The Old Curiosity Club discussion
The Pickwick Papers
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Pickwick Papers Chapters 9-11
Mod
We begin this chapter at the venerable Old London Inn called The White Hart, the place where our own fine group has settled in for the remainder of our reading of The Pickwick Papers. If we look out the window at the Inn we will see a man who is busy cleaning a pair of boots. His dress consists, among other things, of “a coarse-stripped waistcoat ... a bright red handkerchief ... and a white hat [that] was thrown on one side of his head.” A rather remarkable and distinguishing array of clothes and colours. There is also found at the White Hart a few boys asleep on heavy packages. It seems boys do a lot of sleeping in this novel so far. The man wearing the white hat is named Sam. Here we must pause, because this is the first time we are introduced to this man by name. Apparently many people want their boots cleaned in a hurry, but Sam will not be hurried. When he speaks, Dickens gives him a very distinctive dialect. More boots arrive for Sam to clean. We learn that Sam has a very good knowledge of the city of London. A man, who we learn is the dastardly Mr Jingle, asks Sam where one could get a marriage licence. What follows is (to me anyway) a terribly disjointed conversation between Jingle, the man of sputters and stops in his speech pattern, and Sam who switches all his “v’s” and “s’s.” It must have been a treat for those who read the parts of the novel to others to take on the speaking roles of these two characters. It is as if Dickens allows his readers to perform the novel to each other.
Apparently, Jingle fully intends to marry the spinster Rachael. Is this love at first sight or opportunity knocking for financial gain and Jingle answering the door? What is remarkable and most memorable in this chapter is the introduction of Sam Weller to the reading public. We are witnessing the creation of one of Dickens’s great characters. Dickens realized what his public wanted, and they wanted more Sam. And so, ever the wise businessman as well as author, the public (and later us as well) get more Pickwick and Sam.
Thoughts
There is no question that to portray a person their speech pattern can be an essential component. To what extent do you find the conversation between Jingle and Sam humourous? Engaging? Annoying? Necessary?
After Jingle sets off to obtain the marriage licence there is a small author interpolation where Dickens steps into the narrative and comments “It is painful to reflect on the perfidy of our species; and we will not, therefore, pursue the thread of Mr Jingle’s meditations.” Do you think such an intrusion of the narrator’s voice adds to the story? Do you think the author’s voice should be muted in a novel?
I wonder why Sam Weller was such a success. Was it because the public have always enjoyed good protagonists and their sidekicks such as the earlier Don Quixote and Sancho Panza or the later famous pair of Sherlock Holmes and Doctor Watson? Could it be because a good secondary character, when developed carefully, accentuates even further the characteristics of the central protagonist?
In any case, Pickwick and his two companions approach the man who is shining shoes and thus the literary relationship has its beginning. Their initial conversation further reveals Sam as a man who exhibits respect for others, but still enjoys the cut and thrust of a lively banter and wit with those who he serves. We are now at one of the great points of Charles Dickens’s writing. Here, Mr Pickwick and Sam meet and thus is born one of the great friendships and character relationships in all literature. Mr Wardle and Pickwick question Sam as to who is presently residing in the White Hart. While Sam does not know each of the patrons by name, he does know them by their boots and shoes, and so he is able to confirm that Jingle and Rachael are indeed guests and that Jingle has gone off for the marriage licence. Wardle and Pickwick head for the room of Jingle and the spinster Rachael just as Jingle returns. Confusion reigns supreme as the confrontation occurs, all of which is watched by Sam who has been watching the drama through the keyhole in the room’s door. More broad humour abounds. Wardle announces Rachael’s age. She faints. Jingle thinks a bucket of water will revive her. Jingle demands a police officer attend the room; the landlady protests all the proceedings. Ultimately, and sadly, no doubt for spinster Rachael, Jingles is quite happy to exchange Rachael for £120. Love does, apparently, have a price for Jingle. With a theatrical flourish Jingle leaves the room and the now useless marriage certificate ends up at Pickwick’s feet. We remember his earlier departure as he waved a handkerchief at the stranded Wardle and Pickwickians. Jingle is a slippery man who always seems to squirm out of the reach of those chasing him. As Kim has shown us earlier in a letter from Dickens, he enjoyed creating the character of Jingle. As Jingle goes out the door I have a suspicion that we will meet him again.
As the chapter draws to a close, Dickens again speaks to the reader:
“Shall we tell the lamentations that ensued, when Miss Wardle found herself deserted by the faithless Jingle? Shall we extract Mr Pickwick’s masterly description of that heart-rending scene? ... But, no! We shall be resolute! We will not wring the public bosom, with the delineation of such suffering!”
Such a melodramatic, and yet perfect tone for the events that have just occurred. I find the phrasing verging on the mock heroic tone of Pope’s “The Rape of The Lock.”
