Penguin Readers Factsheets Nicholas Nickleby

Total Page:16

File Type:pdf, Size:1020Kb

Penguin Readers Factsheets Nicholas Nickleby Penguin Readers Factsheets Level 4 – Intermediate Nickleby Nicholas Level Teacher’s Notes Nicholas Nickleby by Charles Dickens Dickens also loved the theatre. He fell in love with an actress, Summary Ellen Ternan. His reading tours in America were popular. During his second visit there, in 1867, he became ill. He gave his last public The Nicklebys (Nicholas, his mother and sister Kate) are left readings in 1870 and died in June the same year, aged 58, leaving penniless by the death of Mr Nickleby. In their poverty and an unfinished novel, The Mystery of Edwin Drood. desperation they seek help from Nicholas’s uncle – a mean- spirited, cruel moneylender called Ralph. Nicholas’s independent attitude immediately angers Ralph and he is sent away to Dotheboys Hall to teach. He is upset by the mistreatment of the Background and themes children there by Wackford Squeers, the headmaster, and is particularly disgusted by the cruel treatment of a boy called Smike. Education: In 1838, Dickens visited a school in the north of Nicholas thrashes the evil Squeers and escapes to London with England and was so shocked by the cruel treatment of its pupils by Smike, who becomes his close companion. the schoolmaster, William Shaw, that he used the school as a model for Dotheboys Hall. The description of Dotheboys Hall in In London Nicholas continues his one-man crusade against the Nicholas Nickleby caused widespread shock and consternation. ill-treatment of his family by Ralph and the persecution of his sister Questions were asked in Parliament and the government was by Sir Mulberry Hawk. After many adventures, Nicholas makes a forced to investigate the problem. Eventually, action was taken home for his family. With the help of Newman Noggs (Ralph’s against the real-life schools on which Dotheboys Hall was based. downtrodden servant) and the Cheeryble brothers (benevolent Dickens was always very proud of his success in bringing such evil businessmen), Ralph gets his eventual comeuppance. Although places to public attention. Smike (who turns out to be Ralph’s long-lost son) dies, there is a general sense of justice at the end of the story. The class system: The members of the establishment with power and/or money – Wackford Squeers, Sir Mulberry Hawk, Ralph Nickleby, Mrs Wititterly, Arthur Gride – are seen as cynical, vain, cruel, selfish manipulators and exploiters of those more About Charles Dickens disadvantaged than themselves. Poverty: In Dickens’s previous novel, Oliver Twist, poverty Charles Dickens was born in 1812 in Portsmouth, a naval town on dehumanizes the characters. In contrast, in Nicholas Nickleby, the the south coast of England but, after a brief interlude in London harshness of injustice and poverty is not allowed to vanquish the between the ages of 2 and 4, of which he could later remember basic qualities of human spirit. People like Kate and Nicholas, nothing, he spent his childhood in Chatham, another naval town to Smike, Newman Noggs and Madeline Bray, retain a fundamental the east of London. His father was imprisoned for unpaid debts, decency and kindness, and they are allowed to enjoy, to varying and the twelve-year-old Charles had to work in a blacking factory degrees, a sense of peace and justice by the end of the story. making shoe polish. It was a miserable time for the young Dickens, and the themes of poverty, injustice and brutality recur frequently in Fate: Chance and fate always seem to play a major part in his novels. In 1827 he worked as a clerk in a law company, but soon Dickens’s novels. This is especially true in Nicholas Nickleby. realised that he hated the law almost as much as he hated making Without the timely intervention of the Cheeryble brothers, it is shoe polish. He decided to become a journalist instead. unlikely that the forces of good – Nicholas, Kate, Newman Noggs and Madeline – would have overcome the forces of evil –Squeers, In 1832 he became a reporter and his first story, A Dinner at Ralph, Gride and Hawk. Many modern readers find this element in Poplar Walk, was published in The Monthly Magazine. When he the story troubling and somehow unsatisfactory. was 24, he married Catherine Hogarth, the daughter of the editor of The Evening Chronicle newspaper. His big break as a writer Ultimately, the story is about the search for human happiness in came when the publishers Chapman and Hall commissioned him to a cruel, unjust world. But it is also an exciting adventure story, write a series of stories based on a fictitious club. The sometimes tragic, often amusing. It is the mixture of serious Posthumous Papers