Martin Chuzzlewit ‘I Think Chuzzlewit in a Hundred Points Immeasurably the Best of My Stories
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Views with Some of the Best Officers on Our Police Force Fully Confirmed This.” Still, One Wonders What Else There Was, Noticed by Neither Source
Readex Report The Flash Press: New York’s Early 19th-Century “Sporting” Underworld as a Unique Source of Slang By Jonathon Green author of Green’s Dictionary of Slang Green’s Dictionary of Slang, launched in print in 2010 and available online since 2016, currently offers some 55,400 entries, in which are nested around 135,000 discrete words and phrases, underpinned by over 655,000 examples of use, known as citations. Thanks to the online environment, it has been possible to offer a regular quarterly update to the dictionary. “Quite simply the best historical dictionary of English slang there is, ever has been…or is ever likely to be.” — Journal of English Language and Linguistics During the summer of 2020, I focused primarily on American Underworld: The Flash Press, a newspaper collection of the American Antiquarian Society and digitized by Readex. Its 45 titles (ranging from a single edition to runs covering multiple years) provided more than two-thirds of additions and changes in last August’s update. In this article, a version of which appeared on my own blog, I write about the nature of the “flash press” and some of the slang terms that have been extracted from it. Here’s this morning’s New York Sewer! Here’s this morning’s New York Stabber! Here’s the New York Family Spy! Here’s the New York Private Listener! Here’s the New York Peeper! Here’s the New York Plunderer! Here’s the New York Keyhole Reporter! Here’s the New York Rowdy Journal — Dickens, Martin Chuzzlewit (1844) An illustration from “The Life and Adventures of Martin Chuzzlewit” by Charles Dickens Taking his first steps through 1840s New York City, the young hero of Dickens’ Martin Chuzzlewit pays a visit to the offices of the New York Rowdy Journal. -
THE PICKWICK PAPERS Required Reading for the Dickens Universe
THE PICKWICK PAPERS Required reading for the Dickens Universe, 2007: * Auden, W. H. "Dingley Dell and the Fleet." The Dyer's Hand and Other Essays. New York: Random House, 1962. 407-28. * Marcus, Steven. "The Blest Dawn." Dickens: From Pickwick to Dombey. New York: Basic Books, 1965. 13-53. * Patten, Robert L. Introduction. The Pickwick Papers. Harmondsworth: Penguin, 1972. 11-30. * Feltes, N. N. "The Moment of Pickwick, or the Production of a Commodity Text." Literature and History: A Journal for the Humanities 10 (1984): 203-217. Rpt. in Modes of Production of Victorian Novels. Chicago: University of Chicago Press, 1986. * Chittick, Kathryn. "The qualifications of a novelist: Pickwick Papers and Oliver Twist." Dickens and the 1830s. Cambridge: Cambridge UP, 1990. 61-91. Recommended, but not required, reading: Marcus, Steven."Language into Structure: Pickwick Revisited," Daedalus 101 (1972): 183-202. Plus the sections on The Pickwick Papers in the following works: John Bowen. Other Dickens : Pickwick to Chuzzlewit. Oxford, U.K.; New York: Oxford UP, 2000. Grossman, Jonathan H. The Art of Alibi: English Law Courts and the Novel. Baltimore: Johns Hopkins UP, 2002. Woloch, Alex. The One vs. The Many: Minor Characters and the Space of the Protagonist in the Novel. Princeton: Princeton UP, 2003. 1 SELECTED BIBLIOGRAPHY Compiled by Hillary Trivett May, 1991 Updated by Jessica Staheli May, 2007 For a comprehensive bibliography of criticism before 1990, consult: Engel, Elliot. Pickwick Papers: An Annotated Bibliography. New York: Garland Publishing Inc., 1990. CRITICISM Auden, W. H. "Dingley Dell and the Fleet." The Dyer's Hand and Other Essays. New York: Random House, 1962. -
Decadence and Renewal in Dickens's Our Mutual Friend