Thoughts
The direct comment by Dickens quoted above is very interesting. Again, we are reminded that each of these scenes is being documented by a member of the Pickwick Club. Is such a comment or reminder constantly necessary in this novel? Why or why not?
Dickens use of language to elevate the serious nature of the Jingle - Rachael love affair is clearly meant to be humourous ... or is he serious? Should one make fun of Rachael’s only chance at love?
This chapter has delightfully broad humour, a suitable cad in Jingle, the benevolent Pickwick, The jilted lover, the melodramatic rescue, a man peeking through a keyhole and much physical comedy within the room at the White Hart. To me it was all very theatrical. What was your reaction to this scene?
Mod
Well, another chapter, and another chapter beginning with the morning. This repetitive style could of course mean nothing, but I also find it curious in many ways. To this point in the novel, we have enjoyed an episodic structure of events. We have had times of rather high drama (or melodrama) and have seen how the events of one day do not reach far into the future. A rather “one and done” format which I am finding enjoyable. Much like the “Sketches By Boz” we get to enjoy the range of emotion, characterization, setting and plot in The Pickwick Papers. This chapter I found particularly strong, so let’s get to it.
Chapter 11 opens with Mr Pickwick waking to the morning and feeling completely recovered from his recent anxieties of mind. He is reunited with his friends and followers who all enjoy his beaming face. Still, we are told that “there was a mysterious air about [Mr Winkle and Mr Snodgrass] as unusual as it was alarming. The crisis is Mr Tupman has “gone” leaving only a letter that says that he is heart-broken over the loss of his love Rachael at the hands of a villain and that “[l]ife has become insupportable.” There are vague hints in the letter he may do something drastic. Responding to this in the only manner appropriate, Mr Pickwick declares that the are all bound to leave in search of Tracy Tupman. For a group of retiring gentleman the Pickwickians exhibit lots of energy and desire to set out on this noble quest to find and save their friend.
Thoughts
Even when faced with seemingly large obstacles and problems, the Pickwickians are up to any task. I, for one, totally enjoy the mock heroic aura that accompanies their actions and quests. To what extent do you think the manner in which the prepare and pursue their various adventures is made more enjoyable by the seriousness they assume?
As our Pickwickians prepare to leave on their quest for Tupman the old clergyman presses into Pickwick’s hands “a little manuscript” which he found “on the death of a friend of mine - a medical man, engaged in our Country Lunatic Asylum.” The clergyman tells Pickwick that “I can hardly believe that the manuscript is genuine, though it certainly is not in my friend’s hand. ... read it and judge for yourself.” And so with a benevolent goodbye to the home, and many a backward glance as they leave, off go our group. It must be noted that they did find the time in their hurried quest for Tupman to enjoy “a very excellent dinner” before they continued their walk, and we are told it was “a delightful walk.” More meals. I wonder if anyone has counted the number of times food is mentioned in PP?
Thoughts
Well, I did just mention it, so here is a follow up. Why do you think there are so many references to food and dining?
Once again, a notebook, or in this case, a manuscript makes an appearance in our story. This particular manuscript is tantalizing, because it is purportedly linked to a lunatic asylum, and could perhaps not be true. Why mention such a pedigree of dubious possibility to the readers?
Well, good news. Our Pickwickians find Mr Tupman “looking as unlike a man who had taken his leave of the world, as possible.” Indeed, we are told he “laid down his knife and fork” as the others enter the room. Ah, nothing like a good meal to ease the pangs of a lost love. And, of course, nothing like a good mystery to keep Mr Pickwick happy. As Pickwick and Tupman go for a stroll Mr Pickwick spies a mysterious inscription on a stone. Can it be possible? Of course it can. So Pickwick asks at a cottage door if anyone has any information of the stone, and, of course, no one does, so Pickwick buys it from the cottage owner and takes the stone back to the inn for further investigation. Pickwick believes he has stumbled upon piece of “unquestionable antiquity”. Pickwick’s excitement is matched by the fervour of his companions. That night Pickwick could not sleep and so, in the depths of the night, he decides to read the manuscript given to him earlier titled “A Madman’s Manuscript.” Night, unsettled mind, a mystery on the origin of marks on a stone, and now a manuscript titled “A Madman’s Manuscript.” Hmmm...
Thoughts
By now, I have found a rhythm for the enjoyment of reading this delightful novel. What patterns have you discovered in the novel to date?
The Madman’s Manuscript is just that, and perhaps even more. It had an Edgar Allen Poe feel to it. The story focuses on a man who knew that he was going mad found that possibility rather intriguing. In fact, at one point he comments “Oh, it was a merry life.” The madman becomes rich and he “rioted in pleasures” and marries a woman whose relatives thought the marriage would be their means to escape poverty. His wife, we are told by the madman, loved someone else. We enter into his mind and images swirl about us of his wife becoming a “death-like” presence. He resolves to kill her. But he doesn’t. She goes insane because of his insanity. Then she dies. Well, you get the idea by now. We have Dickens in full creative and fanciful flight. I won’t ruin the ending of the story.
