In all honesty, I am interested in this entire chapter (XL or 40). These two characters embody much of the problem about character/nature/nuture we were talking about in class and that Dickens must -- on some level -- resolve if he is to "end" (provide closure for) this novel. What I have excerpted here are the passages I think need particular attention, but you can also comment on the chapter and its "strange interview" as a whole.
The girl's life had been squandered in the streets, and among the most noisome of the stews and dens of London, but there was something of the woman's original nature left in her still; and when she heard a light step approaching the door opposite to that by which she had entered, and thought of the wide contrast which the small room would in another moment contain, she felt burdened with the sense of her own deep shame: and shrunk as though she could scarcely bear the presence of her with whom she had sought this interview.
***
The kind tone of this answer, the sweet voice, the gentle manner, the absence of any accent of haughtiness or displeasure, took the girl completely by surprise, and she burst into tears.
'Oh, lady, lady!' she said, clasping her hands passionately before her face, 'if there was more like you, there would be fewer like me, -- there would -- there would!'
***
'I, lady! replied [Nancy]. 'I am the infamous creature you have heard of, that lives among the thieves, and that never from the first moment I can recollect my eyes and senses opening on London streets have known any better life, or kinder words than they have given me, so help me God! Do not mind shrinking openly from me, lady. I am younger than you would think, to look at me, but I am well used to it. The poorest women fall back, as I make my way along the crowded pavement.'
'What dreadful things are these!' said Rose, involuntarily falling from her strange companion.
'Thank Heaven upon your knees, dear lady,' cried the girl, 'that you had friends to care for and keep you in your childhood, and that you were never in the midst of cold and hunger, and riot and drunkenness, and -- and something worse than all -- as I have been from my cradle; I may use the word, for the alley and the gutter were mine, as they will be my death-bed.'
***
'Is it possible,' cried Rose, 'that for such a man as this, you can resign every future hope, and the certainty of immediate rescue? It is madness.'
***
'When ladies as young, and good, and beautiful as you are,' replied the girl steadily, 'give away your hearts, love will carry you all lengths -- even such as you, who have home, friends, other admirers, everything to fill them. When such as I, who have no certain roof but the coffin-lid, and no friend in sickness or death but the hospital nurse, set our rotten hearts on any man, and let him fill the place that has been a blank through all our wretched lives, who can hope to cure us? Pity us, lady -- pity us for having only one feeling of the woman left, and for having that turned, by a heavy judgment, from a comfort and a pride, into a new means of violence and suffering.'
Monday, September 24, 2012
Wednesday, September 19, 2012
The Opening Paragraphs to Chapter 17
Close read the following paragraphs, but also ask yourself: why does Dickens feel the need to make this point now (Nancy has just both kidnapped Oliver and protected him from further abuse)? Why is this important stuff for the Reader to think about now? What is weird (for you as a Reader) about being addressed this way in a novel?
"It is the custom on the stage: in all good, murderous melodramas: to present the tragic and the comic scenes, in as regular alternation, as the layers of red and white in a side of streaky, well-cured bacon. The hero sinks upon his straw bed, weighed down by fetters and misfortunes; and, in the next scene, his faithful but unconscious squire regales the audience with a comic song. We behold, with throbbing bosoms, the heroine in the grasp of a proud and ruthless baron: her virtue and her life alike in danger; drawing forth her dagger to preserve the one at the cost of the other; and, just as our expectations are wrought up to the highest pitch, a whistle is heard: and we are straightway transported to the great hall of the castle: where a grey-headed seneschal [steward] sings a funny chorus with a funnier body of vassals, who are free of all sorts of places from church vaults to palaces, and roam about in company, carolling perpetually.
Such changes appear absurd; but they are not so unnatural as they would seem at first sight. The transitions in real life from well-spread boards to death-beds, and from mourning weeds to holiday garments, are not a whit less startling; only, there, we are busy actors, instead of passive lookers-on; which makes a vast difference. The actors in the mimic life of the theatre, are blind to violent transitions and abrupt impulses of passion or feeling, which, presented before the eyes of mere spectators, are at once condemned as outrageous and preposterous" (129).
