studies, The novel, Wilkie Collins

Nicholas Nickleby

August 26, 2014 by Roy Johnson

tutorial, commentary, study resources, plot, and web links

Nicholas Nickleby first appeared as a serial novel in nineteen monthly instalments between 1838 and 1839, published by Chapman and Hall. It was Charles Dickens’ third novel, but he wrote it at the same time as he was completing his second novel, Oliver Twist. He had struck a best-selling formula with his first novel – The Pickwick Papers – an episodic narrative issued in monthly parts, and he stuck to this publishing format, selling 50,000 copies a month of each instalment, which cost one shilling per issue and two shillings for the final double issue.

Nicholas Nickleby

a monthly instalment

It is worth noting, in terms of the history of the novel and literature as a cultural medium, that Charles Dickens’ name does not appear on the cover – only his nom de plume, ‘Boz’. And he is not the author but the editor of these recorded adventures – almost as if their existence were due to some other person or source.

In addition, each instalment of the serial was illustrated – in this case by his favourite artist, Hablot Knight Browne, who was also given a pseudonym of ‘Phiz’. The convention of illustrating novels persisted until the end of the nineteenth century and then disappeared in the early twentieth.


Nicholas Nickleby – critical commentary

The picaresque novel

Dickens greatly admired the novelists of the eighteenth century – Henry Fielding, Laurence Sterne, and Tobias Smollett – all of whom had inherited the earlier tradition of the novel as a picaresque narrative. That is, the focus of attention in a novel was on an individual who engaged with society and embarked on a series of adventures. In its original form the picaro was usually a low-life character, and this is perhaps reflected in Fielding’s hero (in Tom Jones) being a foundling, or in Smollett’s heroes Roderick Random and Peregrine Pickle being ‘groundlings’ or ordinary characters.

The traditional picaresque novel featured a one central character (Lazarillo de Tormes and Tom Jones for example), but Dickens gives this convention a creative twist by having essentially two central characters battling with the vicissitudes of society. Nicholas and his sister Kate are both young and vulnerable following their father’s death. They are saddled with a mother who is worse than useless as a moral and spiritual guide, and they are surrounded by villainous characters who wish to do them harm.

Nicholas first has to battle with the psychopathic schoolmaster Wackford Squeers and his equally brutal family. Then he is also thwarted by his uncle, Ralph Nickleby

Ralph Nickleby is also the spider at the centre of the corrupt web of upper-class rakes trying to ensnare Kate Nickleby. Even though it is Sir Willoughby Hawk who is her main assailant, he is a client of Ralph’s and operates under his roof. Kate quite rightly complains that the very person who should be protecting her honour (her uncle) is putting her at risk by exposing her to moral danger and actually using her as live bait to ensnare the rich but simple Lord Frederick Verisopht.

The elements of the picaresque novel are normally movement – the journey – encounters with unknown individuals who may be rogues desperadoes, or comic characters. This was the novel as sheer entertainment, and Dickens happily embraced the genre. As well as featuring the hero’s mixed fortunes in society, encounters with rogues and villains, there were also a lot of knockabout comic and farcical scenes, plus no shortage of real physical violence – much in evidence here in the scenes at Dotheboys Hall.

There is very little notion of a tightly plotted story. The essence of the picaresque is a loose, episodic tale where one event follows another. Nevertheless, Dickens inserts elements which typify his later command of the tightly plotted serial novel, with a structure unified by overarching metaphors and symbols.

He introduces mysterious and dramatically interesting details which act as a thread through the episodes of the story. For instance, the curious figure of Newman Noggs who works for but despises Ralph Nickleby. He passes a message to Nicholas as he embarks at the start of the novel on his journey to Yorkshire and Dotheboys Hall. This creates a link between them which enables Nicholas to survive the vicissitudes of his exile and even his return under an assumed name (Johnson).

The negative parent figure

We know that Dickens was very concerned about the ill-treatment of children – despite the fact that he neglected his own. His novels are full of neglected and poor youngsters, children forced into work and crime, and pathetic under-aged beings who suffer and die young.

The other side of this coin is the parent figure who neglects those under its supervision and care. Nicholas Nickleby has a wide range of characters who are what might be called the negative parent figure – people who are responsible for people younger than themselves who neglect their welfare and in some cases actively seek to undermine it.

First in order of appearance of these figures is Wackford Squeers, the sadistic headmaster of Dotheboys Hall, who acts in loco parentis to his pupils. Squeers is motivated entirely by greed and self-gratification. He actually robs the pupils under his care; he beats them; more or less starves them; and actively stands in the way of their securing any possible outside help. He is what we would now classify as a sociopath or even a psychopath

Mr Bray is one of the many miserly characters in the novel, but his outstanding characteristic is that of an emotionally tyrannical father figure. He has a daughter (Madeleine) who is slavishly devoted to him, but rather than appreciate her efforts, he abuses her unmercifully and turns her life into a living misery. Rather like Squeers, he is entirely self-regarding and even sneers at the very sources of income which keep him alive (the ‘purchases’ made by the Cheerybles).

Mrs Nickleby is a great comic figure in the novel – a social snob even when her family has become penniless, and a garrulous featherbrain who fails to understand anything that is going on. She doesn’t actually make her children suffer, but she is certainly derelict in his role as a parent, and it is interesting to note that she shares self-regard and a solipsistic view of the world with the other negative parent figures in the novel.

Ralph Nickleby turns out to be the worst parent figure of all. He is dominated by an almost pathological worship of money. He marries for financial advantage, and when his wife leaves him, he gives away his son – who becomes the abandoned Smike at Dotheboys Hall. The conditions there – in addition to his consumption – contribute to his early death.

Money, inheritance, and class

The origins of the entire narrative lie in a version of the Biblical parable of the talents. At his death old Nicholas Nickleby divides his money between two sons, Ralph and John. One (Ralph) becomes a money lender (a usurer) and makes more money: The other (John) invests his portion of the inheritance in the stock market and loses everything.

This accounts for the tensions within young Nicholas Nickleby’s family and his personal life. He has been raised and educated to be a ‘gentleman’, but he suddenly finds himself with no money and a mother and sister for whom he is responsible.

Nicholas is forced to work as an almost unpaid assistant schoolteacher, whilst his mother clings to comically misplaced snobbish standards as if she were still upper class. Kate too is forced into low-paid work, and can only hope for a suitable marriage to save her from her plight.

But any marriage should be on reasonably equal terms. This explains the dramatically stretched issue of conscience and scruples when Nicholas insists that Kate should not encourage Frank Cheeryble as a suitor – because Frank will inherit from his twin uncles, whereas Kate has nothing to inherit.

