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A Tale of Two Cities A Tale Of Two Cities Charles Dickens simplified by A. Johnson and G. C. Thornley Introduction and questions by A nthony Laude The upper intermediate level books in the Longman Fiction series are simplified to the 2,000 word level of the Longman Defining Vocabulary, as researched for the Longman Diction- ary of Contemporary English. <_öläjl jjlju-o ....................... ■i Irh 0*** .............................................. jLh-* (j-ils JjI J Jl) ......................tjlş. cuji \TVV .............................................................ujU aI t tı..................................... 4 \l jIq JLj YT • * Contents page Introduction v 1 The Shop of Monsieur Defarge 1 2 The Shoemaker 5 3 The Trial 9 4 Sydney Carton 15 5 Dr Manette in London İR 6 The Accident in Paris 22 7 Darnay and His Uncle the Marquis 26 8 Darnay Speaks of Love 29 9 Carton Does the Same 33 10 The Roadmender 37 11 The Spy 43 12 Joy and Sorrow 46 13 Revolution 52 14 The End of the Chäteau 56 15 Business in Paris 60 16 Darnay Returns to France 65 17 Mr Lorry in Paris 71 18 Darnay’s Trial 76 19 A Knock at the Door 83 20 Miss Pross Finds Her Brother 85 21 Sydney Carton Makes His Plans 93 22 The Doctor’s Story 97 23 Mr Lorry Gives a Promise 101 24 Sydney Carton Dictates a Letter 106 25 The Last of Paris 113 26 The Knitting is Finished 115 27 The Guillotine 123 Questions 126 Glossary 131 Introduction “I hope it is the best story I have written”: A Tale of Two Cities is much faster-moving and more exciting than most of Charles Dickens’s other novels. It was originally published as a serial in Dickens’s own magazine/W/ the Year Round in 1859. There were 31 weekly instalments, and because of this compression into “teaspoon-sized” portions it became a novel of plot and action rather than of character, dialogue and humour. A Tale of Two Cities neatly combines two very different themes: the self-sacrificing love of one of its heroes, and the causes and horrors of the French Revolution of 1789. Dickens got the love theme from a play called TheFrozen Deep, which he had helped his friend Wilkie Collins to write not long before, and in which they had both acted. Dickens’s part was that of a rejected lover who saves the life of his successful rival after nobly overcoming the feelings of hatred he had for him; he then dies in the embrace of the woman they both love. All this takes place in the snow and ice of the Arctic and Newfoundland — a setting of extreme danger and discomfort that is replaced, in A Tale of Two Cities, by the chaotic and cruel background of revolutionary Paris. Dickens’s own emotional life was at a diffİcult and painful stage, and he found his role in The Frozen Deep extremely sat- isfying and moving. His acting made audiences and actors weep uncontrollably, especially the little actress who played the heroine: as Dickens “died”, her tears flowed so freely that they even got into his mouth. By creating another and quite similar love triangle in A Tale of Two Cities he was able to live through something equally intense. “I have certainly done and suffered it all myself”: this remark from his preface obviously applies most of all to the actions and sufferings of his two heroes, Sydney Carton and Charles Darnay. Darnay and Lucie, however, are very much the conventional A TALE OF TWO CITIES Victorian hero and heroine, with all the virtues that belong to such figures, and with a typical lack of individuality. Darnay is loving, high-principled and brave; Lucie is loving, modest, gen- tle, dutiful and dependent, a typical Dickens “little woman” in fact. She is always clinging, praying, trembling, weeping and fainting, and yet she is said to be a wonderful home-maker and to have a soothing, tenderly encouraging influence on her husband and her father. She is constantly being protected by those around her from any information that might be upsetting to her, and she plays an almost entirely passive part in the story. Thus Lucie seems rather inadequate to her Central role as Carton’s “dream”, the person (and the ideal) that he dies for. The giri he dies with, the little French dressmaker, makes a much more definite and moving impression. This, I think, is a major fault in the working- out of the book’s scheme. Sydney Carton himself is more interesting. “I like myCarton,” Dickens told one of his friends, “and I have a faint idea sometimes that if I had acted him, I could have done something with his life and death.” Unlike Lucie (and unlike most of the other charac- ters in the novel), Carton is a mixture of virtues and vices. His vices, however, are