Thoughts
“A Madman’s Manuscript” is an interesting piece of writing, but to me it seems rather awkwardly placed within this chapter given everything else that is going on. Do you think it fits well with Chapter 11?
To what extent did you find it a good piece of writing?
Did you find many similarities between “A Madman’s Manuscript” and “The Stroller’s Tale” from Chapter 3?
The chapter is not over yet! We still have the rock with the mysterious letterings to resolve. We learn from the Transactions of the Club that Mr Pickwick lectured about his discovery at a General Club Meeting and shared a “variety of ingenious and erudite speculations on the meaning of the inscription.” This lead to a flurry of other learned bodies engaging in “rival controversies” and “jealousies without number” feelings from other experts. In the end, it turns out the rock was not worth the dirt it sat in, but the Pickwick Club lavished praise and gifts upon Pickwick and the stone “remains, ... a lasting trophy to the littleness of his enemies.” I laughed out loud reading this ending. How often do events in today’s world reflect the wit and wisdom of the great stone kerfuffle in science, academics, sports, business and every other pursuit? I keep thinking of lines in Alexander Pope’s mock epic “The Rape of the Lock”. “What dire offence from am’rous causes springs/ What mighty contests rise from trivial things.”
Thoughts
There is much wit and wisdom in this week’s reading. What adventure, situation, lines, or event did you enjoy most?
Peter wrote: "Can you think of any other carriage chase scenes in literature? In Dickens? ..."I can't help but think that if Dickens was writing 21st century screenplays, they would be filled with car chases and explosions. I like to think that they would have good plots and interesting characters to make the tedious chases worthwhile.
That's not to say I find Pickwick's chases tedious, but a little does go a long way! Thankfully, Dickens does not take himself - or Pickwick - too seriously, and provides plenty of humor along with the action.
This particular chapter reminded me a bit of Inspector Bucket and Esther racing around London, trying to find Lady Dedlock. By the time Dickens introduced us to those characters, though, he had learned to make his humor more subtle and used it a bit more sparingly. No visits to morgues for Mr. Pickwick!
In my mind, this shows the growth of Dickens as an author. He learned to use plenty of humor in the more appropriate passages, while still writing novels filled with drama and excitement. Frankly, I feel a bit of whiplash in this work, going from Pickwickian adventures to macabre psychological horror.
I was glad, though, that A Madman's Manuscript veered away from the formula used in the first two tales. I hope that any subsequent stories will not delve even deeper into madness and depravity. There's enough real evil in the world... I generally choose to avoid it in my recreational reading.
PS a question about the madman -- was he mad by nature or nurture, I wonder? Would he have acted the same way had no one told him that madness ran in his family? Such a question might make an interesting study, but I suppose we won't solve that conundrum here.
Peter wrote: "There is no question that to portray a person their speech pattern can be an essential component. To what extent do you find the conversation between Jingle and Sam humourous? Engaging? Annoying? Necessary?..."I first read Pickwick in the traditional way, and the phonetic spelling, particularly in Sam's passages, made me want to kill myself. I found it very slow-going, indeed. As a result, I wasn't enamored with Sam, and didn't see why others were. This time, I'm listening to the book, and it's a bit more pleasant, though all those Vs and Ws still make me a little crazy. I don't mind Jingle's speech pattern as much, as the words are still written properly and pronounced clearly.
Apparently in both hearing and reading, I find slight accents (e.g. the occasional dropped 'h' at the beginning of a word) charming, but thick accents a challenge.
Peter wrote: "We still have the rock with the mysterious letterings to resolve."There are some Dickens' stories I just don't follow (such as The Haunted Man). The story of the ancient stone is easy enough to follow, but still leaves me scratching my head. But it's so amusing, who cares? :-)
Mod
Thank you for your insightful, candid and ever-interesting comments. Your comments about the Bucket/Esther hunt for Lady Dedlock was very telling. I had forgotten about it. Yes, indeed, Dickens over time became very adept at rounding the edges of his writing but, at the same time, writing with more force, power, and emotion. I feel certain as we move through his novels we will really get to see and enjoy his evolution as a writer. What Larks!
Nature or nurture. That is an enormous question, not only for the short tale “A Madman’s Manuscript” but many of Dickens’s characters. Quilp, The Marchioness, Alice Marwood ... wow! So many.
And yes. The rock. Sometimes a good laugh is all one needs, and indeed, who cares? Even for the question of nature or nurture it may well be just as profitable at times to just sit back and enjoy the story. :-))
This question may have already been covered and answered, and if so, if there is a link to it, appreciated.Was Dickens required to make a minimum word count per installment? If so, did it impact the individual installments in any way that we can discern?