of the Pickwick Club was published in message and entertainment that makes it as popular and as twenty monthly parts in 1836 and 1837. By its end, the story had relevant today as it was nearly 200 years ago. There have been 40,000 readers. Dickens became the most popular writer in many film, stage and television adaptations of the story, most England. He wrote a large number of novels and short stories, recently a 2002 film with Jamie Bell (of Billy Elliot fame) as Smike. including A Christmas Carol, David Copperfield, Bleak House, A Tale of Two Cities, and Great Expectations. © Pearson Education Limited 2004 Penguin Readers Factsheets Level 4 – Intermediate Nickleby Nicholas Level Teacher’s Notes Chapters 10–12 Communicative activities 1 Put students into pairs. Ask them to act out this conversation. The following teacher-led activities cover the same sections of Student A: You are Mr Bray. You want Madeline to marry Arthur text as the exercises at the back of the reader and supplement Gride. Say why. those exercises. Further supplementary exercises covering Student B: You are Madeline. You don’t want to marry Arthur shorter sections of the book can be found in the Gride. Say why. photocopiable Student’s Activities pages of this Factsheet. These are primarily for use with class readers but, with the 2 Put students into small groups. Ask them what they think will exception of discussion and pair/group work questions, can happen to these people. also be used by students working alone in a self-access Nicholas Ralph Madeline Squeers Kate centre. Newman Noggs ACTIVITIES BEFORE READING THE BOOK Chapters 13–14 Ask students what they know about Charles Dickens. Have they 1 Put students into groups and ask them to discuss these ever read any of his books either in English or in their own questions. language? Have they seen any films of a Charles Dickens story? (a) How do these people feel about Ralph? Why? Snawley Squeers Arthur Gride Brooker ACTIVITIES AFTER READING A SECTION Newman Noggs Chapters 1–3 (b) Do you feel sorry for Ralph? Why / Why not? 1 Put students into small groups and ask them to discuss these (c) Was Nicholas right not to accept Ralph’s money? questions. (d) What will happen to Fanny Squeers? (a) Why doesn’t Ralph Nickleby have any friends? ACTIVITIES AFTER READING THE BOOK (b) Why does Ralph think money is the most important thing in life? Do you agree with him? 2 Class discussion. Ask students whether they like the end of (c) Did Mrs Nickleby marry the wrong brother? Give reasons the story. Does Nicholas deserve his happiness or was he for your opinion. just lucky? 2 Put students into pairs (one boy, one girl if possible). Ask them to act out this conversation. Glossary Student A: You are a boy’s father. You want to send your som to Dotheboys Hall. Tell your wife why. It will be useful for your students to know the following new words Student B: You are the boy’s mother. You don’t want your son which can be found on page 74 of the Reader. They are practised in to go to Dotheboys Hall. Explain why. the ‘Before you read’ sections at the back of the book. (Definitions are based on those in the Longman Active Study Dictionary.) Chapters 4–6 1 Put students into small groups. Ask them to plan a dinner party for the following guests. Newman Noggs Nicholas Fanny Squeers Wackford Squeers Ralph Nickleby Mrs Nickleby Sir Mulberry Hawk Kate Nickleby Mrs Wititterly Smike Seat the guests around a table so that each one sits between people they will be friendly with. 2 Put students into pairs. Ask them to act out this conversation after the evening at the theatre. Student A: You are Mrs Nickleby. You want Kate to be friendly with Sir Mulberry. Say why. Student B: You are Kate. You don’t want to see Sir Mulberry again. Say why. Chapters 7–9 1 Put students into pairs. Ask them to act out this conversation. Student A: You are Mrs Snawley. You don’t want Wackford Squeers to stay in your house. Say why. Student B: You are Mr Snawley. You like Squeers and want him to stay. Say why. 2 Put students into small groups. Ask them to discuss these questions. (a) Who is Brooker? (b) Why is Ralph so rude to him? (c) What is Brooker’s secret? © Pearson Education Limited 2004 Published and distributed by Pearson Education Factsheet written by Christopher Rice Factsheet series developed by Louise James Penguin Readers Factsheets Level 4 – Intermediate Nicholas Nickleby Photocopiable 4 – Intermediate Nickleby Nicholas Level Student’s activities Nicholas Nickleby by Charles Dickens Students can do these activities alone or with one or more (c) Fanny becomes Nicholas’s enemy because other students. Pair/group-only activities are marked. (1) he is friendly with Smike. (2) he hits her father.