Nicholas puts an equally severe limit on himself when he asks for Madeleine to be taken away from his mother’s house. He is in love with her, but he realises that the Cheerybles will look after her financially, whereas he has no inheritance to offer her. He belongs (albeit temporarily) to a lower social class. However, these problems are resolved by the fairy-tale generosity of the Cheerybles.


Nicholas Nickleby – study resources

Nicholas Nickleby Nicholas Nickleby – Oxford World’s Classics – Amazon UK

Nicholas Nickleby Nicholas Nickleby – Oxford World’s Classics – Amazon US

Nicholas Nickleby Nicholas Nickleby – Wordsworth Classics – Amazon UK

Nicholas Nickleby Nicholas Nickleby – Wordsworth Classics – Amazon US

Nicholas Nickleby Charles Dickens – biographical notes

Nicholas Nickleby Nicholas Nickleby – eBook at Project Gutenberg

Nicholas Nickleby Nicholas Nickleby – audioBook at LibriVox

Nicholas Nickleby Nicholas Nickleby – Hablot Knight Browne (Phiz) illustrations

Red button The Cambridge Companion to Charles Dickens – Amazon UK

Great Expectations Nicholas Nickleby – Audio book (unabridged) – Amazon UK

Red button Charles Dickens’ London – interactive map

Red button Oxford Reader’s Companion to Charles Dickens – Amazon UK


Nicholas Nickleby – plot summary

Chapter I.   Old Mr Nickleby leaves money to his two sons, Ralph and Nicholas. Ralph invests his inheritance and becomes a successful money-lender. Nicholas speculates with his money on the stock exchange and loses everything.

Chapter II.   Ralph and fellow entrepreneurs hold a public meeting to promote interest in a parliamentary bill to establish a muffin-making business, which will in fact be a monopoly.

Chapter III.   Ralph receives news of the death of his brother. He visits his sister in law and her two young children and, completely lacking in generosity and compassion, arranges to ‘find a job’ for young Nicholas.

Chapter IV.   Wackford Squeers enrolls pupils for his school at Dotheboys Hall in Yorkshire, and Ralph persuades him to take on Nicholas as an assistant schoolmaster.

Chapter V.   Nicholas sets off for Yorkshire. Before departure Newman Noggs slips him a mysterious letter. Squeers feeds himself liberally, but completely neglects his pupils. The coach overturns in bad weather.

Chapter VI.   The travellers recover at a nearby inn, where they regale each other with tales of ‘The Five Sisters of York’ and ‘The Baron of Grogzwig’.

Chapter VII.   Nicholas arrives at Dotheboys Hall, meets the abandoned boy Smike, and is given a frugal supper by Mrs Squeers. He reads the mysterious letter from Noggs, offering him sympathy and accommodation in London if ever he should need it.

Chapter VIII.   Squeers runs the school in a brutal and exploitative manner. All the pupils are broken and miserable. Nicholas is ashamed of being there. Smike has no friends and no hope.

Chapter IX.   The plain Fanny Squeers decides to fall in love with Nicholas, then announces to her friend Matilda that she is ‘almost’ engaged to him. The two young women entertain their beaux to tea, then fall out in rivalry with each other.

Chapter X.   Miss Le Crevey paints a miniature portrait of Kate Nickleby. Ralph Nickleby finds Kate a questionable job as a dressmaker with Madam Mantalini and moves her mother into an empty house he owns.

Chapter XI.   Kate and her mother leave Miss Le Crevey and are taken by Noggs to live in an old run down house in a poor party of the City.

Chapter XII.   Fanny and Matilda repair their disagreement of the day before. Matilda is to be married in three weeks. They meet Nicholas and claim he is in love with Fanny. When he refutes this claim, Fanny vows vengeance on Nicholas, who comforts the persecuted Smike.


Nicholas Nickleby

Nicholas starts for Yorkshire


Chapter XIII.   Smike suddenly runs off from the school, but is hunted down and recaptured. When Squeers starts to administer a public flogging before the assembled boys, Nicholas intervenes and beats Squeers. Nicholas leaves the school to go back to London, and is followed by Smike.

Chapter XIV.   A wedding anniversary party is under way in the rented rooms of the Keriwigs. nTheir neighbour Noggs is in attendance, despatching punch, when Nicholas and Smike arrive.

Chapter XV.   The Squeers have sent a defamatory letter to Ralph Nickleby, denouncing Nicholas. Noggs urges patience. Meanwhile Lillyvick lords it over the party and its members. When the babysitter’s hair catches fire, Nicholas rescues the baby and is admired by everybody as a gentleman and an aristocrat

Chapter XVI.   Next day Nicholas goes in search of a job, but turns down the position of secretary to an unscrupulous member of parliament. Instead, Noggs arranges for him to become private tutor to the Kenwig girls, under the name of Johnson.

Chapter XVII.   Kate starts work at Mantalini’s where she feels demeaned by the nature of her position. The Mantalinis are semi-comic buffoons, somehow connected with Ralph Nickleby.

Chapter XVIII.   Miss Knag has an almost Sapphic crush on Kate, who makes a good impression on visiting customers. But when Kate is chosen to display bonnets instead of Miss Knag, she turns hysterically against her.

Chapter XIX.   Kate in invited to dinner at her uncle’s house. But the guests are all-male boors, and she has been used as bait to lure a rich young lord. One drunken guest tries to attack her. Ralph Nickleby feels the first twinges of conscience regarding his niece.

Chapter XX.   Ralph confronts Kate and her mother with Nicholas’s ‘misdeeds’ (reported by Squeers). Nicholas stands up to Ralph and maintains his innocence – but he is powerless to do anything more. Everything is against him – but he sticks by Smike.

Chapter XXI.   The Mantalinis are bankrupted (by Ralph) and Kate loses her job. She becomes a companion to Mrs Witterly, who suffers from ‘an excess of soul’.

Chapter XXII.   Nicholas decides to leave London. He and Smike walk to Portsmouth, but before they get there Nicholas meets the theatrical manager Vincent Crummles, and in desperation is persuaded to join his troupe.

Chapter XXIII.   When they reach Portsmouth Crummles introduces Nicholas to his band of itinerant ‘actors’, including the ‘infant phenomenon’. Crummles gives Nicholas a French text to translate and plagiarize for performance in a few day’s time.

Chapter XXIV.   Nicholas writes the play for Miss Snevellicci’s benefit performance (one of many) – then has to go out touting for subscriptions.The play is put on, and despite its ridiculous and corny plot is a big success.


Nicholas Nickleby

Mr and Mrs Mantalini in Ralph Nickleby’s Office


Chapter XXV.   Mr Lillyvick the water tax collector arrives to tell Nicholas of his impending marriage to Henrietta Petowker, who is joining the troupe. A comic wedding scene ensues. Nicholas teaches Smike his simple part in Romeo and Juliet.

