DOCSLIB.ORG

Thesis Opgemaakt Finaal

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Thesis Opgemaakt Finaal Academiejaar 2008-2009 A Victorian Kodak Moment: The Dynamic between Charles Dickens and Marcus Stone Promotor: Prof. Dr. Marysa Demoor Masterproef voorgelegd aan de Faculteit Letteren en Wijsbegeerte voor het verkrijgen van de graad van Master in de taal- en letterkunde: Engels door Jasper Schelstraete Academiejaar 2008-2009 A Victorian Kodak Moment: The Dynamic between Charles Dickens and Marcus Stone Promotor: Prof. Dr. Marysa Demoor Masterproef voorgelegd aan de Faculteit Letteren en Wijsbegeerte voor het verkrijgen van de graad van Master in de taal- en letterkunde: Engels door Jasper Schelstraete Preface At the end of my final Bachelor year, I completed a paper entitled "The Loss of a Child in Douglas Coupland and Chuck Palahniuk: Theme or Catalyst?". It was concerned with the complete works of the two authors mentioned in the title, both of them contemporary North-American writers. While I was pleased with the final result, one issue concerned me. As a result of the contemporary nature of the novels I was discussing, there were very few sources available to me. Whereas this forced me to be creative with the novels themselves — never a bad thing — it also denied me an integral part of the process of writing a research paper, that of finding and incorporating sources into my work. Not only do they add to the academic weight of a paper, sources also give rise to creativity, as they make it possible for one to offset one's own ideas against those of published scholars. Because of this, I decided that I would write my dissertation on a subject that would have no lack of sources. However, my choice of Dickens was by no means motivated solely by this resolution to find a well-sourced subject. My interest in this great novelist had been sparked a few years earlier, when I read Great Expectations for the first time, as part of the curriculum of an English course. The style and atmosphere appealed to me greatly, and I began reading a few of Dickens's novels as a pastime. As a result, I was drawn to Victorian Literature, and I enrolled in a class taught by Professor Demoor on Victorian Poetry. It was during the exam of this class that Professor Demoor suggested I read Our Mutual Friend, which I promptly did. The book appealed to me, and I was struck by the illustrations especially. They seemed to me neat and polished, different from illustrations I had encountered in for example Oliver Twist. I set out to discover who the illustrator was, and found out that he, Marcus Stone, had very little been dealt with academically, overshadowed as he was by such great illustrators of Dickens as Cruikshank and Browne. Intrigued, I set out to find out more about this largely forgotten illustrator, especially about his link to Dickens. I had found my subject. There are many people I would like to thank for helping me with this project. First, I would like to thank Professor Demoor, not only for introducing me to Our Mutual Friend, but especially for the expert guidance she gave me throughout my writing this dissertation. After every trip to her office, I was filled with new ideas and inspiration. I felt safe in the knowledge that she was so involved in the entire process, and it truly was a wonderful experience. Second, I owe gratitude to my parents, for the way in which they've supported me throughout the endeavour. Whenever I felt an oncoming surge of writer's block, I could turn to them to help me see things in a new perspective. Also the way in which my father especially patiently re-read all my work deserves a big thank-you. Finally, I'd like to thank Charlotte for putting up with my incessant spewing of Dickens related trivia, as well as my occasional outburst of productivity resulting in late night writing sessions, long before there was any hint of deadline stress. Thank you all, it gave me great peace of mind knowing that you were all behind me. Table of contents PREFACE................................................................................................................................................................................. 2 TABLE OF CONTENTS ...................................................................................................................................................... 4 1. INTRODUCTION.............................................................................................................................................................. 5 2. BIOGRAPHY ...................................................................................................................................................................... 9 2.1. THE EARLY YEARS..............................................................................................................................................................9 2.2. 