Mary Lou wrote: "I first read Pickwick in the traditional way, and the phonetic spelling, particularly in Sam's passages, made me want to kill myself. I found it very slow-going, indeed. As a result, I wasn't enamored with Sam, and didn't see why others were. "As I am a relative Dickens newbie, I wouldn't really have paid much attention to Sam W just from his appearance in Chapter 10. If it wasn't for Peter's comments above, and others left in earlier threads, I would have thought him just another amusing and likeable working-class character, making a brief appearance "for one night only".
However, I did find the v/w speech issue annoying/interesting. I had already noticed Dickens using this accent(?)/dialect(?) for other lower class characters, such as the cab-driver in Chapter 2. Why? Is this typical of the Victorian speech? I wouldn't have batted an eyelid at dropped H's and glottal-stopped T's.
Peter wrote:"I found the chase scene to be very well written. Did you enjoy it?"
I enjoyed the chase scene too! I like the discussion of comparing this to modern-day movie chase scenes. It's funny because I detest chase scenes in movies, and yet I enjoyed this chapter of PP. I even gasped when the wheel came off!
Peter wrote:"I wonder why Sam Weller was such a success. Was it because the public have always enjoyed good protagonists and their sidekicks such as the earlier Don Quixote and Sancho Panza or the later famous pair of Sherlock Holmes and Doctor Watson? Could it be because a good secondary character, when developed carefully, accentuates even further the characteristics of the central protagonist?"
I'm wondering the same thing, but I'm going to reserve judgment for a while. All I've ever heard about PP was that Sam Weller was so popular; that his introduction was the turning point of its success. So far, as someone else mentioned, so far there is nothing outstanding about Sam Weller.
Peter wrote:"The direct comment by Dickens quoted above is very interesting. Again, we are reminded that each of these scenes is being documented by a member of the Pickwick Club."
This is something I love about PP. It's more than just a collection of delightful sketches sewn together for our enjoyment. The reminder that these events were important enough to members of a club to record them, makes us "believe" in them more. I can see why the Victorian merchandising craze over PP! We know it's fiction, but it's fun to think of the benevolent Mr. Pickwick (and friends) as existing, and that their club was real.
Peter wrote:"“A Madman’s Manuscript” is an interesting piece of writing, but to me it seems rather awkwardly placed within this chapter given everything else that is going on. Do you think it fits well with Chapter 11?"
About the Madman's Manuscript.... no, no, no.
Too scary. Too Poe-ish. I went along with the Stroller's Tale and the Convict's Return, and did not think them out of tune with the book as a whole. But MM was too over the top for me. It killed my PP buzz momentarily. :-)
Mod
Was Dickens required to make a minimum word count per installment? If so, did it impact ..."
Hi John
The word count discussion is one that follows Dickens’s career and is used to explain, or often explain away, much of his writing life. Most biographies are helpful in a general way. My favourite is Claire Tomalin’s Charles Dickens. Chapter 5 is an interesting read (as is her biography in general). You might also want to take a look at Dickens at Work.
In my own very simplistic way, I would say that Dickens did get paid to present his publisher with a MS that would fulfill the required number of pages as required by the publisher. Sounds simple. However, to write like Dickens is another world in itself.
Mod
Hi Lagullande
It has said that Dickens had a very good ear for dialect, and he honed this skill through many of his long London walks and his skill as an actor to portray to his close friends what he heard on the streets. Myth or legend? I imagine part of both but also the fact that he actually did have a good ear for sound.
I confess to personally having real difficulty raising the dialect from the page and into my mind as I read. If you can get a recording of a professional reading the text from a library audio of the PP, however, the language, its nuances, rhythm, cadence and pacing are all brought alive. Thank goodness for skilled actors and readers.
Mod
"The direct comment by Dickens quoted above is very interesting. Again, we are reminded that each of these scenes is being documented by a member of the Pickwick Club."
This is someth..."
Hi Cheryl
Yes. I too want to believe that the Pickwick Club really existed and that I am reading their “minutes.” Perhaps as we write to each other as the Curiosities we come as close as we can to them.
Mod
"“A Madman’s Manuscript” is an interesting piece of writing, but to me it seems rather awkwardly placed within this chapter given everything else that is going on. Do you think it fits..."
Cheryl
Have no fear. I feel certain the buzz will return. :-))
Peter wrote: "John wrote: "This question may have already been covered and answered, and if so, if there is a link to it, appreciated.Was Dickens required to make a minimum word count per installment? If so, d..."
Thanks Peter. I have Tomalin's biography and need to refer back to it.