Chapter XXVI.   Hawk and Verisopht conspire to pursue the pretty Kate. Hawk wishes to trap Verisopht financially. They visit Ralph Nickleby, who wants to entrap them both. Mrs Nickel by arrives and naively hopes that Kate will marry one of these corrupt rakes. Ralph’s conscience pricks him for a second time.

Chapter XXVII.   Mrs Nickleby is fascinated with the idea of upper-class connections. She is visited by Pyke and Pluck who flatter her and invite her to the theatre on behalf of Hawk, who oppresses Kate again. They are also introduced to Mrs Witterly, who is also flattered by the attention of these rakes.

Chapter XXVIII.   Hawk and his entourage become regular visitors chez Mrs Witterly – and continue to oppress Kate. She appeals to her uncle Ralph for help – but he refuses to do anything, and even though he has encouraged their behaviour, he disapproves of it. So does Noggs, who disapproves of his employer Ralph.

Chapter XXIX.   Lenville is jealous of Nicolas’s success in the acting troupe. He offers a challenge, but Nicholas knocks him down. Nicholas communicates with Noggs via post, who replies that Kate might need his protection in the future.

Chapter XXX.   Nicholas prepare to leave the acting company. He goes to dinner, where Mr Snevellicci gets drunks and kisses all the women. An urgent note from Noggs arrives, so Nicholas and Smike leave for London by the morning coach.

Chapter XXXI.   Noggs negotiates with Miss La Crevey to delay telling Nicholas about Kate’s problems on his imminent arrival in ~London – to forestall rash actions.

Chapter XXXII.   Nicholas reaches London and immediately goes in search of Noggs, who has deliberately gone out as part of his plan. Nicholas wanders into a hotel and overhears Hawk maligning Kate. He challenges him, but Hawk refuses to reveal his identity. They fight in the street, and Hawk sustains injuries when his cab overturns.

Chapter XXXIII.   Nicholas removes Kate from Mrs Witterly’s , his mother from her lodgings, and writes to Ralph denouncing him as a villain.

Chapter XXXIV.   Ralph is visited by Mr Mantalini who needs money. Mrs Mantalini argues with her husband., during which time Ralph learns about the coach accident. Mr Squeers arrives, and Ralph quizzes him about Smike’s identity and origins.

Chapter XXXV.   Mrs Nickleby and Kate meet Smike, then Nicholas goes in search of a job, where he meets the improbably philanthropic Mr Cheeryble, who provides him with a well-paid job, a home, and gifts of furniture.

Chapter XXXVI.   Mrs Kenwigs has a baby. The family all congratulate themselves on their future prospects, but when Nicholas arrives with the news that their ‘benefactor’ Lillyvick has married Henrietta Petowker in Portsmouth, they go to pieces ,thinking that their ‘expectations’ have been ruined.


Nicholas Nickleby

Miss Nickleby Introduced to her Uncle’s Friends


Chapter XXXVII.   Nicholas makes a success of his introduction to working at Cheeryble’s, and old Tim Linkinwater’s birthday is celebrated in the office with lots of toasting and good cheer. Mrs Nickleby confides in Nicholas that she is being courted by their next-door neighbour by throwing cucumbers over the wall.

Chapter XXXVIII.   Miss La Crevey thinks that Smike is changing significantly. Ralph Nickleby visits Hawk who is still recovering from his injuries in the coach crash. Lord Verisopht is amongst the rakes but he thinks that Nicholas has acted honourably in defending his sister’s reputation. On his way back home, Smike is captured by Squeers and held prisoner.

Chapter XXXIX.   John Browdie arrives in London with his new bride Matilda Price and her friend Fanny Squeers.. They meet Mr Squeers at the Saracen’s Head That night Browdie helps Smike to escape from Squeers’ clutches.

Chapter XXXX.   Nicholas falls in love with a girl he saw very briefly in the Registry Office. He commissions Noggs to find out who she is and where she lives. He does this and actually arranges a meeting with her late at night.But when they get there it is the wrong girl.

Chapter XXXXI.   The eccentric (mad) man next door continues to pay court to Mrs Nickleby – who is flattered by his attentions, even though she feigns to reject them.

Chapter XXXXII.   Nicholas visits John Browdie at the Saracen’s Head. Whilst they are discussing Fanny Squeers’ lack of marriage prospects, she suddenly appears. There is a comic argument between Fanny and Matilda, then between Squeers and Browdie

Chapter XXXXIII.   Following the altercation at the Saracen’s Head, Nicholas meets Frank Cheeryble, with whom he feels a close bond. Yet he immediately wonders if he is a rival for the mysterious and beautiful girl – to whom he has never spoken. Frank and one of his uncles visit the Nickleby home the following Sunday, and everybody has a good time.

Chapter XXXXIV.   Ralph Nickleby is out collecting debts when he is tracked down by Mr Booker, a former business associate who has been in jail. Booker threatens to reveal compromising information, but Ralph calls his bluff and refuses to help him.There is a fake suicide by Mr Mantalini, then Ralph goes off withSqueers and a stranger, with Noggs in pursuit.

Chapter XXXXV.   Whilst John and Matilda Browdie are at the Nickleby cottage they are interrupted by Ralph Nickleby, Squeers, and Mr Snawley, who claims to be Smike’s estranged father. THey wish to capture Smike and take him back to Yorkshire, but Smike does not want to go.. After they throw out Squeers, Ralph leaves, threatening legal action against Nicholas.

Chapter XXXXVI.   Nicholas relates these incidents to the Cheerybles, who tell him a similar story about the beautiful girl who has devoted herself to an unloving father who is a wastrel. They want to use Nicholas as a means of supplying money to her. This enables him to meet Madeleine Bray and her thankless father.

Chapter XXXXVII.   Ralph Nickleby arrives at his office with Arthur Gride, who relates his plan to marry Madeleine Bray so as to acquire a property she will inherit. Ralph forces him to sign an agreement between them – all overheard by Noggs. They visit Bray and Madeleine and put their plan into motion, hoping that the greedy and heartless Bray will persuade Madeleine to accept.

Chapter XXXXVIII.   Nicholas is upset regarding his role in the supply of money to Madeleine Bray. He then meets up with the Crummles theatrical troupe giving their farewell performances before going to America. There is another lengthy dinner with speeches.


Nicholas Nickleby

Mr Linkinwater Intimates his Approval of Nicholas


Chapter XLIX.   In the Nickleby household Smike is suffering from consumption, but hides it from everyone. The mad old man from next door comes down the chimney in pursuit of Mrs Nickleby, but then changes to Miss La Crevey when he sees her.