'BOZ' ....................................................................................................................................................................................15 2.3. MASTER HUMPHREY'S CLOCK ........................................................................................................................................21 2.4. AMERICA............................................................................................................................................................................24 2.5. THE BEST OF TIMES..........................................................................................................................................................26 2.6. THE WORST OF TIMES......................................................................................................................................................28 2.7. MANY PARTINGS ...............................................................................................................................................................36 3. DICKENS AND HIS ILLUSTRATORS ....................................................................................................................38 3.1. GEORGE CRUIKSHANK......................................................................................................................................................38 3.2. ROBERT SEYMOUR............................................................................................................................................................43 3.3. ROBERT W. BUSS ..............................................................................................................................................................49 3.4. HABLOT K. BROWNE ........................................................................................................................................................50 4. DICKENS AND STONE ................................................................................................................................................56 4.1. MARCUS STONE.................................................................................................................................................................56 4.2. CASTING THE FIRST STONE ..............................................................................................................................................60 4.3. TWO BIRDS, ONE STONE ...................................................................................................................................................61 5. OUR MUTUAL FRIEND...............................................................................................................................................63 5.1. THE PORTRAYAL OF FEMALE CHARACTERS...................................................................................................................68 5.2. THE REPRESENTATION OF ‘THE JEW’..............................................................................................................................83 5.3. THE CASE OF PODSNAPPERY............................................................................................................................................95 5.4. THE GROTESQUE AND THE MACABRE.............................................................................................................................98 6. CONCLUSION ...............................................................................................................................................................108 7. BIBLIOGRAPHY ..........................................................................................................................................................113 Schelstraete 5 1. Introduction Charles Dickens’s name evokes a plethora of associations, which might be of a general nature, with regard to a ‘Dickensian England’ or, more specifically, a ‘Dickensian London’, whose grimy underbelly shaped the novelist so extensively. The influence London had on the novelist is not very surprising, considering the extensive changes the city underwent during Dickens’s lifetime, such as the influence of the Industrial Revolution on the city, as well as the subsequent increase in population (Klimaszewski & Gregory, 7)1. Perhaps Dickens’s name evokes rather more specific elements of his work to some readers, such as the memorable characters that he seemed to conjure up so effortlessly. Scrooge, synonymous with a mean, penny-pinching and uncaring person, as well as his catchphrase ‘Bah, humbug!’ have taken root in the English language 2, much like poor orphan Oliver Twist’s famous line ‘Please sir, can I have some more?’
Load more

Recommended publications
  • Uni International 300 N
    INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete.
    [Show full text]
  • Readings by Charles 'Dickens
    Philadelphia ^Bowled Clean Over: Public "Readings by Charles 'Dickens N JANUARY 5, 1868, in Philadelphia, on snow-covered Chest- nut Street, in eighteen-degree cold, fifty people—fortified O with mattresses, blankets, and whiskey—were waiting be- fore midnight at number 1217 for George Dolby to open the Concert Hall box office the next morning at 9:00 A. M.1 As morning neared, the crowd grew. Police arrived to keep order. Charles Leland re- corded: "Great excitement, Dickens' tickets."2 Henry Benners saw "a line, one square long, waiting to procure tickets to T)ickens reading."3 All tickets for the first six readings were sold in four hours, and hundreds of people were turned away.4 On January 31, after announcing the readings of February 13 and 14, Dickens wrote: "All Philadelphia is going to rush at once for tickets. Great excitement is anticipated in the streets."5 He was Philadel- phia's biggest news, under such headlines as "The Dickens Excite- ment," "The Great Novelist in Our Midst," "Another Great Read- Ing," "Brilliant Audience Assembled," and "How the Literary Feast Was Enjoyed" amid "Unbounded Enthusiasm and Loud Applause." The Evening "Telegraph of January 14, watching Phila- delphia run wild, saw the "normally quiet citizens" of the "orderly 1 George Dolby, Charles Dickens as I Knew Him: The Story of the Reading Tours in Great Britain and America, 1866-1870 (Philadelphia, 1885), 206-208. 2 Elizabeth R. Pennell, Charles Godfrey Leland: A Biography (Boston, 1906), I, 300. 3 Benners Diary, Jan. 6, 1868, I, 180, Historical Society of Pennsylvania (HSP).