Connotations Vol. 16.1-3 (2006/2007) Decadence and Renewal in Dickens’s Our Mutual Friend LEONA TOKER The plot of Dickens’s Our Mutual Friend focuses on the presumed death and ultimate reappearance of the jeune premier, John Harmon. It had been Dickens’s plan to write about “a man, young and perhaps eccentric, feigning to be dead, and being dead to all intents and pur- poses external to himself, and for years retaining the singular view of life and character so imparted” (Forster 2: 291), until, presumably, he could overcome his ghostly detachment. This, indeed, happens owing to the unhurried growth of mutual love between Harmon, posing as the impecunious John Rokesmith, and Bella Wilfer, the woman whose hand in marriage is the condition, according to his eccentric father’s will, for his inheriting the vast property that has meantime gone to the old man’s trusty steward Boffin. Thus Harmon, as well as the erst- while willful and would-be “mercenary” Bella, are reclaimed, re- deemed by love—in the best tradition of the religious humanism that suffuses Dickens’s fiction. As this précis of the plot may suggest, dying and being restored from death are both a metaphor for the literal events of the novel and a symbol of moral regeneration. As usual, Dickens partly desentimen- talizes the up-beat poetic justice by limiting its applicability: Betty Higden’s little grandson whom the Boffins wish to adopt and name John Harmon dies—his death symbolizes or, perhaps, replaces that of the protagonist; the traitor Charley Hexam is ready to march off, unpunished, treading (metaphorically) on corpses (including his father who had literally made a more or less honest living from sal- vaging corpses from the river). -
Pregnant Women in the Nineteenth-Century British Novel
College of Saint Benedict and Saint John's University DigitalCommons@CSB/SJU English Faculty Publications English Spring 2000 Near Confinement: Pregnant Women in the Nineteenth-Century British Novel Cynthia N. Malone College of Saint Benedict/Saint John's University, [email protected] Follow this and additional works at: https://digitalcommons.csbsju.edu/english_pubs Part of the Literature in English, British Isles Commons Recommended Citation Cynthia Northcutt Malone. "Near Confinement: Pregnant Women in the Nineteenth-Century British Novel." Dickens Studies Annual 29 (Spring 2000) This Article is brought to you for free and open access by DigitalCommons@CSB/SJU. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of DigitalCommons@CSB/SJU. For more information, please contact [email protected]. Near Confinement: Pregnant Women in the Nineteenth-Century British Novel Cynthia Northcutt Malone While eighteenth-century British novels are peppered with women ''big with child"-Moll Flanders, Molly Seagrim, Mrs. Pickle-nineteenth century novels typically veil their pregnant characters. Even in nine teenth-century advice books by medical men, circumlocution and euphe mism obscure discussions of pregnancy. This essay explores the changing cultural significance of the female body from the mid-eigh teenth century to the early Victorian period, giving particular attention to the grotesque figure of Mrs. Gamp in Martin Chuzzlewit. Through ostentatious circumlocution and through the hilariously grotesque dou bleness of Mrs. Gamp, Dickens both observes and ridicules the Victo rian middle-class decorum enveloping pregnancy in silence. And now one of the new fashions of our very elegant society is to go in perfectly light-coloured dresses-quite tight -witl1out a particle of shawl or scarf .. -
Dickens After Dickens, Pp
