A Christmas Carol Study Guide
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Great Expectations
Great Expectations 1 2 CONTENTS 1. The Encounter 26 2. The Chase 31 3. Summoned to Play 43 4. At Satis House 49 5. The Three Jolly Bargemen 59 6. At Miss Havisham’s 62 7. The Apprenticeship 70 8. Old Orlick 75 9. Drawn to Gentry 87 10. Farewell 102 11. In London with the Pockets 110 12. At the Castle 126 13. An Unexpected Call 134 14. A Heavy Heart 147 15. A Mind not at Ease 152 16. A Visit to the Castle 163 17. A Quarrel 169 18. Visitor of the Night 177 19. A Heart Poured Out 184 20. Pursued 201 21. The Ties 215 22. On The Run 228 23. Peace At Last 242 24. Good Old Joe 248 25. Back Home 255 3 Great Expectations Introduction Dickens’s Biography Born to a poor family on February 7th, 1812, in Portsmouth, Charles Dickens was the second of eight children. His father, John Dickens, was a naval clerk who dreamed of striking it rich while his mother, Elizabeth Barrow, hoped to be a teacher and school director. In 1816, they moved to Chatham, Kent, where young Charles spent the years that shaped his character and he and his siblings were free to roam the countryside and explore everything around. This period came to an end when in 1822, the Dickens family moved to Camden Town, a poor neighborhood in London. Although his father was a kind and pleasant man, he had a dangerous habit of living beyond the family’s means; so huge debts started accumulating and the family’s of Dickens the 1892 edition of Forster's financial situation worsened. -
Financialisation and the Thames Tideway Tunnel
King’s Research Portal DOI: 10.1177/0042098017736713 Document Version Publisher's PDF, also known as Version of record Link to publication record in King's Research Portal Citation for published version (APA): Loftus, A. J., & March, H. (2019). Integrating what and for whom? Financialisation and the Thames Tideway Tunnel. URBAN STUDIES, 56(11), 2280-2296. https://doi.org/10.1177/0042098017736713 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. -
Appendix: Street Plans
Appendix: Street Plans Charles Dickens' birthplace. (Michael Allen) 113 114 Appendix The Hawke Street area as it is now, showing the site of number 16. (Michael Allen) Appendix 115 The Wish Street area as it is now, showing the site of the house occupied by the Dickens family. (Michael Allen) 116 Appendix Cleveland Street as it is now, showing the site of what was 10 Norfolk Street. (Michael Allen) Appendix 117 Site of 2 Ordnance Terrace. (Michael Allen) 118 Appendix Site of 18 StMary's Place, The Brook. (Michael Allen) Appendix 119 Site of Giles' House, Best Street. (Michael Allen) 120 Appendix Site of 16 Bayham Street. (Michael Allen) Appendix 121 Site of 4 Gower Street North. (Michael Allen) 122 Appendix Site of 37 Little College Street. (Michael Allen) Appendix 123 "'2 ~ <( Qj ftl ~ 0 ~ a; .......Q) ....... en ...., c .. ftl ...-' .. 0 ~ -....Q) .. u; 124 Appendix Site of 29 Johnson Street. (Michael Allen) Notes The place of publication is London unless otherwise stated. INTRODUCTION 1. 'Dickens's obscure childhood in pre-Forster biography', by Elliot Engel, in The Dickensian, 1976, pp. 3-12. 2. The letters of Charles Dickens, Pilgrim edition, Vol. 1: 1820-1839 (Oxford: Oxford University Press, 1965) p. 423. 3. In History, xlvii, no. 159, pp. 42-5. 4. The Pickwick Papers (Harmondsworth: Penguin, 1972) p. 521. 5. John Forster, The life of Charles Dickens (Chapman & Hall, 1872-4) Vol. 3, p. 11. 6. Ibid., Vol. 1, p. 17. 1 PORTSMOUTH 1. Gladys Storey, Dickens and daughter (Muller, 1939) p. 31. 2, 'The Dickens ancestry: some new discoveries', in The Dickensian, 1949, pp. -
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. -
Audience Insights Table of Contents
GOODSPEED MUSICALS AUDIENCE INSIGHTS TABLE OF CONTENTS JUNE 29 - SEPT 8, 2018 THE GOODSPEED Production History.................................................................................................................................................................................3 Synopsis.......................................................................................................................................................................................................4 Characters......................................................................................................................................................................................................5 Meet the Writer........................................................................................................................................................................................6 Meet the Creative Team.......................................................................................................................................................................7 Director's Vision......................................................................................................................................................................................8 The Kids Company of Oliver!............................................................................................................................................................10 Dickens and the Poor..........................................................................................................................................................................11 -