Chapter L.   Sir Mulberry Hawk appears at Hampton Races after recuperating abroad. He quarrels with Lord Verisopht, who has a guilty conscience regarding his part in the plot against Kate. That night, after gambling and drinking, they fight a duel, in which Lord Frederick is killed.

Chapter LI.   Arthur Gride selects his clothes for the marriage to Madeleine Bray. Noggs has been approached by the mysteriousMr Brooker, and he tells Nicholas about Gride’s plan to marry Madeleine Bray.

Chapter LII.   Noggs takes Moreleen Kenwig to the barber, where they meet Lillyvick. His wife Henrietta has eloped with a solider, so he is received at the Kenwigs where he reverses the terms of his will in their favour, following much sycophancy on both sides.

Chapter LIII.   Nicholas appeals directly to Madeleine to call off or at least delay the marriage. He explains the plot between her father and Gride. But she refuses: she is sacrificing herself to gain the money promised to support her father. Nicholas then goes to Gride and offers to buy him off, but Gride refuses.

Chapter LIV.   Ralph and Arthur Gride arrive at the Bray house on the morning of the wedding, but suddenly Nicholas and Kate arrive to confront them and take Madeleine away. There is a stand off, and then Bray drops dead upstairs. Nicholas takes Madeleine away telling Ralph that his business has collapsed.

Chapter LV.   Mrs Nickleby is convinced that Frank Cheeryble is in love with Kate, who is looking after Madeleine as she recovers. Mrs Nickleby asks Nicholas to encourage the relationship, but he warns against it on the grounds that they are poor, whereas Frank has ‘expectations’ from his uncles. Nicholas is then commissioned to take the ailing Smike to Devon for convalescence.

Chapter LVI.   Ralph has lost £10,000 in a bank crash. Returning to Gribe’s house, they discover that old Peg has stolen incriminating papers and absconded. Ralph devises an elaborate plan of revenge (on Nicholas and just about everybody else) which includes the Snawley and Smike relationship, Madeleine’s inheritance, and recovery of Gride’s stolen documents. He enlists the services of Squeers to do the dirty work and carefully excludes all mention of himself from the arrangements.

Chapter LVII.   Ralph has located old Peg and Squeers visits her in a drunken state. He persuades her to show him the documents – but whilst they are inspecting them Frank Cheeryble and Noggs sneak into the room and knock Squeers out.

Chapter LVIII.   Nicholas takes Smike to Devon where they share a bucolic and tranquil existence. Smike has a fleeting vision of the man who first took him to Dotheboys Hall, reveals that he has been in love with Kate , and dies.

Chapter LIX.   An anxious Ralph is visited by Charles Cheeryble who wishes to warn him of something – but he dismisses him. Ralph goes off in search Noggs, Squeers, and Snawley, but none of them are to be found. So he goes to Cheerybles where he is confronted by Noggs who has unravelled the whole pilot. They offer him an honourable escape, but he scorns it.

Chapter LX.   Ralph tracks down Squeers at the police station where he is being held on remand. There are signs that even Squeers is turning against him. Then he returns to Cheerybles, where they produce Ralph’s former employee Mr Brooker, who reveals that Smike was Ralph’s son. Ralph suddenly disappears.

Chapter LXI.   Nicholas returns from Devon and learns that Kate has refused an offer of marriage from Frank Cheeryble on grounds of differences in their social positions. Nicholas vows to do the same regarding Madeleine, and asks the Cheerybles to remove her from his mother’s house.

Chapter LXII.   Ralph retreats to his house, followed by a black cloud, and is oppressed by feelings of defeat and the fact that his enemy Nicholas was the person who looked after his own son, Smike. He goes into the attic and hangs himself.

Chapter LXIII.   The Cheerybles summon everyone to a dinner at which the details of Madeleine’s inheritance are made known and the two couples – Frank and Kate, and Nicolas and Madeleine – are united.Then Tim Linkinwater proposes to Miss La Crevey, who accepts, much to Mrs Nickleby’s disgust.

Chapter LXIV.   Nicholas travels to Yorkshire to see his friend John Browdie and brings him up to date with all the news. It is revealed that Squeers has been found guilty and transported for seven years. John Browdie rides over to Dotheboys Hall where the boys revolt against Mrs Squeers and her two offspring. They then all run away.

Conclusion.   Nicholas marries Madeleine on the same day that Frank marries Kate. Nicholas becomes a partner in the firm. Ralph’s money is left un-touched and reverts to the State. Gride escapes punishment, but is then murdered. Hawk lives abroad, but on return is jailed for debt, where he dies.


Mont Blanc pen

Mont Blanc – Charles Dickens special edition


Nicholas Nickleby – principal characters
Old Mr Nickleby Nicholas’s grandfather
Ralph Nickleby his elder son, who becomes a speculator
Nicholas Nickleby his younger son, who loses his money and dies
Mrs Nickleby his widow, a naive and gullible woman
Nicholas Nickleby his son, good-natured and personable (19)
Kate Nickleby Nicholas’s pretty sister
Newman Noggs one-eyed clerk to Ralph Nickleby, ‘a decayed gentleman’
Wackford Squeers an unscrupulous, greedy, and brutal ‘schoolmaster’
Mrs Squeers his equally vulgar and stupid wife
Fanny Squeers their plain daughter (23) who falls for Nicholas
Smike a desperate abandoned boy, unpaid skivvy to Squeers (19)
Miss Le Crevey an artist in portrait miniatures
Matilda Price a pretty friend (and rival) of Fanny Squeers
John Browdie her fiancée, a tall Yorkshire corn-merchant with a Geordie accent
Mr Mantalini (actually Murtle) a ridiculous fop
Mrs Mantalini his (new) wife, a dressmaker
Mr Kenwig a turner in ivory
Mr Lillyvick a pompous collector of water taxes
Mr Crowl a dubious associate of Noggs who wears a red wig
Miss Knag garrulous and hysterical shop manager at Mantalinis
Mortimer Knag her brother, a gloomy bookseller and novelist, former admirer of Mrs Mantalini
Mrs Julia Witterly a social climbing hypochondriac who employs Kate as a companion
Henrietta Petowker marries Lillyvick, then leaves him for another man
Sir Mulberry Hawk a lecherous nobleman who pursues Kate
Lord Frederick Verisopht a simple dupe of Hawk, who kills him in a duel
The Cheerybles twin brothers and philanthropists
Frank Cheeryble their nephew, who falls in love with Kate
Timothy Linkinwater their chief clerk, who marries Miss La Crevey
Mr Walter Bray a selfish and dying miser
Madeleine Bray his beautiful and devoted daughter
Arthur Gride an old, greedy, and corrupt miser who tries to marry Madeleine
Peg Sliderskew his old and ugly housekeeper
Mr Brooker an ex-convict and formerly Ralph’s clerk

Further reading

Biography

Red button Peter Ackroyd, Dickens, London: Mandarin, 1991.