    [Show full text]
  • Letters of Charles Dickens: 1833–1870 Edited by Georgina Hogarth and Mary Dickens Frontmatter More Information
    Cambridge University Press 978-1-108-04004-4 - Letters of Charles Dickens: 1833–1870 Edited by Georgina Hogarth and Mary Dickens Frontmatter More information CAMBRIDGE LIBRARY COLLECTION Books of enduring scholarly value Literary Studies This series provides a high-quality selection of early printings of literary works, textual editions, anthologies and literary criticism which are of lasting scholarly interest. Ranging from Old English to Shakespeare to early twentieth-century work from around the world, these books offer a valuable resource for scholars in reception history, textual editing, and literary studies. Letters of Charles Dickens This selection from the letters of Charles Dickens (1812–70) was edited (as it says on the title page) ‘by his sister-in-law and his eldest daughter’. The former was Georgina Hogarth (1827–1917), who stayed in Dickens’ household and cared for the family when the author separated from his wife, her sister, in 1858; the latter was Mary (1838–96), known in the family as Mamie, his favourite child. They had published a three-volume edition in 1880, and a ‘New Edition’ in 1882; this reissue is of the single-volume third edition of 1893. The collection was seen as a ‘supplement’ to Forster’s life of Dickens (also reissued in this series). Inevitably, it focuses on the positive and dynamic sides of Dickens’ complex character, and gives a vivid portrait of a man juggling family life, writing, editing, travelling, amateur theatricals and public readings from his works with tremendous energy and verve. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-108-04004-4 - Letters of Charles Dickens: 1833–1870 Edited by Georgina Hogarth and Mary Dickens Frontmatter More information Cambridge University Press has long been a pioneer in the reissuing of out-of-print titles from its own backlist, producing digital reprints of books that are still sought after by scholars and students but could not be reprinted economically using traditional technology.
    [Show full text]
  • Lecture 5 to UNESCO.Pdf (459.39
    Lecture № 5 The theme: ENGLISH AND AMERICAN FAMOUS WRITERS, POETS AND PLAYWRIGHTS Plan: 1. Introduction. 2. The life and creative activity of William Shakespeare. 3. The life and creative activity of Charles John Huffam Dickens. 4. The life and creative activity of Samuel Langhorne Clemens (Mark Twain). 5. The life and creative activity of Theodore Herman Albert Dreiser (Theodore Dreiser). 6. The life and creative activity of James Augustine Aloysius Joyce (James Joyce). 7. The life and creative activity of Ernest Miller Hemingway (Ernest Miller Hemingway). 8. Exercises for the consolidation of the lecture. 9. Assessment. 1. Introduction. At the end of the 20 th century new writers, poets and playwright appeared. During the 1970s and early 1980s, such writers as Greene, Lessing and Le Carre continued to produce important novels. Modern writers are creating their works in different genres and various themes. John Fowler combined adventure and mystery in such novels as “The French Lieutenant's Woman” (1969), Margaret Drabble described the complex lives of educated middle-class people in London in “The Garrick Years”(1964), “The Middle Ground”(1980) and other novels. Iris Murdoch's novels are psychological studies of upper middle-class intellectuals. The three leading English poets today are Ted Hughes, Philip Larkin, and Donald Davie. Ted Hughs produced a major work in his cycle of “Crow” poems (1970-1971). Philip Larkin's verse has been published in his collection “High 1 Windows” (1974). Many of Davie's poems were collected in “In the Stopping Train” (1977). Drama is also flourishing in today's English literature.
    [Show full text]
  • 9781107698215 Index.Pdf
    Cambridge University Press 978-1-107-69821-5 - Charles Dickens in Context Edited by Sally Ledger and Holly Furneaux Index More information I n d e x A b o r i g i n e s P r o t e c t i o n S o c i e t y , C i v i l W a r , , A c k r o y d , P e t e r , , , , , – d e m o c r a c y , – , – , a c t o r s a n d a c t i n g , , , – D i c k e n s ’ s v i s i t , , – , , adaptations and appropriations of Dickens’s D i c k e n s ’ s / v i s i t , , , , w o r k s . See fi lm adaptations ; musical p e n a l s y s t e m s , adaptations ; stage adaptations ; p r e s s , television adaptations r e v o l u t i o n o f , A d m i n i s t r a t i v e R e f o r m A s s o c i a t i o n , s l a v e r y , , Adshead, Joseph, t r a v e l o g u e s , – a ff e c t , , , , , , , , American Notes for General Circulation , , , Agnew, Sir Andrew, , , , , , , , , , A i n s w o r t h , W i l l i a m H a r r i s o n , , , – , , , , Anderson, Amanda, , Jack Sheppard , , , , A n d e r s o n , M i c h a e l , , A i t k e n , W i l l i a m , A n d r e w s , M a l c o l m , , A l b e r t , P r i n c e C o n s o r t , , a n i m a t e / i n a n i m a t e , All the Year Round , , , , , , – , , Anthropological Society of London, , , , a n t h r o p o l o g y , , ‘ A b o a r d S h i p ’ , a n t i - C a t h o l i c i s m .