A Christmas Carol- the Plot Stave 1: Marley's Ghost
A Christmas Carol- The Plot Stave 1: Marley's Ghost Here the reader meets Ebenezer Scrooge, a miserable but wealthy old man. Scrooge works in his ……...........................................with his clerk,………………………………………………. Bob writes out records of accounts and Scrooge oversees the business but we don't know (it's not important) what it exactly does. (There may be a clue in the next chapter, where we see Scrooge as an apprentice with ……………………………………………..) It is Christmas…………………….., and Scrooge receives several visitors. One is his nephew……………………………..who invites Scrooge to dine with him for Christmas. Then come two gentlemen who are collecting for ……………………………….. We learn here that Scrooge had a partner……………………………………….., who died on Christmas Eve seven years previously. Scrooge refuses to give the gentlemen anything, saying he helps the poor already through supporting prisons and workhouses. Scrooge allows Bob to have Christmas Day as a holiday, but insists that he……………………………………………………………………………………………………………... (Boxing Day was not usually a holiday in the 19th century, but was the day when tradesmen collected their Christmas "boxes" - gifts from their customers.) When Scrooge returns to his lodging he is visited by the Ghost of Jacob Marley who is weighed down by ………………………………………………………………………………. The ghost says that any spirit which does not mix with other people in life must travel among them after death. Marley tells Scrooge that he, too, wears a chain, larger than Marley's. Marley has often sat by him unseen. Now he tells him that……………………………………………………………………………………………………………. Stave 2: The First of the Three Spirits This is the Ghost of ……………………………………………………………………. - Scrooge's own past. The ghost has a strange changing form and gives out brilliant …………………………………. -
Dombey and Son: an Inverted Maid's Tragedy
Advances in Language and Literary Studies ISSN: 2203-4714 Vol. 6 No. 3; June 2015 Flourishing Creativity & Literacy Australian International Academic Centre, Australia Dombey and Son: An Inverted Maid's Tragedy Taher Badinjki Department of English, Faculty of Arts, Al-Zaytoonah University P O box 1089 Marj Al-Hamam, Amman 11732, Jordan E-mail: [email protected] Doi:10.7575/aiac.alls.v.6n.3p.210 Received: 14/02/2014 URL: http://dx.doi.org/10.7575/aiac.alls.v.6n.3p.210 Accepted: 29/04/2015 Abstract Ross Dabney, J. Butt & K. Tillotson, and others think that Dickens revised the role of Edith in the original plan of Dombey and Son upon the advice of a friend. I tend to believe that Dickens's swerve from his course was prompted by two motives, his relish for grand scenes, and his endeavour to engage the reader's sympathies for a character who was a victim of a social practice which he was trying to condemn. Dickens's humanitarian attitude sought to redeem the sinner and condemn the sin. In engaging the reader's sympathies, Dickens had entrapped his own. Both Edith and Alice are shown as victims of rapacious mothers who sell anything, or anybody for money. While Good Mrs Brown sells Alice's virtue and innocence for cash, Mrs Skewton trades on Edith's beauty in the marriage market to secure fortune and a good establishment. Edith and Alice's maturity and moral growth and their scorn and anger at their mothers' false teaching come in line with public prudery. -
Industrial Relations: Carlyle's Influence on Hard Times
Industrial Relations: Carlyle's influence on Hard Times Graham Law I. Introduction The aim of the present paper is the strictly limited one of presenting detailed internal evidence of the nature and extent of the influence of the writings of Thomas Carlyle on Charles Dickens's anti-utilitarian novel of 1854 Hard Times. The principal works of Carlyle in question here are: Sartor Resartus (1833-4, cited as SR), Chartism (1839, cited as CH), Past and Present (1843, cited as P&P), and Latter-Day Pamphlets (1850, cited as LDP), three works which return explicitly to the 'Condition-of-England question' first raised in the 1929 essay 'Signs of the Times' (cited as SofT), plus the History of the French Revolution (1837, cited as FR), a book less explicitly connected to the theme of industrialism but with which Dickens appears to have been especially familiar.1 Specific citations in the extensive exemplification which follows refer to the Centenary Edition of Carlyle's works, published in thirty volumes by Chapman & Hall in 1898, using the