Lagullande wrote: "Mary Lou wrote: "I first read Pickwick in the traditional way, and the phonetic spelling, particularly in Sam's passages, made me want to kill myself. I found it very slow-going, indeed. As a resul..."I agree that if I hadn't already heard of him, I wouldn't have expected Sam to return again. I'm kind of curious as to how he'll be re-introduced, since it didn't sound like going to his inn was any kind of regular activity for the Pickwicks.
As to his appeal:
--snappy dresser :)
--I did enjoy the story about his father getting tricked into marriage.
--he doesn't really take any nonsense from anyone, does he? The boots will be done when they're done, and yes he's friendly to a tip from Mr. Pickwick and doesn't need to talk through the lawyer to say so, and he does not take kindly to Mr. P throwing ink at his wall. "Hallo... furniter's cheap where you come from, sir." That made me laugh.
Mod
All in all, I enjoyed this wild-goose-chase, but that is not surprising since I also enjoyed the chase in "Bullitt", where it was the only scene of notice for me in an otherwise mediocre film.
I have noticed that bathos and the shaggy-dog-ending have hitherto been typical of the adventures of our friends, and it happens that I very much enjoy this kind of humour. The outcome of the chase is a shaggy-dog-ending, in a way, in that Mr. Jingle simply agrees to sell his undying emotions for the princely amount of 120 Pounds. Likewise the duelling scene worked along the lines of bathos because the duel with Mr. Winkle was called off, however hard the surgeon tried to prevent that unromantic outcome, and the other duel was not even called on because of Mr. Jingle's inferior social status. Mr. Pickwick's groundbreaking archaeological discovery turned out a fizzler, even though, and that makes it even funnier, no one was ready to admit it. By the way, reading in instalments made it very clear to me how Dickens structures the plot of this novel: On the one hand, he tries to create interest at the end of an instalment (this week's instalment, for instance, takes up the scheming manoeuvres of Jingle with regard to the spinster aunt), but at the same time, there are many sub-plots that are opened and closed within the instalment itself (the madman's story and the adventure of the stone). It is a pleasure to watch how Dickens masters the picaresque novel, and it's also a surprise if you keep in mind how carefully-plotted and slow-moving (in the best sense) his later novels are.
Mod
Mod
Miss Rachael is a figure of fun as a literary character although in real life, she might be a very lonely and desperate woman (like Miss Havisham), a woman who is past middle age and still finds her life decisions made for her by other people. It also becomes clear in the story that a connexion with Mr. Tupman would be frowned upon by her relatives - on the ground of her age -, and I simply cannot understand why this should be so hilariously funny.
Mod
Once again, Tristram, your mastery of the English language in general, and literary terms in particular, puts this native English speaker to shame. I'm off to look up "bathos," "picaresque," and some other word that I can't even remember. Oh - "shaggy-dog." I'm hoping it's a reference to the old Fred McMurray movie!
Mod
Hi Tristram
Yes. The use of the first or third person perspective in fiction is a major (perhaps the major influence) a reader must settle into when reading a novel. When that focus is broken, or even bent, the reader has to take a breath, step back, and pause a moment. I generally am not bothered by Trollope’s interpolations at all. For some reason, Dickens makes me slightly stumble in my reading. It seems to me that Trollope often will “speak” to the reader at the beginning of a chapter. Dickens, on the other hand, will speak in many places within a chapter.
I will be interested to see if Miss Rachael will make many other appearances in the novel. As you mention, the rhythm and evolution of a picaresque format may preclude us seeing her again, or many other characters we have met along the way so far.
I am enjoying PP immensely. I do, however, enjoy novels most when I can follow the development and arc of a character throughout the novel. It will be enough, I’m sure, that at the end of PP we will have spent much time and shared many grand adventures with the Pickwick Club and that will be totally satisfying. Still. I will have a momentary wonder about those we have meant along the Pickwick trails and left behind ...
Mod
Thank you, Mary Lou. But the reason lies in the English language, which is so rich, expressive and beautiful that you simply get drawn into it.
Mod
Mod
The Breakdown
Chapter 9
Phiz
Text Illustrated:
The horses in the first chaise started on at their utmost speed; and those in Mr. Wardle's galloped furiously behind them.
"I see his head," exclaimed the choleric old man; "damme, I see his head."
"So do I," said Mr. Pickwick; "that's he.' Mr. Pickwick was not mistaken. The countenance of Mr. Jingle, completely coated with mud thrown up by the wheels, was plainly discernible at the window of his chaise; and the motion of his arm, which was waving violently towards the postillions, denoted that he was encouraging them to increased exertion.
The interest was intense. Fields, trees, and hedges, seemed to rush past them with the velocity of a whirlwind, so rapid was the pace at which they tore along. They were close by the side of the first chaise. Jingle's voice could be plainly heard, even above the din of the wheels, urging on the boys. Old Mr. Wardle foamed with rage and excitement. He roared out scoundrels and villains by the dozen, clenched his fist and shook it expressively at the object of his indignation; but Mr. Jingle only answered with a contemptuous smile, and replied to his menaces by a shout of triumph, as his horses, answering the increased application of whip and spur, broke into a faster gallop, and left the pursuers behind.