either too trivial or too vague to take seriously; and the despair and remorse he feels at his own wasted youth seem as inadequate, as a basis for his sacrifice of his life, as his love for the colourless Lucie. But A Tale of Two Cities is a novel of dramatic incident rather than subtle characterisation, and these weaknesses do not seri­ ously damage the effectiveness of the narrative. The account of Charles Darnay’s thoughts and emotions after being sentenced to death is just one of many marvellously vivid passages; and the climax of the book, with Sydney Carton’s words of sacrifice at the very end, has become one of the most famous scenes in English literature. The private theme of the love sacrifice is enclosed within a public one: the French Revolution, as described and interpreted by Dickens’s friend Thomas Carlyle. Dickens half-jokingly claimed to have read Carlyle’s book on the subject 500 times. One of the INTRODUCTION main ideas expressed by this vivid, dramatic book is that a class that “sows” cruelty will “reap” further cruelty: that is, that by oppressing the common people the French ruling class brought down upon itself, in due course, a terrible punishment. Carlyle implies that England may go the same way as France if she is not careful. Great Britain was in a much more unsettled state in Dickens’s day than it is now, and there were several occasions when the middle and upper classes felt threatened by possible popular uprisings. Thus the French Revolution was stili a horribly vivid symbol and a grim warning. Dickens’s picture of that Revolution is full of violent light and shade. There is little subtlety in it. His aristocrats are uncon- vincing monsters, except for Darnay, who is superhuman, almost an angel. Dickens ignores the fact that, like most revolutions, the French one broke out at a time when class oppression had been somewhat relaxed; he also fails to give any weight to the fact that in any revolution an important part is played by a class of intellectuals who put forward new ideas. The revolutionaries in Dickens’s novel are monsters too, but at least there is a good deal of wicked life in the most memorable of them, Madame Defarge. With her sinisterly symbolic knitting (that normally innocent female activity, which she has transformed into an instrument of revenge and cruelty), Madame Defarge has deservedly become as well known as the self-sacrificing Sydney Carton. Her final encounter with Miss Pross is one of the best scenes in the book: the representatives of good and evil are set against each other, and (very unusually) they are made to seem equally real and almost equally powerful. Dickens deliberately places Madame Defarge’s mean death side by side with Carton’s noble one. Madame Defarge, he told a friend, “wouldn’t have minded” a desperate and glorious death in the streets. He considered her accidental death during the struggle with Miss Pross to be an act of divine justice. Another effective revolutionary symbol is the spilt wine at the beginning of the book. Like all good literary symbols, this one is believable in its narrative context. When Dickens shows people 4 TALE OF TWO C1TIES mopping up the wine from the ground and then sucking it off the cloths, he is drawing attention to the desperate level of poverty of the lowest class in Paris; but it is red wine, and as it runs and spreads across the paving-stones it obviously represents the blood that will be shed over the paving-stones of Paris in a few years’ time. The character who forms the closest link between the private and public themes of the book is Dr Manette. His imprisonment, for which members of an aristocratic family are responsible, has left his mental balance seriously disturbed. At moments of stress he feels the need to return to his prison occupation of shoemaking (unfortunately Dickens makes this symptom seem irritating rather than pathetic); but apart from this he is a colourless character, and his cursing of his enemies’ descendants seems unbelievable as well as shocking. It is simply necessary to the plot, a convenient device for getting Darnay into the condemned cell. The title A Tale of Two Cities reminds us that the novel is not only about France. London and the English are important pres- ences too. Mr Lorry and Tellson’s Bank, in particular, are sym- bols of calm, security and good organisation in contrast to the disorder and cruelty of France in the pre-revolutionary and revolutionary period. But the two worlds are closely linked. Dickens suggests this indirectly in an important passage near the end of Chapter 5.
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