Recommended publications
  • London, Radical Culture, and the Making of the Dickensian Aesthetic
    London, Radical Culture, and the Making of the Dickensian Aesthetic London, Radical Culture, and the Making of the Dickensian Aesthetic Sambudha Sen The Ohio State University Press / Columbus Copyright © 2012 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Sen, Sambudha. London, radical culture, and the making of the Dickensian aesthetic / Sambudha Sen. p. cm. Includes bibliographical references and index. ISBN 978-0-8142-1192-2 (cloth : alk. paper)—ISBN 978-0-8142-9293-8 (cd) 1. English fiction—19th century—History and criticism. 2. Dickens, Charles, 1812– 1870—Criticism and interpretation. 3. Thackeray, William Makepeace, 1811–1863— Criticism and interpretation. 4. Literature and society—Great Britain—History—19th century. 5. Radicalism—Great Britain—History—19th century. I. Title. PR861.S46 2012 823'.809—dc23 2012007257 Cover design by Greg Betza Text design by Juliet Williams Type set in Adobe Sabon Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS List of Illustrations vii Acknowledgments ix INTRODUCTION 1 CHAPTER 1 Dickens, Thackeray, and “The Language of Radicalism” 13 CHAPTER 2 The Aesthetics and Politics of Caricature: Bleak House, Little Dorrit, and Vanity Fair in Relation to “Radical Expression” 36 CHAPTER 3 Re-Visioning the City: The Making of an Urban Aesthetic from Hogarth to the Stereoscope 65 CHAPTER 4 Novelizing the City: Bleak House, Vanity Fair, and the Hybridizing Challenge 94 CHAPTER 5 Radical Culture, the City, and the Problem of Selfhood: Great Expectations and Pendennis 116 CHAPTER 6 Working with Fragments: Our Mutual Friend as a Reflection on the Popular Aesthetic 141 Notes 163 Bibliography 177 Index 184 IllUSTRATIONS 1.
    [Show full text]
  • Seman 1 Dickens Against the Grain Gendered Spheres and Their Transgressors in Bleak House, Hard Times, and Great Expectations A
    Seman 1 Dickens against the Grain Gendered Spheres and Their Transgressors in Bleak House, Hard Times, and Great Expectations A Thesis Presented to the Honors Tutorial College Ohio University In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the Degree of Bachelor of Arts in English by Taylor J. Seman June 2011 Seman 2 This thesis has been approved by The Honors Tutorial College and the Department of English __________________________ Dr. Carey Snyder Associate Professor, English Thesis Advisor and Director of Studies ___________________________ Dr. Jeremy Webster Dean, Honors Tutorial College Seman 3 Table of Contents Introduction…………………………………………………………………………….4 Chapter One: Transgressive Characters………………………………………………..9 Chapter Two: Idealized Characters…………………………………………………...28 Chapter Three: Female Power in Unusual Places…………………………………….45 Conclusion…………………………………………………………………………....56 Bibliography…………………………………………………………………………..58 Seman 4 Introduction Charles Dickens certainly cannot be considered a participant in a precursory movement towards feminism; in fact, many of Dickens‘s novels uphold traditional ideas about femininity and punish the usurpation of male privilege. In Bleak House, Hard Times, and Great Expectations—the three novels that form the basis of this study—Dickens punishes characters who transgress gender norms (such as Mrs. Jellyby, Louisa, and Mrs. Joe) both through explicit condemnation by the narrator and the adversity that befalls them in the plot. These characters have been created to appear ridiculous, no matter their accomplishments in the community or in the world at large. Yet in these same novels, Dickens presents a socially relevant depiction of female power and agency that subverts the sexism he exhibits in the creation and punishment of other characters.