Red button John Forster, The Life of Charles Dickens, Forgotten Books, 2009.

Red button Edgar Johnson, Charles Dickens: His Tragedy and Triumph, Little Brown, 1952.

Red button Fred Kaplan, Dickens: A Biography, Johns Hopkins University Press, 1998.

Red button Frederick G. Kitton, The Life of Charles Dickens: His Life, Writings and Personality, Lexden Publishing Limited, 2004.

Red button Michael Slater, Charles Dickens, Yale University Press, 2009.

Nicholas Nickleby

Red button Bernard Bergonzi, ‘Nicholas Nickleby’, Dickens and the Twentieth Century, ed. John Gross and Gabriel Pearson, London: Routledge, 1962

Red button John Bowen, ‘Performing Business, Training Ghosts: Transcending Nickleby, ELH 63, 1996.

Red button V.C. Clinton-Baddeley, ‘Snevellicci’, Dickensian 57, 1961

Red button Phillip Collins , Dickens and Education, London: Macmillan, 1963

Red button Norman Russell, ‘Nicholas Nickleby and the Commercial Crisis of 1825′, Dickensian 77, 1981.

Red button Paul Schlike, Dickens and Popular Entertainment, London: Allen and Unwin, 1985.

Red button Michael Slater, The Composition and Monthly Publication of Nicholas Nickleby, London: Scholar Press, 1973.

General criticism

Red button G.H. Ford, Dickens and His Readers, Norton, 1965.

Red button P.A.W. Collins, Dickens and Crime, London: Palgrave, 1995.

Red button Philip Collins (ed), Dickens: The Critical Heritage, London: Routledge, 1982.

Red button Andrew Sanders, Authors in Context: Charles Dickens, Oxford University Press, 2009.

Red button Jeremy Tambling, Going Astray: Dickens and London, London: Longman, 2008.

Red button Donald Hawes, Who’s Who in Dickens, London: Routledge, 2001.

 


Other works by Charles Dickens

Charles Dickens Pickwick PapersPickwick Papers (1836-37) was Dickens’ first big success. It was issued in twenty monthly parts and is not so much a novel as a series of loosely linked sketches and changing characters featured in reports to the Pickwick Club. These recount comic excursions to Rochester, Dingley Dell, and Bath; duels and elopements; Christmas festivities; Mr Pickwick inadvertently entering the bedroom of a middle-aged lady at night; and in the end a happy marriage. Much light-hearted fun, and a host of memorable characters.
Charles Dickens Pickwick Papers Buy the book here

 

Charles Dickens Oliver TwistOliver Twist (1837-38) expresses Dickens’ sense of the vulnerability of children. Oliver is a foundling, raised in a workhouse, who escapes suffering by running off to London. There he falls into the hands of a gang of thieves controlled by the infamous Fagin. He is pursued by the sinister figure of Monks who has secret information about him. The plot centres on the twin issues of personal identity and a secret inheritance (which surface again in Great Expectations). Emigration, prison, and violent death punctuate a cascade of dramatic events. This is the early Victorian novel in fine melodramatic form. Recommended for beginners to Dickens.
Charles Dickens Oliver Twist Buy the book here


Charles Dickens – web links

Charles Dickens at Mantex
Biographical notes, book reviews, tutorials and study guides, free eTexts, videos, adaptations for cinema and television, further web links.

Dickens basic information Charles Dickens at Wikipedia
Biography, major works, literary techniques, his influence and legacy, extensive bibliography, and further web links.

Charles Dickens at Gutenberg
A major collection of free eTexts of the major works in a variety of formats.

Dickens on the Web
Major jumpstation including plots and characters from the novels, illustrations, Dickens on film and in the theatre, maps, bibliographies, and links to other Dickens sites.

The Dickens Page
Chronology, eTexts available, maps, filmography, letters, speeches, biographies, criticism, and a hyper-concordance.

Charles Dickens at the Internet Movie Database
Adaptations of the major novels and stories for the cinema and television – in various languages

A Charles Dickens Journal
An old HTML website with detailed year-by-year (and sometimes day-by-day) chronology of events, plus pictures.

Hyper-Concordance to Dickens
Locate any word or phrase in the major works – find that quotation or saying, in its original context.

Dickens at the Victorian Web
Biography, political and social history, themes, settings, book reviews, articles, essays, bibliographies, and related study resources.

Charles Dickens – Gad’s Hill Place
Something of an amateur fan site with ‘fun’ items such as quotes, greetings cards, quizzes, and even a crossword puzzle.

© Roy Johnson 2014


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Filed Under: Charles Dickens Tagged With: Charles Dickens, English literature, Literary studies, The novel

No Name

January 29, 2017 by Roy Johnson

tutorial, commentary, study resources, and web links

No Name (1862) was the follow-up to Wilkie Collins’ big success with The Woman in White (1860) which established him as a best-selling author specialising in the ‘sensation novel’. He was an amazingly prodigious writer who produced twenty-five novels, more than fifty short stories, at least fifteen plays, and more than 100 non-fiction essays.

No Name

He was one of the most highly paid authors of his day, yet he never became rich. This was partly because he maintained two separate families in expensive London houses, and partly because he had a fairly lavish life style. He also became a cocaine addict – although the drug at that time (in the form of laudanum) was relatively inexpensive, and obtainable over the counter in most chemists’ shops.


No Name – a note on the text

No Name first appeared as a forty-four part serial in All the Year Round, the weekly periodical owned by Charles Dickens. The conventions of publication at that time were to develop a ‘readership’ or following via serial publication, then capitalise on this as soon as possible with publication in book format. Collins completed the manuscript of No Name on 24 December 1862, and a three volume edition was published a week later on 31 December 1862 by Sampson Low. This was too late to exploit the Christmas market, but an astonishingly rapid turn around given today’s enormously lengthy publication cycles.

This three volume edition sold out completely on the first day of its publication, and Collins was paid for it what then was considered the enormous sum of £3,000. This he badly needed, because he was hopelessly in debt.

Like many of Collins’ other novels, there is also a stage dramatisation of the story. This was published separately in 1863 but never performed. It was not written by Collins himself but commissioned from Bayle Bernard, because Collins was ill to write it at the time.

The main purpose of these dramatisations was to preserve the author’s copyright on the story, since under the law at that period a novel was not protected from piracy unless the author had first registered his own adaptation.

Collins produced his own stage version of the story later in 1870, but he was not very pleased with the result. He engaged Wybert Reeve to re-write it for him, and the play was staged but never achieved success.