CHAPTER 2 Nordic Dickens: Dickensian Resonances in the Work of Bjørnstjerne Bjørnson Kathy Rees, Wolfson College, University of Cambridge On 19 March 1870, the Illustrated London News reported on the last of Charles Dickens’s farewell readings at St. James’s Hall (‘Mr. Chas Dickens’s Farewell Reading’ 301). Three weeks later, Norsk Folkeblad featured this same article, translated into Norwegian (‘Charles Dickens’s Sidste Oplaesning’ 1). At that time, the editor of Norsk Folkeblad was the 38-year-old journalist, novelist, and playwright Bjørnstjerne Bjørnson. He recognised the importance of this event and, unlike his English counterpart, he made it front-page news. Bjørnson reproduced both the iconic image of the famous writer at his reading desk and the words of Dickens’s brief curtain speech wherein he bade farewell to his adoring public. Dickens’s novels and journals had long been widely read in Norway, first in German and French translations, later in Danish or Swedish. Sketches by Boz (1836) was popular because of its representation of English customs, especially among the lower classes: one of its tales, ‘Mr Minns and his Cousin’, was included on the English syllabus of Norwegian schools from as early as 1854 (Rem 413). American Notes (1842) was also much discussed on account of the rising numbers of Norwegian emigrants crossing the Atlantic.1 Written Danish and Norwegian were virtually the same language in the How to cite this book chapter: Rees, K. 2020. Nordic Dickens: Dickensian Resonances in the Work of Bjørnstjerne Bjørnson. In: Bell, E. (ed.), Dickens After Dickens, pp. 35–55. -
Charles Dickens and Sovereign Debt John V
University of North Carolina School of Law Carolina Law Scholarship Repository Faculty Publications Faculty Scholarship 2012 Charles Dickens and Sovereign Debt John V. Orth University of North Carolina School of Law, [email protected] Follow this and additional works at: http://scholarship.law.unc.edu/faculty_publications Part of the Law Commons Publication: Green Bag 2d This Article is brought to you for free and open access by the Faculty Scholarship at Carolina Law Scholarship Repository. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Carolina Law Scholarship Repository. For more information, please contact [email protected]. CHARLES DICKENS AND THE SOVEREIGN DEBT CRISIS John V. Orth† N JANUARY 1842, when Charles Dickens departed for his first American tour, he was not yet thirty years old but already fa- mous on both sides of the Atlantic. Embarking with his wife Catherine and her maid Anne on the Britannia, the Cunard ILine’s first paddle-steamer, he expected a pleasant voyage with all the modern conveniences. At journey’s end, he thought, lay a mod- el republic – and relief from his pressing financial difficulties. Sales of his serialized novel, Barnaby Rudge, completed only weeks before, had been disappointing, and the novelist was in debt to his publish- ers for £3,000.1 Refusing to recognize international copyright, the United States then – like some modern developing nations now – simply appropriated foreigners’ intellectual property. Pirated edi- tions of Dickens’ novels brought pleasure to their readers and prof- its to their publishers, but nothing to their author, and the novelist was optimistic that he could make the Americans see the justice of his claim for compensation. -
Selected Bibliography on Our Mutual Friend for the 2014 Dickens Universe August 3-9 UC Santa Cruz
Selected Bibliography on Our Mutual Friend for the 2014 Dickens Universe August 3-9 UC Santa Cruz (*starred items are strongly recommended) Reference Works Cotsell, Michael. 1986. The Companion to Our Mutual Friend. Boston: Allen & Unwin; rpt. New York: Routledge, 2009. Brattin, Joel J., and Bert. G. Hornback, eds. 1984. Our Mutual Friend: An Annotated Bibliography. New York: Garland. Heaman, Robert J. 2003. “Our Mutual Friend: An Annotated Bibliography: Supplement I, 1984-2000.” Dickens Studies Annual 33: 425-514. Selected articles and chapters Allen, Michelle Elizabeth. 