    [Show full text]
  • Dickens and the Condition of England | University of Kent
    09/25/21 Dickens and the Condition of England | University of Kent Dickens and the Condition of England View Online The following reading list is designed to show the range and scale of writing on Dickens. Material related to the primary texts appears in Part A and a more general bibliography of work on Dickens follows in Part B. 1 Dickens, Charles, Leech, John. A Christmas carol: in prose ; being a ghost story of Christmas. Harmondsworth: : Penguin 1946. 2 Dickens, Charles, Ford, George Harry, Monod, Sylve ̀ re. Bleak house: an authoritative and annotated text, illustrations, a note on the text, genesis and composition, backgrounds, criticism. 1st ed. New York: : Norton 1977. 3 Dickens, Charles, Kaplan, Fred, Monod, Sylve ̀ re. Hard times: an authoritative text, contexts, criticism. 3rd ed. / edited by Fred Kaplan, Sylve ̀ re Monod. London: : W.W. Norton & Co 2001. 4 Dickens, Charles. Little Dorrit. London: : Penguin 1994. 5 Dickens, Charles (Pascoe, D. ed). Selected Journalism 1850-1870. London: : Penguin 1/51 09/25/21 Dickens and the Condition of England | University of Kent Classics 1997. 6 Bigelow G. Market Indicators: Banking and Domesticity in Dickens’s Bleak House. ELH 2000;67:589–615. 7 Blain V. Double Vision and the Double Standard in Bleak House: A Feminist Perspective. Literature and History 1985;11 :31–46.http://df7sm3xp4s.search.serialssolutions.com/?V=1.0&N=100&L=DF7SM3XP4S&S =AC_T_B&C=literature and history 8 Bloom, Harold. Charles Dickens. New York: : Chelsea House 1987. 9 Blount T. Dickens’s Slum Satire in Bleak House. JSTOR: All Volumes and Issues - Browse - The Modern Language Review 1965;60:340–51.
    [Show full text]
  • **************************************************** the Letters of Charles Dickens. Edited by His Sister
    **************************************************** THE LETTERS OF CHARLES DICKENS. EDITED BY HIS SISTER-IN-LAW AND HIS ELDEST DAUGHTER. **************************************************** VOL. I. 1833 TO 1856. SECOND EDITION.—FIFTH THOUSAND. LONDON: CHAPMAN AND HALL, 193, PICCADILLY. 1880. TO KATE PERUGINI, THIS MEMORIAL OF HER FATHER IS LOVINGLY INSCRIBED BY HER AUNT AND SISTER. PREFACE WE intend this Collection of Letters to be a Supplement to the "Life of Charles Dickens," by John Forster. That work, perfect and exhaustive as a biography, is only in- complete as regards correspondence; the scheme of the book having made it impossible to include in its space any letters, or hardly any, besides those addressed to Mr. Forster. As no man ever expressed himself more in his letters than Charles Dickens, we believe that in publishing this careful selection from his general correspondence we shall be supplying a want which has been universally felt. Our request for the loan of letters was so promptly and fully responded to, that we have been provided with more than sufficient material for our work. By arranging the letters in chronological order, we find that they very frequently explain themselves and form a narrative of the events of each year. Our collection dates from 1833, the commencement of Charles Dickens's literary life, just before the starting of the “Pickwick Papers," and is carried on up to the day before his death, in 1870. We find some difficulty in being quite accurate in the arrangements of letters up to the end of 1839, for he had a careless habit in those days about dating his letters, very frequently putting only the day of the week on which he wrote, curiously in contrast with the habit of his later life, when his dates were always of the very fullest.