No Name – critical commentary

The sensation novel

Wilkie Collins has a strong claim to being the father of the ‘sensation novel’ – a literary genre that became very popular in the 1860s and the years following. His first serious novel Basil (1852) is the strongest part of that claim, which he reinforced with The Woman in White (1860) which became an instant best-seller and his best known work.

The sensation novel – often described as ‘a novel with a secret’ – combined elements of the Gothic with social realism and everyday domestic life. The plots of these novels were designed to shock readers – within the limits of what was permissible at the time. Typical elements included bigamous marriages, disputed wills, forgery, domestic violence, imprisonment, assumed identity, and madness.

No name contains its fair share of these topics. It includes concealed identity, illegitimacy, a complex and disputed will, a false marriage, and all the ramifications of the English law of inheritance and its effects on women.

Identity

The central figure in the novel is Magdalen Vanstone, but once her parents have both died she loses her family name – because they were not married at the time of their daughter’s birth. From this point on she assumes a number of alternative identities. The first is as Miss ‘Bygrave’ as part of Captain Wragge’s theatrical management. Next she successfully impersonates her own governess Miss Garth in her confrontations with Noel Vanstone and Mrs Lecount.

After this she becomes Mrs Vanstone following her marriage to Noel. This lasts until his death, at which point she becomes technically nameless again – because the marriage is technically invalid, since she has given the false name of Bygrave on her marriage licence.

She then becomes ‘Louisa’, acting as a maid to Admiral Bertram in her quest to locate the Secret Trust. When her efforts are uncovered by his retainer Mazey she is expelled from the estate – at which point she takes up the name of Mrs Gray in her search for employment in London.

It is no accident that at this point she has a psychological breakdown. She has been dispossessed of her family, her ’rightful’ inheritance, and the name which establishes her position in society.

Illegitimacy

Norah and Magdalen are the daughters of Andrew Vanstone, who is the owner of a country estate in Coombe-Raven, Somerset. But unknown to them (and everyone else) they are both illegitimate children. This is because Vanstone as a much younger man married an American woman who was paid off by his family. He has been living with the woman who is mother to the two sisters, but doing so in an unmarried state.

When the American woman dies, Andrew and Mrs Vanstone hurriedly depart for London to get married. This would appear to regularise the status of the two daughters, but technically they remain illegitimate – because their father and mother were not married at the time of their birth.

This is confirmed when Vanstone and his wife die suddenly, and by the laws of inheritance Vanstone’s estate goes to his legitimate next of kin – who happens to be his estranged brother Michael. The two sisters are therefore denied their ‘natural’ right to inherit their father’s wealth, and they are evicted from their own home – by a combination of English inheritance law and the greed of their relatives. This is what propels the events of the whole of the remainder of the novel.

As Virginia Blain points out in her introduction to the Oxford Classics edition of No Name:

Illegitimacy, with its connotations of allowing no legal inheritance or possession of property, no given social class, no status as a responsible person in the eyes of the law, no legal name, serves here as an evocative and subversive metaphor for the position of all women as non-persons in a patriarchal and patrilineal society.

The will

Andrew Vanstone is the original source of the problematic sequence of inheritance. He makes a will, leaving his money and estate to his wife and two daughters. But at the time of making the will he is not married to their mother, and his daughters are therefore illegitimate. He marries their mother when his first ‘secret’ wife dies – but that is too little, too late. His will was drawn up before the marriage. His now legitimate wife Mrs Vanstone also dies at the same time as he does.

Under English law therefore, his entire estate goes to his next of kin – his estranged brother Michael, who heartlessly makes no concessions or recompense towards the two orphaned nieces, Norah and Magdalen, whom he regards as bastard children.

When Michael Vanstone dies the inheritance passes automatically to his son Noel, a feeble, mean, and self-indulgent aesthete who is in thrall to the scheming housekeeper Mrs Lecount. When he marries Magdalen, it looks as if she has secured some re-attachment to an inheritance that she regards as hers by moral right. But there is a factor which neither she nor Wilkie Collins seem to take into account.

She has married Noel Vanstone using a false name – Miss Bygrave – so the marriage is technically invalid. When Noel Vanstone suddenly dies she is not legally his wife and next-of-kin. But by then Mrs Lecount has also bullied him into drawing up a desperately complicated will with obfuscating clauses and a Secret Trust. This provides the plot driver for the final chapters of the novel, until the inheritance and its rightful owners are re-united by the marriage of George Bertram and Norah Vanstone in a somewhat fairy tale conclusion.

Problems

There are however a couple of serious problems lying at the heart of events and centred on Magdalen’s motivation. Having been disinherited by the combination of the law of primogeniture and the greed of her relatives, she embarks upon a scheme of recovering her inheritance by marrying the very man who has robbed her of her rights.

But it is not made clear how this would be in any way effective – since by English law at that time all her assets in money or property would automatically become the property of her husband. There is talk of making a ‘settlement’ on her – that is, specifying a separate allowance over which she would have legal control – but not much is made of that issue.

Moreover, any such arrangement would be legally invalidated by the fact that she marries under a false name – Miss Bygrave – which would render the whole marriage null and void in a court of law. She would be guilty of ‘personation’ – pretending to be someone else.

Her desire for revenge over her rapacious relative is understandable – but neither she nor Wilkie Collins seem to have a clear objective or ‘plan of engagement’. She cannot recover the money by marriage; she cannot reverse the system of inheritance; and short of murdering her husband (which she never contemplates) she cannot gain control over the estate.

Given the highly over-wrought state of Magdalen’s sensibility regarding her plan to regain the inheritance, it is also surprising that Collins makes absolutely no mention of the sexual consequences of her marrying Noel Vanstone. She does provide Robert Kirke with an account of her past, but by nineteenth century standards she has a lot of ‘past’ to account for.

She is an illegitimate daughter; she has previously been semi-engaged to a feckless neighbour (Francis Clare); her family has become impoverished because of its illegal status; she has acted on the stage under an assumed name; and she has been married to a man she despises for the sake of money. This is quite a substantial volume of what we might now call ‘baggage’ to make her acceptable.

It is worth noting that at that time women in the theatrical profession were generally regarded as not much more than prostitutes. Actresses moved round from one town to another, unsupervised, un-chaperoned, in the company of single and married men – just as Magdalene does with Wragge and his troupe. Robert Fiske takes on a wife who would not be acceptable into most households in polite society at that time.

Plotting

Magdalen’s plan of vengeance on Noel Vanstone doesn’t make clear how it will enable her to get justice or the inheritance – the money will remain her husband’s, and she will remain his property

It has to be said that towards the end of this over-elaborated story, the plot collapses somewhat into a spate of melodramatic improbabilities. Magdalen not only secures a job as maid in the very house where the Secret Trust is kept. She does this by impersonating someone else, but she manages to read the letter of Trust over the shoulder of the Admiral, who is inspecting his private papers whilst sleepwalking.