2008. “A More Expansive Reach: The Geography of the Thames in Our Mutual Friend.” In Cleansing the City: Sanitary Geographies in Victorian London, ch. 2. Athens: Ohio University Press. Alter, Robert. 1996. “Reading Style in Dickens.” Philosophy and Literature 20, no. 1: 130-7. Arac, Jonathan. 1979. “The Novelty of Our Mutual Friend.” In Commissioned Spirits: The Shaping of Social Motion in Dickens, Carlyle, Melville, and Hawthorne, 164-185. New York: Columbia University Press. Baumgarten, Murray. 2000. “The Imperial Child: Bella, Our Mutual Friend, and the Victorian Picturesque.” In Dickens and the Children of Empire, edited by Wendy S. Jacobson, 54-66. New York: Palgrave. Baumgarten, Murray. 2002. “Boffin, Our Mutual Friend, and the Theatre of Fiction.” Dickens Quarterly 19: 17-22. Bodenheimer, Rosemarie. 2002. “Dickens and the Identical Man: Our Mutual Friend Doubled.” Dickens Studies Annual 31: 159-174. Boehm, Katharina. 2013. “Monstrous Births and Saltationism in Our Mutual Friend and Popular Anatomical Museums.” In Charles Dickens and the Sciences of Childhood: Popular Medicine, Child Health and Victorian Culture, ch. 5. New York: Palgrave Macmillan. -
Martin Chuzzlewit
CLASSIC Charles FICTION Dickens Martin Chuzzlewit Read by Sean Barrett NA809612D 1 It was pretty late in the autumn… 5:47 2 ‘Hark!’ said Miss Charity… 6:11 3 An old gentlemen and a young lady… 5:58 4 Mrs Lupin repairing… 4:43 5 A long pause succeeded… 6:21 6 It happened on the fourth evening… 6:16 7 The meditations of Mr Pecksniff that evening… 6:21 8 In their strong feeling on this point… 5:34 9 ‘I more than half believed, just now…’ 5:54 10 You and I will get on excellently well…’ 6:17 11 It was the morning after the Installation Banquet… 4:40 12 ‘You must know then…’ 6:06 13 Martin began to work at the grammar-school… 5:19 14 The rosy hostess scarcely needed… 6:57 15 When Mr Pecksniff and the two young ladies… 5:21 16 M. Todgers’s Commercial Boarding-House… 6:12 17 Todgers’s was in a great bustle that evening… 7:18 18 Time and tide will wait for no man… 4:56 19 ‘It was disinterested too, in you…’ 5:21 20 ‘Ah, cousin!’ he said… 6:28 2 21 The delighted father applauded this sentiment… 5:57 22 Mr Pecksniff’s horse… 5:22 23 John Westlock, who did nothing by halves… 4:51 24 ‘Now, Mr Pecksniff,’ said Martin at last… 6:39 25 They jogged on all day… 5:48 26 His first step, now he had a supply… 7:19 27 For some moments Martin stood gazing… 4:10 28 ‘Now I am going to America…’ 6:49 29 Among these sleeping voyagers were Martin and Mark… 5:01 30 Some trifling excitement prevailed… 5:21 31 They often looked at Martin as he read… 6:05 32 Now, there had been at the dinner-table… 5:05 33 Mr Tapley appeared to be taking his ease… 5:44 34 ‘But stay!’ cried Mr Norris… 4:41 35 Change begets change. -
A Christmas Carol Adapted for the Stage by Geoff Elliott Directed by Julia Rodriguez-Elliott and Geoff Elliott December 2–23, 2021 Edu
A NOISE WITHIN HOLIDAY 2021 AUDIENCE GUIDE Charles Dickens’ A Christmas Carol Adapted for the stage by Geoff Elliott Directed by Julia Rodriguez-Elliott and Geoff Elliott December 2–23, 2021 Edu Pictured: Geoff Elliott and Deborah Strang. Photo by Craig Schwartz. TABLE OF CONTENTS Character Map ......................................3 Synopsis ...........................................4 Quotes from A Christmas Carol .........................5 About the Author Charles Dickens ......................6 Dickensian Timeline: Important Events in Dickens’ Life and Around the World ....8 Dickens’ Times: Victorian London .......................9 Poverty: Life & Death ................................12 Currency & Wealth. .16 About: Scenic Design. .18 About: Costume Design. .19 A Christmas Carol: Overall Design Concept ..............20 Additional Resources . .21 About A Noise Within. 