"It is the custom on the stage: in all good, murderous melodramas: to present the tragic and the comic scenes, in as regular alternation, as the layers of red and white in a side of streaky, well-cured bacon. The hero sinks upon his straw bed, weighed down by fetters and misfortunes; and, in the next scene, his faithful but unconscious squire regales the audience with a comic song. We behold, with throbbing bosoms, the heroine in the grasp of a proud and ruthless baron: her virtue and her life alike in danger; drawing forth her dagger to preserve the one at the cost of the other; and, just as our expectations are wrought up to the highest pitch, a whistle is heard: and we are straightway transported to the great hall of the castle: where a grey-headed seneschal [steward] sings a funny chorus with a funnier body of vassals, who are free of all sorts of places from church vaults to palaces, and roam about in company, carolling perpetually.
Such changes appear absurd; but they are not so unnatural as they would seem at first sight. The transitions in real life from well-spread boards to death-beds, and from mourning weeds to holiday garments, are not a whit less startling; only, there, we are busy actors, instead of passive lookers-on; which makes a vast difference. The actors in the mimic life of the theatre, are blind to violent transitions and abrupt impulses of passion or feeling, which, presented before the eyes of mere spectators, are at once condemned as outrageous and preposterous" (129).
Wednesday, September 12, 2012
Meet Noah Claypole, OLIVER TWIST chapter V
From Chapter V, pp 33-34
'Yer don't know who I am, I suppose, Work'us? said the charity-boy, in continuation: descending from the top of the post, meanwhile, with edifying gravity.
'No, sir,' rejoined Oliver.
'I'm Mister Noah Claypole,' said the charity-boy, 'and you're under me. Take down the shutters, yer idle young ruffian!' With this, Mr. Claypole administered a kick to Oliver, and entered the shop with a dignified air, which did him great credit. It is difficult for a large-headed, small-eyed youth, of lumbering make and heavy countenance, to look dignified under any circumstances; but it is more especially so, when superadded to these personal attractions are a red nose and yellow smalls.
...
Noah was a charity-boy, but not a workhouse orphan. No chance-child was he, for he could trace his genealogy all the way back to his parents, who lived hard by; his mother being a washerwoman, and his father a drunken soldier: discharged with a wooden leg, and a diurnal pension of twopence-halfpenny and an unstateable fraction. The shop-boys in the neighbourhood had long been in the habit of branding Noah, in the public streets, with the ignominious epithets of 'leathers,' 'charity,' and the like; and Noah had borne them without reply. But, now that fortune had cast in his way a nameless orphan, at whom even the meanest could point the finger of scorn, he retorted on him with interest. This affords charming food for contemplation. It shows us what a beautiful thing human nature sometimes is; and how impartially the same amiable qualities are developed in the finest lord and the dirtiest charity-boy.
'Yer don't know who I am, I suppose, Work'us? said the charity-boy, in continuation: descending from the top of the post, meanwhile, with edifying gravity.
'No, sir,' rejoined Oliver.
'I'm Mister Noah Claypole,' said the charity-boy, 'and you're under me. Take down the shutters, yer idle young ruffian!' With this, Mr. Claypole administered a kick to Oliver, and entered the shop with a dignified air, which did him great credit. It is difficult for a large-headed, small-eyed youth, of lumbering make and heavy countenance, to look dignified under any circumstances; but it is more especially so, when superadded to these personal attractions are a red nose and yellow smalls.
...
Noah was a charity-boy, but not a workhouse orphan. No chance-child was he, for he could trace his genealogy all the way back to his parents, who lived hard by; his mother being a washerwoman, and his father a drunken soldier: discharged with a wooden leg, and a diurnal pension of twopence-halfpenny and an unstateable fraction. The shop-boys in the neighbourhood had long been in the habit of branding Noah, in the public streets, with the ignominious epithets of 'leathers,' 'charity,' and the like; and Noah had borne them without reply. But, now that fortune had cast in his way a nameless orphan, at whom even the meanest could point the finger of scorn, he retorted on him with interest. This affords charming food for contemplation. It shows us what a beautiful thing human nature sometimes is; and how impartially the same amiable qualities are developed in the finest lord and the dirtiest charity-boy.