    [Show full text]
  • 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.
    [Show full text]
  • Katie Wetzel MA Thesis Final SP12
    DOMESTIC TRAUMA AND COLONIAL GUILT: A STUDY OF SLOW VIOLENCE IN DOMBEY AND SON AND BLEAK HOUSE BY KATHERINE E. WETZEL Submitted to the graduate degree program in English and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. _____________________________ Chairperson Dr. Dorice Elliott _____________________________ Dr. Anna Neill _____________________________ Dr. Paul Outka Date Defended: April 3, 2012 ii The Thesis Committee for Katherine E. Wetzel certifies that this is the approved version of the following thesis: DOMESTIC TRAUMA AND COLONIAL GUILT: A STUDY OF SLOW VIOLENCE IN DOMBEY AND SON AND BLEAK HOUSE _______________________________ Chairperson Dr. Dorice Elliott Date Approved: April 3, 2012 iii Abstract In this study of Charles Dickens’s Dombey and Son and Bleak House, I examine the two forms of violence that occur within the homes: slow violence through the naturalized practices of the everyday and immediate forms of violence. I argue that these novels prioritize the immediate forms of violence and trauma within the home and the intimate spaces of the family in order to avoid the colonial anxiety and guilt that is embedded in the naturalized practices of the everyday. For this I utilize Rob Nixon’s theory on slow violence, which posits that some practices and objects that occur as part of the everyday possess the potential to be just as violent as immediate forms of violence. Additionally, the British empire’s presence within the home makes the home a dark and violent place. Dombey and Son does this by displacing colonial anxiety, such as Mr.
    [Show full text]
  • Representation of Angel-In-The-House in Bleak House by Charles Dickens
    THEORY, HISTORY AND LITERARY CRITICISM Representation of Angel-in-the-House in Bleak house by Charles Dickens Shaghayegh Moghari Abstract: This article intends to examine the female characters of Esther Summerson and Ada Clare in Bleak House, written by Charles Dickens in Victorian period. In fact, the author has tried to revisit this novel as a case in point to discuss how female characters in Victorian society, who were depicted typically in this Victorian novel, were labeled as “angel in the house”. This work will actually analyze the concept of “angel in the house,” hegemonic patriarchy, Esther Summerson, Ada Care, and Lady Dedlock as Esther’s foil. At the end, this article will discuss how in the Victorian male-dominated society women were easily manipulated by their male counterparts both in society and at home under the label of “angel in the house”. Keywords: “angel in the house”, Esther Summerson, Ada Clare, Victorian society, Bleak house, patriarchy, women 1. INTRODUCTION Esther Summerson, as a Victorian model of woman, is marvelously perfect in numerous ways. The qualities which she possesses in the novel include prettiness, humbleness, modesty, quietness, assiduousness, and thankfulness. She is a good caretaker, and homemaker who usually has a habit of working only for the benefit of others. These qualities are what the society of her time desired from her as a woman and she did stick to these criteria as a woman. Charles Dickens in his book informs us about Esther. The Victorian society advocated ‘Submission, self-denial, diligent work’ since these qualities were considered as the preparations that the society expected from women in order to regard them as qualified for a marriage.
    [Show full text]
  • 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.