22 A NOISE WITHIN’S EDUCATION PROGRAMS MADE POSSIBLE IN PART BY: Ann Peppers Foundation The Green Foundation Capital Group Companies Kenneth T. and Michael J. Connell Foundation Eileen L. Norris Foundation The Dick and Sally Roberts Ralph M. Parsons Foundation Coyote Foundation Steinmetz Foundation The Jewish Community Dwight Stuart Youth Fund Foundation 3 A NOISE WITHIN 2021/22 SEASON | Holiday 2021 Audience Guide A Christmas Carol CHARACTER MAP CHRISTMAS PAST CHRISTMAS PRESENT CHRISTMAS YET TO COME EBENEZER SCROOGE The protagonist: a bitter old creditor who does not believe in the spirit of Christmas, nor does he possess any sympathy for the poor. JACOB MARLEY GHOST OF CHRISTMAS GHOST OF CHRISTMAS “Dead to begin with.” PRESENT YET TO COME Ebenezer Scrooge’s former A lively spirit who spreads Scrooge fears this ghost’s business partner, who died seven Christmas cheer. premonitions. years prior. His ghost appears before Scrooge on Christmas Eve to warn of him of the Three Spirits, and urges him to choose a FRED OLD JOE, MRS. -
American Notes for General Circulation by Charles Dickens
AMERICAN NOTES FOR GENERAL CIRCULATION BY CHARLES DICKENS WITH 8 ILLUSTRATIONS BY MARCUS STONE, R.A. LONDON CHAPMAN & HALL, Ltd. 1913 I DEDICATE THIS BOOK TO THOSE FRIENDS OF MINE IN AMERICA WHO, GIVING ME A WELCOME I MUST EVER GRATEFULLY AND PROUDLY REMEMBER, LEFT MY JUDGEMENT FREE; AND WHO, LOVING THEIR COUNTRY, CAN BEAR THE TRUTH, WHEN IT IS TOLD GOOD HUMOUREDLY, AND IN A KIND SPIRIT. PREFACE TO THE FIRST CHEAP EDITION OF “AMERICAN NOTES” It is nearly eight years since this book was first published. I present it, unaltered, in the Cheap Edition; and such of my opinions as it expresses, are quite unaltered too. My readers have opportunities of judging for themselves whether the influences and tendencies which I distrust in America, have any existence not in my imagination. They can examine for themselves whether there has been anything in the public career of that country during these past eight years, or whether there is anything in its present position, at home or abroad, which suggests that those influences and tendencies really do exist. As they find the fact, they will judge me. If they discern any evidences of wrong-going in any direction that I have indicated, they will acknowledge that I had reason in what I wrote. If they discern no such thing, they will consider me altogether mistaken. Prejudiced, I never have been otherwise than in favour of the United States. No visitor can ever have set foot on those shores, with a stronger faith in the Republic than I had, when I landed in America. -
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. -
Barnaby Rudge UNABRIDGED Read by Sean Barrett CLASSIC FICTION
THE Charles Dickens COMPLETE CLASSICS Barnaby Rudge UNABRIDGED Read by Sean Barrett CLASSIC FICTION NAX90912D 1 Preface 8:09 3 Chapter 1 8:16 3 There was another guest... 6:47 4 The heir apparent to the Maypole... 6:54 5 The landlord pausing here... 6:15 6 The man glanced at the parish… 5:07 7 At this point of the narrative... 6:34 8 Chapter 2 5:52 9 Whether the traveller was possessed... 6:51 10 Thus they regarded each other... 6:01 11 Chapter 3 6:11 12 So saying, he raised his face... 6:11 13 With these words, he applied himself... 4:31 14 Chapter 4 5:59 15 After a long and patient contemplation... 5:43 16 Sim Tappertit, among the other fancies... 7:13 17 Although Sim Tappertit had taken no share… 5:23 18 Chapter 5 5:12 19 The widow shook her head. 4:54 20 Chapter 6 5:55 2 21 He took his wig off outright... 5:58 22 The young man smiled... 7:01 23 The raven gave a short, comfortable... 5:13 24 Chapter 7 6:59 25 Poor Gabriel twisted his wig about... 6:14 26 Chapter 8 8:21 27 With these words, he folded his arms again. 8:06 28 To this the novice made rejoinder... 7:13 29 Chapter 9 5:37 30 Miss Miggs deliberated within herself... 7:44 31 Chapter 10 7:19 32 It was spacious enough in all conscience... 7:11 33 John was so very much astonished..