    [Show full text]
  • DICKENS CATALOGUE Jarndyce
    THE DICKENS CATALOGUE Jarndyce Jarndyce Antiquarian Booksellers 46, Great Russell Street Telephone: 020 7631 4220 (opp. British Museum) Fax: 020 7631 1882 Bloomsbury, Email: [email protected] London www.jarndyce.co.uk WC1B 3PA VAT.No.: GB 524 0890 57 CATALOGUE CCXXXIX AUTUMN 2019 THE DICKENS CATALOGUE Catalogue: Joshua Clayton Production: Carol Murphy & Ed Lake. All items are London-published and in at least good condition, unless otherwise stated. Prices are nett. Items on this catalogue marked with a dagger (†) incur VAT (20%) to customers within the EU. A charge for postage and insurance will be added to the invoice total. We accept payment by VISA or MASTERCARD. If payment is made by US cheque, please add $25.00 towards the costs of conversion. High resolution images are available for all items, on request; please email: [email protected]. JARNDYCE CATALOGUES CURRENTLY AVAILABLE include (price £10.00 each unless otherwise stated): XIX Century Fiction Part I; Turn of the Century; Women Writers, Parts 1 - IV (£35) Books & Pamphlets 1505-1833; Plays, 1623-1980; Novels, 1740-1940, European Literature in Translation; Bloods & Penny Dreadfuls. JARNDYCE CATALOGUES IN PREPARATION include: Pantomimes, Extravaganzas & Burlesques; English Language, including dictionaries; The Museum: Jarndyce Miscellany; XIX Century Fiction Part II; The Romantics. PLEASE REMEMBER: If you have books to sell, please get in touch with Brian Lake at Jarndyce. Valuations for insurance or probate can be undertaken anywhere, by arrangement. A SUBSCRIPTION SERVICE is available for Jarndyce Catalogues for those who do not regularly purchase. Please send £20.00 (£35.00 / U.S.$45.00 overseas, airmail) for four issues, specifying the catalogues you would like to receive.
    [Show full text]
  • A Christmas Carol Study Guide
    Dear Educator: This is a copy of the study guide that accompanies the Sacramento Theatre Company’s production of A Christmas Carol by Charles Dickens, adapted for the stage by Richard Hellesen, music and lyrics by David de Barry. We are so happy that your group is coming to see this play, and we hope that the study guide will assist you in preparing your students for the performance. The following material is included: Charles Dickens Fast Facts A list of major works, minor works, Christmas books and weekly magazines Charles Dickens’ Biography A Chronology of Charles Dickens Charles Dickens’ Family and Friends An essay on why Charles Dickens was successful and popular A timeline of Dickens’ work Victorian London An essay about the division between the rich and poor Dickens and Christmas A Christmas Carol Essay A Christmas Carol Synopsis, Characters, Themes and Illustrations A Christmas Carol Public Readings Scrooge and Tiny Tim Facts Essay on Ignorance and Want Victorian Activities and Recipes from A Christmas Carol See you at the show! Sincerely, Julie Law Group Sales Manager [email protected] (916) 446-7501 x120 Charles Dickens Fast Facts Full Name: Charles John Huffam Dickens (Early Alias: Boz) Date of Birth: Friday, February 7, 1812 Place of Birth: No. 1 Mile End Terrace Landport, Portsmouth England Parents: Father-John Dickens (1785-1851) & Mother-Elizabeth Dickens (1789-1863) Education: Approximately, one year at William Giles' school in Chatham, Kent (age 9-11); nearly three years Wellington House Academy in London (age 13-15) and, beyond this, largely self- educated. First Published Story: A Dinner at Poplar Walk published in Monthly Magazine (December 1833) Marriage: Married on April 2, 1836 to Catherine (Hogarth) Dickens (1815-1879) in St.
    [Show full text]
  • Life of Charles Dickens CHAPTER I
    1 Life of Charles Dickens CHAPTER I. CHAPTER I. CHAPTER II. CHAPTER II. CHAPTER III. CHAPTER III. CHAPTER IV. CHAPTER IV. CHAPTER V. CHAPTER V. CHAPTER VI. CHAPTER VI. CHAPTER VII. CHAPTER VII. CHAPTER VIII. CHAPTER VIII. CHAPTER IX. CHAPTER IX. CHAPTER X. CHAPTER X. CHAPTER XI. CHAPTER XI. CHAPTER XII. CHAPTER XII. CHAPTER XIII. Life of Charles Dickens 2 CHAPTER XIII. CHAPTER I. CHAPTER I. CHAPTER II. CHAPTER II. CHAPTER III. CHAPTER III. Part XV. had Part XV. had CHAPTER IV. CHAPTER IV. CHAPTER V. CHAPTER V. CHAPTER VI. CHAPTER VI. CHAPTER VII. CHAPTER VII. CHAPTER VIII. CHAPTER VIII. CHAPTER IX. CHAPTER IX. CHAPTER X. CHAPTER X. CHAPTER XI. CHAPTER XI. CHAPTER XII. CHAPTER XII. CHAPTER XIII. CHAPTER XIII. Chapter 18 Chapter 18 Chapter vi. Chapter vi. PART I. READY 25TH FEBRUARY 1887. PART I. READY 25TH FEBRUARY 1887. Life of Charles Dickens The Project Gutenberg eBook, Life of Charles Dickens, by Frank Marzials This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: Life of Charles Dickens Author: Frank Marzials Release Date: October 1, 2005 [eBook #16787] CHAPTER I. 3 Language: English Character set encoding: ISO-8859-1 ***START OF THE PROJECT GUTENBERG EBOOK LIFE OF CHARLES DICKENS*** E-text prepared by Jason Isbell, Linda Cantoni, and the Project Gutenberg Online Distributed Proofreading Team (http://www.pgdp.net/) Great Writers.