Mr. Pickwick had just drawn in his head, and Mr. Wardle, exhausted with shouting, had done the same, when a tremendous jolt threw them forward against the front of the vehicle. There was a sudden bump — a loud crash — away rolled a wheel, and over went the chaise.
After a very few seconds of bewilderment and confusion, in which nothing but the plunging of horses, and breaking of glass could be made out, Mr. Pickwick felt himself violently pulled out from among the ruins of the chaise; and as soon as he had gained his feet, extricated his head from the skirts of his greatcoat, which materially impeded the usefulness of his spectacles, the full disaster of the case met his view.
Old Mr. Wardle without a hat, and his clothes torn in several places, stood by his side, and the fragments of the chaise lay scattered at their feet. The post-boys, who had succeeded in cutting the traces, were standing, disfigured with mud and disordered by hard riding, by the horses' heads. About a hundred yards in advance was the other chaise, which had pulled up on hearing the crash. The postillions, each with a broad grin convulsing his countenance, were viewing the adverse party from their saddles, and Mr. Jingle was contemplating the wreck from the coach window, with evident satisfaction. The day was just breaking, and the whole scene was rendered perfectly visible by the grey light of the morning.
Commentary:
When Wardle and Pickwick miss Rachael Wardle and Jingle at dinner they think little of it — until one of the servants announces that Jingle has hired a chaise from the Blue Boor and run off with the spinster aunt. All through the long night, despite various setbacks, Wardle and Pickwick gain on Jingle's carriage as they endeavour to prevent the elopement, both suspecting his motives are strictly pecuniary. Phiz, who had proved himself a good hand at a horse ever since he executed the prize-winning "John Gilpin's Ride," has realised the scene most effectively, foregrounding the temporarily confounded pursuers, the post-boys, and their overturned chaise while framing Jingle's equipage on the horizon with the gnarled tree's branches, which reach out ineffectually towards the malefactor in emulation of Pickwick and Wardle. The latter is, in fact, not by Pickwick's side at all in Phiz's illustration, but shakes his fist at the departing Jingle while Pickwick extricates himself from the wreckage of the hired carriage. After the break-neck ride that has lasted all night, it seems as if Pickwick and Wardle will not be able to catch up with the runaway couple, and that Jingle will succeed in his plan of obtaining a marriage license in London. Thus, the picture of the floundering Pickwick and impotent Wardle in the foreground, and of Jingle fluttering his white handkerchief at then as he bids them give his "love to Tuppy," is not just of the breakdown of a coach, but of poetic justice, too, for villainy has apparently triumphed over virtue.
Mod
The First Appearance of Sam Weller
Chapter 10
Phiz
Commentary:
Literary historians generally agree that, over the course of its first three monthly instalments, sales of of The Posthumous Papers of the Pickwick Club were lack-lustre, at about one thousand per month — so tepid in fact that Chapman and Hall were tempted to abandon the venture. Then came Seymour's unexpected departure, Dickens's seizing control of the project, and the hiring — after false starts that included R. W. Buss, John Leech, and even W. M. Thackeray — of twenty-year-old Hablot Knight Browne as the new illustrator. When Boz and Phiz, but recently introduced themselves, introduced that indefatigable Cockney wit, Sam Weller, polishing boots in the courtyard of the galleried White Hart Inn, sales began to climb, rising steadily within a year to 20,000 per month and cresting in the late autumn of 1837 to the unheard of figure of 40,000 a month, enriching Chapman and Hall as publishers and effecting the overnight transformation of twenty-four-year-old shorthand reporter Charles John Huffam Dickens into a best-selling author. Thanks to the genial, aphoristic Sam, author and publishers had on their hands a palpable hit, and would not look back until declining sales of Martin Chuzzlewit in the next decade. Weller vests, Wellerisms, and Weller images came into vogue shortly after the publication of chapter 10 (in the fourth monthly part: July 1836). The innumerable unauthorised dramatic adaptations began some months later: H. Philip Bolton gives the first of these as announced for 27 March 1837, still eight months prior to Dickens's winding up the serial — theatrical adaptor William Moncrieff even renamed the work in Sam's honour: Sam Weller! or; The Pickwickians. Burletta (Bolton).
Prior to the arrival of Mr. Pickwick and Mr. Wardle at the White Hart, just off the High Street of the Borough (on the Surrey side of London Bridge), the ebullient Cockney "Boots" has been hard at work first thing in the morning, polishing the guests' varied footwear which he associates almost autistically with their particular rooms:
He was habited in a coarse, striped waistcoat, with black calico sleeves, and blue glass buttons; drab breeches and leggings. A bright red handkerchief was wound in a very loose and unstudied style round his neck, and an old white hat was carelessly thrown on one side of his head.