    [Show full text]
  • Birds and Cages in Bleak House by Emma Brodey
    Birds and Cages in Bleak House By Emma Brodey In reading Charles Dickens’s Bleak House, one cannot help but notice the enormous significance of birds. The word ‘bird’ alone appears 72 times in Bleak House, and this large number is no coincidence. Miss Flite’s mysteriously named birds play a large role in the plot as thought- provoking symbols. Ten of the major characters in Bleak House are at some point described as birds, and these descriptions are remarkably diverse. Bird imagery is not uniform in the novel, but rather ranges in connotation from sweet and tame to ruthless and predatory. It is not gendered either, as five of the bird characters are women, and five are men. Finally, Esther, Boythorne, and Miss Flite all own birds at some point in the novel. Dickens uses birds and their cages, both real and metaphorical, to expose the true nature and relationships among his characters, to reveal his culture’s various forms of financial injustice, and to criticize society’s lack of care for those who are lonely or caged. In Bleak House, real birds offer comfort and family to those whom society has forgotten. Miss Flite’s birds are kept in real cages; however, to Miss Flite, these cages symbolize her own cage: Chancery. She gives her birds a very interesting list of names: “Hope, Joy, Youth, Peace, Rest, Life, Dust, Ashes, Waste, Want, Ruin, Despair, Madness, Cunning, Folly, Words, Wigs, Rags, Sheepskin, Plunder, Precedent, Jargon, Gammon, and Spinach” (Bleak House, 235). These names may symbolize her own progression towards madness.
    [Show full text]
  • As Gce Applied Travel and Tourism
    Oxford Cambridge and RSA To be opened on receipt AS GCE APPLIED TRAVEL AND TOURISM G720/01/CS Introducing Travel and Tourism PRE-RELEASE CASE STUDY *6997026906* JUNE 2018 INSTRUCTIONS TO TEACHERS • This Case Study must be opened and given to candidates on receipt. INFORMATION FOR CANDIDATES • You must make yourself familiar with the Case Study before you sit the examination. • You must not take notes into the examination. • A clean copy of the Case Study will be given to you with the Question Paper. • This document consists of 16 pages. Any blank pages are indicated. INSTRUCTION TO EXAMS OFFICER / INVIGILATOR • Do not send this Case Study for marking; it should be retained in the centre or recycled. Please contact OCR Copyright should you wish to re-use this document. © OCR 2017 [M/102/8242] OCR is an exempt Charity DC (ST/SG) 155316/5 Turn over 2 The following stimulus material has been adapted from published sources. It is correct at the time of publication and all statistics are taken directly from the published material. Document 1 Map of Thanet Palm FORENESS POINT Turner Walpole Contemporary Bay Bay Botany MARGATE Bay Margate Tudor House B2051 Main Sands Shell Grotto Kingsgate St Mildred’s Westbrook Cliftonville Bay Kingsgate Bay West Bay Margate Museum Joss Bay A28 B2051 Epple Northdown Bay Westbrook MARGATE B2052 Minnis BIRCHINGTON- Bay WESTGATE RAILWAY Dreamland B2052STATION B2052 North Foreland Bay ON-SEA -ON-SEA WESTGATE-ON-SEA B2053 NORTH RAILWAY STATION A28 FORELAND BIRCHINGTON-ON-SEA Garlinge B2052 Birchington A255 St Peter’s
    [Show full text]
  • Dickens and Italy
    Dickens and Italy Dickens and Italy: Little Dorrit and Pictures from Italy Edited by Michael Hollington and Francesca Orestano Dickens and Italy: Little Dorrit and Pictures from Italy, Edited by Michael Hollington and Francesca Orestano This book first published 2009 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2009 by Michael Hollington and Francesca Orestano 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): 1-4438-1443-1, ISBN (13): 978-1-4438-1443-0 IN MEMORIAM SALLY LEDGER 14 DECEMBER 1961 21 JANUARY 2009 TABLE OF CONTENTS List of Illustrations ...................................................................................... x Foreword .................................................................................................... xi Acknowledgements .................................................................................. xiii Introduction .............................................................................................. xiv Michael Hollington and Francesca Orestano List of Abbreviations............................................................................. xxvii Part I: Dickens’s Italian