abbreviation CE. Citations from Hard Times refer to the 'Charles Dickens' edition published by Chapman and Hall in 1868, using the abbreviation HT. Citations from the weekly family journal Dickens conducted during the 1850s, Household Words, are indicated by the abbreviation HW. The wider implications of this material, in particular with regard to Dickens's contribution to the early Victorian genre of the industrial novel and the debate on industrialisation which Carlyle called 'the Condition-of-England question,'2 are here only briefly outlined but are discussed in greater detail elsewhere.3 The relative literary status of Carlyle's social criticism and Dickens's novel is now almost precisely the reverse of that pertaining when they were first received by the Victorian reading public. -
4A. the Characters
A Christmas Carol 4a. T he Characters Read and listen to the descriptions of the characters in the play. Use the information to help you with the exercise on the next page, and then listen to see if your answers are correct. 1. Ebenezer Scrooge is about 60 years old. He works 6. The Ghost of Christmas Present is green and cov- in an office for many hours every day and return home, ered in leaves. He is very jolly and quite large. He has where he lives alone, in the evenings. His business is 2000 brothers and sisters — one for every year. He shows called Scrooge and Marley, but his business partner died Scrooge his present life and people’s opinion of him. seven years before. He is an unkind and ungenerous man. 7. The Ghost of Christmas Future doesn’t speak and He thinks Christmas is a waste of time and money. He has is very scary. It wears a dark cape with a hood, and grey hair, brown eyes and is quite thin. He wears a dark it’s impossible to see its face. It is very tall and thin. suit to work and a dressing gown at night. He doesn’t be- It shows Scrooge what will happen in the future if he lieve in ghosts but is scared when he sees them. doesn’t change his way of life. 2. Bob Cratchit works for Scrooge in his office and is 8. Belle was Scrooge’s girlfriend when he was a young very poor. He is 32 years old and is married with five apprentice. -
Oliver Twist; Or, the Parish Boy's Progress (1838) Is Charles Dickens's Second Novel
Oliver Twist; or, The Parish Boy's Progress (1838) is Charles Dickens's second novel. It was first published as a book by Richard Bentley in 1838. It tells the story of an orphan boy and his adventures among London's slums. Oliver is captured by, and forced to work among, pickpockets and thieves until redeemed by a gentleman who has taken an interest in him. Characters include Fagin, Nancy, Bill Sykes, and the Artful Dodger. The book David Copperfield is a novel by Charles is one of the earliest examples of the social novel. It draws the Dickens. Like his other novels, it first came out as a series in a reader's attention to contemporary evils such as child labour, the magazine under the title The Personal History, Adventures, recruitment of children as criminals, and the presence of street Experience and Observation of David Copperfield the Younger of children. Blunderstone Rookery (which he never meant to publish on any The novel may have been inspired by the story of Robert Blincoe, account)[1] an orphan whose account of hardships as a child labourer in a The story is told in the first person. Some of the greatest Dickens cotton mill was widely read in the 1830s. It is likely that Dickens's characters appear in the novel, such as the evil clerk Uriah Heep. own early youth as a child labourer contributed to the story's Other villains in David's life are his brutal stepfather, Edward development. The book influenced American writer Horatio Alger, Murdstone, and Mr. -
Liminal Dickens
Liminal Dickens Liminal Dickens: Rites of Passage in His Work Edited by Valerie Kennedy and Katerina Kitsi-Mitakou Liminal Dickens: Rites of Passage in His Work Edited by Valerie Kennedy and Katerina Kitsi-Mitakou This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Valerie Kennedy, Katerina Kitsi-Mitakou and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-8890-7 ISBN (13): 978-1-4438-8890-5 To Dimitra in love and gratitude (Katerina Kitsi-Mitakou) TABLE OF CONTENTS List of Illustrations ..................................................................................... ix List of Abbreviations ................................................................................... x Introduction ................................................................................................. 1 Liminal Dickens: Rites of Passage in His Work Valerie Kennedy, Katerina Kitsi-Mitakou Part I: Christian Births, Marriages and Deaths Contested Chapter One ............................................................................................... 20 Posthumous and Prenatal Dickens Dominic Rainsford Chapter -
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).