She is then detected in her spying by the Admiral’s loyal retainer Mazey, but allowed to escape from the estate next morning. She then falls into a state of destitution and dangerous illness, living alone in the poor streets of London – only to be rescued by Robert Kirke. This is a man who has just sailed back from China and who has only ever seen her once in his life before, but fallen in love with her at first sight. Wilkie Collins is very inventive in his plotting and characterisation – but these are a few coincidences and plot contrivances too far.


No Name – study resources

No Name No Name – Oxford Classics – Amazon UK

No Name No Name – Oxford Classics – Amazon US

No Name No Name – Independent Publishers – Amazon UK

No Name No Name – Independent Publishers – Amazon US

Basil The Complete Works of Wilkie Collins – Kindle eBook


No Name - first edition

first edition – title page


No Name – plot synopsis

The First Scene

I. The Vanstone family assemble for breakfast. A mysterious letter arrives from New Orleans, which means Mr Vanstone and his wife must go to London on ‘family business’.

II. Next day the governess Miss Garth is accosted by the dubious Captain Wragge who is making enquiries about Mrs Vanstone.

III. Miss Garth gets a letter from Mrs Vanstone explaining that Wragge is a penniless scrounger, and that she is in London to see a doctor, who has confirmed that she is pregnant. But this does not explain the letter from New Orleans.

IV. Neighbour’s son Frank Clare fails as an engineer and returns home. He is invited by the spirited Magdalen to join in a theatrical party at Clifton.

V. Magdalen becomes enthusiastically caught up in preparations for the theatricals – and her behaviour changes.

VI. At rehearsals for The Rivals Magdalen is a big success, and she goes on to play two parts. Her sister Norah disapproves, and Miss Garth worries what the success will lead to.

VII. Next day Norah reproaches Magdalen for her developing relationship with Frank Clare. They quarrel, and Magdalen is unable to effect a reconciliation.

VIII. Mr Clare receives the offer of an opening for Frank in the City, which he takes up without any real enthusiasm.

IX. Three months later Frank returns with the news that the company wants to send him to China for five years. Magdalen gets her father’s permission to marry Frank, but he proposes a probationary waiting period of twelve months.

X. When Mr Clare also agrees to the proposal, Mr Vanstone sends for his London lawyer, but then later the same day he is killed in a train crash.

XI. Mrs Vanstone goes into labour. The lawyer Pendril arrives and urgently requires her signature on a legal document. But she and her baby die the same day.

XII. Mr Pendril reveals to Miss Garth that  Mr and Mrs Vanstone went to London  earlier in the year to get married.

XIII.  Pendril also reveals  Andrew Vanstone’s past –  married when young to an American woman, who had to be paid off. There are conflicts with his brother Michael and his will is useless because it was made before he was married.

XIV. Magdalen has listened to these revelations and reports them to Norah.

XC. Penril locates Michael Vanstone, who has inherited all his brother’s wealth and refuses to help Magdalen and Norah. Magdalen plans to challenge him. Miss Garth offers to look after the two sisters in London. Magdalen agrees reluctantly that Frank should be sent to China.

The sisters leave Coombe-Raven and go to live at a school run by Miss Garth’s sister in Knightsbridge. After a month Magdalen runs away, contacts the theatre manager Huxstable, then disappears.

The Second Scene

I. When Magdalen arrives in York to see Huxstable, she is intercepted by the rogue Captain Wragge, who preys on her vulnerability to divert and (virtually) abduct her. He persuades her to hide from detection in his lodgings.

II. Magdalen encounters the distressed and confused Mrs Wragge. The Captain defends his occupation as a swindler and offers to ‘help’ Magdalen.

III. Magdalen wants to retrieve her inheritance from her uncle and thinks to use Wragge as a spy and agent – despite her reservations about him. Wragge becomes her theatrical promoter (for 50% of her earnings) and organises their escape from York – at her expense.

Between the Scenes

Wragge chronicles his plan to turn Magdalen into a one-woman touring show. Contact is established with Norah via poste-restante letters, and @Magdalen is a big success on stage. Wragge makes enquiries for Magdalen about the inheritance, and when Michael Vanstone dies she turns her attention to his son Noel. She leaves for London with Mrs Wragge, whilst Wragge himself plots to betray her.

The Third Scene

I. From seedy lodgings in Lambeth Magdalen watches the house opposite where Noel Vanstone is staying. She learns he is due to leave the next day.

II. Magdalen disguises herself as Miss Garth and goes into town where she sees Norah suffering as a governess. Then she calls and meets Mrs Lecount and her aquarium, with a pet toad.

III. Magdalen has an interview with Noel Vanstone and Mrs Lecount. She asks him to return half the inheritance: he refuses. Mrs Lecount suspects Magdalen’s disguise and cuts off a fragment of her skirt.

IV. Wragge’s blackmailing letter arrives chez Vanstone, who dithers indecisively over replying. Mrs Wragge thinks she sees a ghost when Magdalen returns dressed as Miss Garth.

Between the Scenes

Vanstone replies to the Times advert offering only five pounds as reward. Wragge therefore toadies to Magdalen. Norah gives up her job. Frank leaves his job in China and breaks off his engagement with Magdalen, who goes into a state of shock. She employs Wragge to trace Vanstone, who has moved to Aldborough, Suffolk.

The Fourth Scene

I. Wragge rents a house under the assumed name of Bygrave. Magdalen reveals her desperate plan of revenge – to marry Vanstone.

II. Handsome Robert Kirke makes enquiries about Magdalen. He has fallen in love with her at first sight, but goes back to sea to avert his over-emotional confusion.

III. Wragge intends to court Mrs Lecomt and proposes to get rid of Mrs Wragge. Magdalen refuses this suggestion. They set out to meet Vanstone and Mrs Lecount.

IV. Wragge flatters Mrs Lecount with his mugged-up science, and Vanstone is charmed by Magdalen, to whom he extends a tea invitation.

V. Magdalen and Wragge visit Vanstone, but during the night Mrs Lacount guesses Magdalen’s true identity. On an outing next day Mrs Lecount tries to expose Magdalen by asking her about Miss Garth.

VI. Magdalen goes into hiding. Mrs Lecount writes to Norah and gets a reply from Mrs Garth herself. Wragge fends off Mrs Lecount’s enquiries and plots with Noel Vanstone to neutralise her influence.

VII. Mrs Lecount tells Noel Vanstone about the identifying moles on Magdalen’s neck. He calls to make an inspection, but Wragge disguises them. Finally, Vanstone proposes to Magdalen.