Phiz has assimilated this description of Sam in his illustration of a moment a page later, when, after confidence man Alfred Jingle has learned from Sam how he might locate Doctors' Commons and thereby obtain a marriage licence, old Mr. Wardle's lawyer, Perker, addresses Sam, his employer, and Pickwick in hyper-legalistic language in order to ascertain whether they are in time to save Rachael, old Wardle's spinster sister, from marrying the fortune-hunter:
Text Illustrated:
He [Jingle] was yet on his way [back] to the White Hart, when two plump gentleman and one thin one entered the yard, and looked round in search of some authorised person of whom they could make a few inquiries. Mr. Samuel Weller happened to be at that moment engaged in burnishing a pair of painted tops, the personal property of a farmer who was refreshing himself with a slight lunch of two or three pounds of cold beef and a pot or two of porter, after the fatigues of the Borough market; and to him the thin gentleman straightway advanced.
"My friend," said the thin gentleman.
"You're one o' the adwice gratis order," thought Sam, "or you wouldn't be so wery fond o' me all at once." But he only said — "Well, Sir."
"My friend," said the thin gentleman, with a conciliatory hem — "have you got many people stopping here now? Pretty busy. Eh?"
Sam stole a look at the inquirer. He was a little high-dried man, with a dark squeezed-up face, and small, restless, black eyes, that kept winking and twinkling on each side of his little inquisitive nose, as if they were playing a perpetual game of peep-bo with that feature. He was dressed all in black, with boots as shiny as his eyes, a low white neckcloth, and a clean shirt with a frill to it. A gold watch-chain, and seals, depended from his fob. He carried his black kid gloves in his hands, and not on them; and as he spoke, thrust his wrists beneath his coat tails, with the air of a man who was in the habit of propounding some regular posers.
Thus, Pickwick met Sam Weller, and Dickens irrevocably altered the course of the episodic "something" for which Chapman and Hall had contracted, and The Pickwick Papers became a novel, albeit a loosely structured, picaresque narrative. As Michael Steig notes of this early Phiz illustration, the second July plate's Hogarthian detailism and genial humour would have appealed to the serial readers of 1836:
Dickens, in the passages relevant to the first of these plates, as well as frequently elsewhere, makes great play with Pickwick's tendency to burst into violent if ineffectual rages; in the second plate, reasonable action does temporarily triumph, but Dickens has not forgotten comedy and uses Sam's good-natured insolence as a means of deflating Pickwick's and especially Perker's self-importance. Phiz emphasizes this undercutting in a way which suggests an independent use of expressive iconography: he leads our eye from the jaunty cockney, Sam Weller, on the left, through the three gentlemen to the little dog on the right, who is contemplating Pickwick's calves with vicious intent.
Here, the sign (not alluded to in the text) underscores the commercial nature of the White Hart, and makes plain the business connections between town and country, "Hodge" being a signifier of an agricultural labourer, particularly of the Dorset region. The essential principle demonstrated here is selectivity; since Phiz cannot show all of the detail that Dickens gives about the yard of the White Hart, he has to choose such representative items as the laden waggon and tarpaulin, the balustrades of the galleries, two boys in smock-frocks atop the covered cargo, and loungers from the coffee-room (right) from among the total inventory:
The yard presented none of that bustle and activity which are the usual characteristics of a large coach inn. Three or four lumbering waggons, each with a pile of goods beneath its ample canopy, about the height of the second-floor window of an ordinary house, were stowed away beneath a lofty roof which extended over one end of the yard; and another, which was probably to commence its journey that morning, was drawn out into the open space. A double tier of bedroom galleries, with old clumsy balustrades, ran round two sides of the straggling area, and a double row of bells to correspond, sheltered from the weather by a little sloping roof, hung over the door leading to the bar and coffee-room. Two or three gigs and chaise-carts were wheeled up under different little sheds and pent-houses; and the occasional heavy tread of a cart-horse, or rattling of a chain at the farther end of the yard, announced to anybody who cared about the matter, that the stable lay in that direction. When we add that a few boys in smock-frocks were lying asleep on heavy packages, wool-packs, and other articles that were scattered about on heaps of straw, we have described as fully as need be the general appearance of the yard of the White Hart Inn, High Street, Borough, on the particular morning in question.
We might also note various elements that Phiz has interpolated: the landlady carrying a piping-hot breakfast tray to a room, a bird cage (right), the sign on the tarpaulin, the chickens, and of course the Hogarthian stableyard dog who is inspecting Pickwick's calves. The rakish tilt of Sam's white beaver, his lithe figure, and his fearless expression in addressing social superiors are all admirable extensions of Dickens's text that contributed to what we might today dub "Wellermania."