    [Show full text]
  • “Mariolatry”: Dickens's Cult of the Virgin Mary
    Dickens and“ Mariolatry”: Dickens’s Cult of the Virgin Mary Matsuto SOWA＊ “How far can an author tell a truth without seeing it himself?” (Chesterton 277) “The truth emerges in Dickens in a dialectical way by attraction and repulsion.” (Cribb, Review of The Letters 96) Introduction Dickens’s doctrinal or ideological allegiances—his religious faith and intellectual belief—are difficult questions to deal with. In his centenary tributes to Dickens’s achievements in 1970, Angus Wilson observed: “Above all, he was a devout and practising Christian, however much sectarians of all denominations raised and still raise their eyebrows at his kind of Christianity” (7). Yet, reviewing Dennis Walder’s Dickens and Religion (1981), T. J. Cribb said: Dickens went to church and said his prayers but did not believe in priests, Churches, or even the Bible, as theology; he did not believe in ritual, original sin, or salvation by conversion; he rejected missionaries, public prayer, distribution of tracts, and most religious instruction, ＊ 金城学院大学文学部教授 ① ― 97 ― 金城学院大学キリスト教文化研究所紀要 there is no evidence that he believed in hell and he is elusive about resurrection. So in what sense is he a Christian, or even religious? (Cribb, Review of Dickens 403) Certainly, one can find suggestions of Dickens’s irreverence in a letter to L. W. Morey, where he writes: because many forms of religion lead to what is practically Diabolical irreligion, I would not therefore abolish all forms of religion. Neither because the attraction of the two sexes, one towards another, occasions crime and degradation very often, am I prepared to enlist in a Crusade for the separation of the two sexes henceforth.
    [Show full text]
  • The Letters of Charles Dickens: Supplement XI
    1 The Letters of Charles Dickens: Supplement XI References (at the top left of each entry) to the earlier volumes of the British Academy-Pilgrim edition of The Letters of Charles Dickens are by volume, page and line, every printed line below the running head being counted. Where appropriate, note and column number are included. Dickens letters continue to come in and at least a further four Supplements are anticipated. The editors gratefully acknowledge the help of the following individuals and institutions: Christine Alexander; Biblioteca Civica Berio, Genoa; Dan Calinescu; the late Richard Davies; Ray Dubberke; Eamon Dyas and Nicholas Mays (Times Newspapers Limited Archive, News International Limited); Andrew Lambert (King’s College, University of London); Paul Lewis; David McClay and Rachel Thomas (National Library of Scotland, Edinburgh); Alastair J. E. Matthew; Klaus Schappert; Allan Sutcliffe; Takashi Terauchi; Thomas Venning; Peter Ward; C. M.Woolgar (Special Collections, Hartley Library, University of Southampton). The Editorial Board acknowledges the continuing help of a British Academy Development Award, of the Dickens Fellowship, and as always, the support of the Dickens family, in the preparation and publication of these Supplements. Editorial Board: Margaret Brown, Angus Easson (Editors); Malcolm Andrews; Joan Dicks; Leon Litvack; Michael Slater (Consultant Editor). ANGUS EASSON LEON LITVACK MARGARET BROWN JOAN DICKS IV,174.5. Replaces note Vol. VII (Addenda), 859 To THE MARCHESE DI NEGRO,1 10 AUGUST 1844 1 The Marchese Giovanni Carlo di Negro (sometimes Negri), (c.1770-c.1852), author and dilettante, whom CD knew in Genoa: Vol. IV, pp. 180-1 & nn. CD characterized him as an amusing bore, punning on Blunderbore, the ogre in Jack the Giant-Killer, and the Marchese’s usefulness in “boring” an artesian well (Vol.
    [Show full text]