VIII. Vanstone is worried by Mrs Lecount’s vague threats, and he agrees with Wragge to marry Magdalen in secret. They make a verbal agreement on her settlement, and then construct a trick to lure Mrs Lecount away to her brother in Zurich.

IX. Magdalen feels oppressed. They leave for a few days, during which time Mrs Lecount does some snooping. Wragge makes elaborate plans to deceive Mrs Lecount and to get Noel Vanstone away from Aldborough.

X.Noel Vanstone  leaves according to the plan. Mrs Lecount goes to the Bygrave house  and is confronted by Mrs Wragge, who tells her the tale of seeing Miss Garth’s ghost in Lambeth. 

XI. Mrs Lecount receives a forged letter from Zurich and writes to Noel Vanstone warning him about Magdalen. Wragge confirms that she is bound for Zurich then makes plans to obtain the marriage licence from London. 

XII. Wragge and Vanstone travel to London to arrange for the marriage licence. Mrs Lecount’s warning letter arrives, and Vanstone prevaricates. They all return to Aldborough. 

XIII. Magdalen has been enduring severe doubts about the marriage. She almost cancels the agreement,  She writes a long letter to  Norah then buys some Laudanum with the idea of poisoning herself, but backs out at the last minute.

XIV. Wragge warns Magdalen of the legal consequences of the (technically invalid) marriage.   The wedding takes place. Mrs Lecount reaches Zurich, where she learns she has been duped. She returns immediately to England.

Between the Scenes

George Bartram describes his search for his cousin Noel Vanstone and Mrs Lecount’s arrival at St Crux. Vanstone goes into hiding, and Magdalen writes to Norah. Mrs Lecount makes legal enquiries to locate Vanstone, with vengeance in mind. It is discovered that Vanstone made a will after the marriage. Mrs Lecount reveals the illegality of the marriage to Norah and Miss Garth. She then traces Vanstone and Magdalen to Dumfries.

The Fifth Scene

I. Mrs Lecount arrives in Scotland whilst Magdalen is away in London. She reveals the truth about Magdalen’s identity to Vanstone. She produces the evidence of the Alpaca dress and the bottle of ‘POISON’ which they assume was intended for him.

II. Mrs Lecount persuades Vanstone that his life is in danger, then bullies him into making a new will, with herself as a substantial beneficiary.

III. She then persuades him to make an elaborate arrangement with his executor which she claims will give protection by locking Magdalen out of any future access to his money. She also takes control of all the documents he signs. Later the same night, Vanstone dies.

Between the Scenes
Magdalen goes to London to see Norah, but she believes that Norah and Miss Garth have conspired against her. Lawyer Loscombe thinks that the second will cannot be contested, but he suspects the existence of a Secret Trust. Magdalen is determined to get hold of the letter of trust.

The Sixth Scene

I. Magdalen is at a low ebb, feeling that everyone is against her. She asks her servant Louisa for help.

II. Magdalen proposes applying for the job as servant to Admiral Bertram, and asks her maid Louisa to train her.

Between the Scenes

George Bertram pays court to Norah. Magdalen’s plan is delayed by six weeks because of the death of the legatee in the Secret Trust.

The Seventh Scene

I. Magdalen works as a maid for Admiral Bertram in the guise of Louisa. She is shown over the house by his old retainer Mazey, who sleeps guarding his master’s bedroom.

II. Mrs Lecount goes to stay in Zurich. Magdalen is unable to fathom where the Secret Trust might be kept.

III. The old Admiral and George Bertram discuss his marriage prospects. The Admiral objects to Norah because of her connection with the disgraced Magdalen. George agrees to spend a week at the home of a suitable alternative to test his resolve.

IV. Magdalen finds keys in a garden shed, but she does not find the Trust. Later she encounters the Admiral sleep-walking and gets to read part of the Trust before she is arrested by Mazey. However, he lets her escape the next morning.

Between the Scenes
Norah refuses George Bertram’s offer of marriage. The Admiral becomes ill and dies, but the Trust cannot be found, so all his money and estate goes to George. Magdalen prepares to disappear completely.

The Seventh Scene
I. Robert Kirke returns from China and meets a destitute Magdalen living in poverty in London. She is dangerously ill, so he arranges for medical care.

II. Weeks of Magdalen’s illness pass by. She is visited by a newly prosperous Wragge and is gradually introduced to her saviour Kirke, who becomes more and more enamoured of her.

III. Norah marries George Bertram. Magdalen worries that Kirke will be deterred when he learns of her past. Frank has meanwhile married a rich old widow on his way back from China.

IV. Norah reveals hoe she discovered the Secret Trust hidden in a bowl of ashes. It leaves half of the inheritance to Magdalen, but she tears up the letter of Trust and accepts Kirke’s offer of marriage.


No Name – principal characters
Andrew Vanstone a rich busineessman and property owner
Mrs Vanstone his wife (to whom he is not married)
Norah Vanstone their serious elder daughter
Magdalen Vanstone their spirited younger daughter
Mrs Harriet Garth the family governess
Captain Noratio Wragge a professional swindler
Matilda Wragge his confused and child-like wife
Mr Clare a philosophic neighbour
Francis Clare his feckless son
Mr Pendril the Vanstone lawyer in London
Michael Vanstone Andrew’s nasty and hostile brother
Noel Vanstone Michael’s son, an aesthete and miser
Mrs Virginie Lecount housekeeper to Michael and Noel
Robert Kirke a handsome merchant captain
Admiral Bartram a Vanstone family relative
George Bartram his nephew
Mr Mazey the Admiral’s elderly servant

No Name – further reading

William M. Clarke, The Secret Life of Wilkie Collins, London: Ivan R. Dee, 1988.

Tamar Heller, Dead Secrets: Wilkie Collins and the Female Gothic, New Haven: Yale University Press, 1992.

Winifred Hughes, The Maniac in the Cellar: Sensation Novels of the 1860s, Princeton: Princeton University Press, 2014.

Sue Lonoff, Wilkie Collins and his Victorian Readers: A Study in the Rhetoric of Authorship, New York: AMS Press, 1982.

Catherine Peters, The King of Inventors: A Life of Wilkie Collins, Princeton: Princeton University Press, 2014.

Walter C. Phillips, Dickens, Reade, and Collins: Sensation Novelists, New York: Library of Congress, 1919.

Lynn Pykett, Wilkie Collins: New Casebooks, London: Palgrave-Macmillan, 1998.

Nicholas Rance, Wilkie Collins and Other Sensation Novelists: Walking the Moral Hospital, London: Palgrave-Macmillan, 1991.

© Roy Johnson 2017


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Filed Under: Wilkie Collins Tagged With: English literature, Literary studies, The novel, Wilkie Collins

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