Wednesday, September 5, 2012
From Dickens's letter to The Daily News in 1846
This is from the letter handed out to you at the end of class. Read the letter in its entirety first and then reflect on SPECIFIC ASPECTS of the writing in these three paragraphs. You may also wish to consider the SPECIFICS of this form (letter to a daily newspaper with a wide readership). You do not have to summarize what is going on in the passage. Remember, comments do not have to be long (but they should be thoughtful and edited for spelling/grammatical errors).
"It consisted at that time of either two or three -- I forget which -- miserable rooms, upstairs in a miserable house. In the best of these, the pupils in the female school were being taught to read and write; and though there were among the number, many wretched creatures steeped in degradation to the lips, they were tolerably quiet, and listened with apparent earnestness and patience to their instructors. The appearance of this room was sad and melancholy, of course -- how could it be otherwise! -- but, on the whole, encouraging.
The close, low chamber at the back, in which the boys were crowded, was so foul and stifling as to be, at first, almost insupportable. But its moral aspect was so far worse than its physical, that this was soon forgotten. huddle together on a bench about the room, and shown out by some flaring candles stuck against the walls, were a crowd of boys, varying from mere infants to young men; sellers of fruit, herbs, lucifer-matches, flints; sleepers under the dry arches of bridges; young thieves and beggars -- with nothing natural to youth about them: with nothing frank, ingenuous, or pleasant in their faces; low-browed, vicious, cunning, wicked; abandoned of all help but this; speeding downward to destruction; and UNUTTERABLY IGNORANT.
This, Reader, was one room as full as it could hold; but these were only grains in sample of a Multitude that are perpetually sifting through these schools; in sample of a Multitude who had within them once, and perhaps have now, the elements of men as good as you or I, and maybe infinitely better; in sample of a Multitude among whose doomed and sinful ranks (oh, think of this, and think of them!) the child of any man upon this earth, however lofty his degree, must, as by Destiny and Fate, be found, if, at its birth, it were consigned to such an infancy and nurture, as these fallen creatures had!"
"It consisted at that time of either two or three -- I forget which -- miserable rooms, upstairs in a miserable house. In the best of these, the pupils in the female school were being taught to read and write; and though there were among the number, many wretched creatures steeped in degradation to the lips, they were tolerably quiet, and listened with apparent earnestness and patience to their instructors. The appearance of this room was sad and melancholy, of course -- how could it be otherwise! -- but, on the whole, encouraging.
The close, low chamber at the back, in which the boys were crowded, was so foul and stifling as to be, at first, almost insupportable. But its moral aspect was so far worse than its physical, that this was soon forgotten. huddle together on a bench about the room, and shown out by some flaring candles stuck against the walls, were a crowd of boys, varying from mere infants to young men; sellers of fruit, herbs, lucifer-matches, flints; sleepers under the dry arches of bridges; young thieves and beggars -- with nothing natural to youth about them: with nothing frank, ingenuous, or pleasant in their faces; low-browed, vicious, cunning, wicked; abandoned of all help but this; speeding downward to destruction; and UNUTTERABLY IGNORANT.
This, Reader, was one room as full as it could hold; but these were only grains in sample of a Multitude that are perpetually sifting through these schools; in sample of a Multitude who had within them once, and perhaps have now, the elements of men as good as you or I, and maybe infinitely better; in sample of a Multitude among whose doomed and sinful ranks (oh, think of this, and think of them!) the child of any man upon this earth, however lofty his degree, must, as by Destiny and Fate, be found, if, at its birth, it were consigned to such an infancy and nurture, as these fallen creatures had!"
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