    [Show full text]
  • Ramsgate Road, Broadstairs
    Ramsgate Road, Broadstairs 87 Ramsgate Road Broadstairs Kent CT10 2DF Description Ground Floor • Bath and Shower Room • Entrance Hall 6'8 x 6'6 (2.03m x 1.98m) • Reception Room 20'0 x 11'9 The Summerhouse (6.10m x 3.58m) • Lounge • Lounge 22'11 x 11'8 14'11 x 13'7 (6.99m x 3.56m) (4.55m x 4.14m) • Kitchen • Kitchen/Breakfast 10'9 x 7'10 Room (3.28m x 2.39m) 22'11 x 12'1 (6.99m x 3.68m) • Shower Room • Cloakroom • Sauna First Floor • Bedroom 15'7 x 8'11 • Landing (4.75m x 2.72m) • Master Bedroom • Garden Store 13'4 x 12'11 9'0 x 7'4 (4.06m x 3.94m) (2.74m x 2.24m) • Bedroom External 12'1 x 10'9 (3.68m x 3.28m) • Front/Parking • Bedroom • Rear Garden 7'11 x 7'10 (2.41m x 2.39m) Property Set back from the road is this stunning completely renovated modern three/four bedroom detached house with a very open plan living arrangement. As soon as you walk through the front door and gaze through the bi-fold doors down the beautiful garden you get a feel for the high-quality finish within the home. The ground floor comprises a kitchen/breakfast room overlooking the garden and bi-folding doors to the patio area, a reception room to the front of the home leading to a lounge with a log burner and bi-folding doors to the garden perfect for sitting down for a morning coffee.
    [Show full text]
  • Our Mutual Friend"
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1990 "My Lords and Gentlemen and Honourable Boards": Narrative and Social Criticism in "Our Mutual Friend" Gregory Eric Huteson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the English Language and Literature Commons Recommended Citation Huteson, Gregory Eric, ""My Lords and Gentlemen and Honourable Boards": Narrative and Social Criticism in "Our Mutual Friend"" (1990). Dissertations, Theses, and Masters Projects. Paper 1539625603. https://dx.doi.org/doi:10.21220/s2-6xbb-7s05 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. "MY LORDS AND GENTLEMEN AND HONOURABLE BOARDS" Narrative Audience and Social Criticism in Our Mutual Friend A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Gregory Eric Huteson 1990 APPROVAL SHEET This thesis is submitted in partial fulfillment the requirements for the degree of Master of Arts ■y Eric HutesonGfego, Approved, August 1990 ACKNOWLEDGEMENTS The writer would like to confess a debt of gratitude to Professor Deborah Morse, who directed the thesis, for her astute criticism and her patience. He would also like to express his appreciation to Professor Mary Ann Kelly for her comments and criticism and to Professor Terry Meyers for his careful readings and his advice and encouragement.
    [Show full text]
  • A Social Study of Poverty in Charles Dickens S Hard Times, Bleak House
    Journal of Novel Applied Sciences Available online at www.jnasci.org ©2014 JNAS Journal-2014-3-6/644-650 ISSN 2322-5149 ©2014 JNAS A Social Study of Poverty in Charles Dickens’s Hard Times, Bleak House and Oliver Twist Yazdan Bakhsh Gholami* and Abdol Hossein Joodaki Postgraduate Department of English Language and Literature, College of Humanities, Boroujerd Branch, Islamic Azad University, Boroujerd, Iran Corresponding author: Yazdan Bakhsh Gholami ABSTRACT: The theme of poverty remains one of the central problems that Charles Dickens focuses and attempts to draw attention of his readers to. The problem of poverty becomes a serious social and economic burden of English society of the late 19th century. This is why Dickens chooses this theme as one of the central themes of his novels. The present thesis is a social study of poverty in Charles Dickens's Hard Times (1992), Bleak House (2003) and Oliver Twist (2003). Underprivileged people including poor children in the society of the Victorian age are socially the disadvantaged members whom this research study will discuss. It is clear that Dickens noted the effect of industrialization on the Victorian society as it created a massive urban development, resulted in a higher class division. The influx of industrialization created a further division of these classes in which there emerged the capitalists or bourgeoisie, who were industrialists such as Mr. Bounderby in Hard Times, and working class, who were the industrial poor workers, of them many lived under squalid condition with poor sanitation leading to fatal diseases and even death. Dickens also portrays the brutal treatment of children at the workhouses.
    [Show full text]