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The Breakdown
Chapter 9
Robert Buss
Commentary:
This drawing, like it's predeccessor, was designed by the artist to embellish Part 4, of Pickwick. The youthful Hablot Knight-Browne, in the interval, had submitted two spirited sketches, "The Breakdown," and "The First Appearance of Mr. Samuel Weller," and this promising young artist had received a commission to execute the two admirable etchings which appeared with Part IV, his first introduction (under the sobriquet of "Nemo," changed to "Phiz" in Part V.) to the readers of "Pickwick" as the artistic exponent of Dicken's characters.
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"Mr. Winkle, Take your hands off. Mr. Pickwick, let me go, Sir!"
Chapter 9
Thomas Nast
Text Illustrated:
‘Let me get at him, Pickwick,’ cried Wardle, as he rushed at the ill-starred youth. ‘He was bribed by that scoundrel, Jingle, to put me on a wrong scent, by telling a cock-and-bull story of my sister and your friend Tupman!’ (Here Mr. Tupman sank into a chair.) ‘Let me get at him!’
‘Don’t let him!’ screamed all the women, above whose exclamations the blubbering of the fat boy was distinctly audible.
‘I won’t be held!’ cried the old man. ‘Mr. Winkle, take your hands off. Mr. Pickwick, let me go, sir!’
It was a beautiful sight, in that moment of turmoil and confusion, to behold the placid and philosophical expression of Mr. Pickwick’s face, albeit somewhat flushed with exertion, as he stood with his arms firmly clasped round the extensive waist of their corpulent host, thus restraining the impetuosity of his passion, while the fat boy was scratched, and pulled, and pushed from the room by all the females congregated therein. He had no sooner released his hold, than the man entered to announce that the gig was ready.
‘Don’t let him go alone!’ screamed the females. ‘He’ll kill somebody!’
‘I’ll go with him,’ said Mr. Pickwick.
‘You’re a good fellow, Pickwick,’ said the host, grasping his hand. ‘Emma, give Mr. Pickwick a shawl to tie round his neck—make haste. Look after your grandmother, girls; she has fainted away. Now then, are you ready?’
Mr. Pickwick’s mouth and chin having been hastily enveloped in a large shawl, his hat having been put on his head, and his greatcoat thrown over his arm, he replied in the affirmative.
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Ask Number Twenty-Two Vether He'll Have Them Nowm or Vait till He Gets 'Em?"
Chapter 10
William Heath
Pickwickian Illustrations
1837
Text Illustrated:
A loud ringing of one of the bells was followed by the appearance of a smart chambermaid in the upper sleeping gallery, who, after tapping at one of the doors, and receiving a request from within, called over the balustrades—
‘Sam!’
‘Hollo,’ replied the man with the white hat.
‘Number twenty-two wants his boots.’
‘Ask number twenty-two, vether he’ll have ‘em now, or vait till he gets ‘em,’ was the reply.
‘Come, don’t be a fool, Sam,’ said the girl coaxingly, ‘the gentleman wants his boots directly.’
‘Well, you are a nice young ‘ooman for a musical party, you are,’ said the boot-cleaner. ‘Look at these here boots—eleven pair o’ boots; and one shoe as belongs to number six, with the wooden leg. The eleven boots is to be called at half-past eight and the shoe at nine. Who’s number twenty-two, that’s to put all the others out? No, no; reg’lar rotation, as Jack Ketch said, ven he tied the men up. Sorry to keep you a-waitin’, Sir, but I’ll attend to you directly.’
Saying which, the man in the white hat set to work upon a top-boot with increased assiduity.
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"Is this the room?" Murmured the little gentleman. Sam nodded assent.
Chapter 10
Thomas Nast
1873 Household Edition
Text Illustrated:
‘It is them,’ exclaimed Wardle. ‘By heavens, we’ve found them.’
‘Hush!’ said Sam. ‘The Vellingtons has gone to Doctors’ Commons.’
‘No,’ said the little man.
‘Yes, for a licence.’
‘We’re in time,’ exclaimed Wardle. ‘Show us the room; not a moment is to be lost.’
‘Pray, my dear sir—pray,’ said the little man; ‘caution, caution.’ He drew from his pocket a red silk purse, and looked very hard at Sam as he drew out a sovereign.
Sam grinned expressively.
‘Show us into the room at once, without announcing us,’ said the little man, ‘and it’s yours.’
Sam threw the painted tops into a corner, and led the way through a dark passage, and up a wide staircase. He paused at the end of a second passage, and held out his hand.
‘Here it is,’ whispered the attorney, as he deposited the money on the hand of their guide.
The man stepped forward for a few paces, followed by the two friends and their legal adviser. He stopped at a door.
‘Is this the room?’ murmured the little gentleman.
Sam nodded assent.
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You Wouldn't Mind Selling It Now?
Chapter 11
William Heath
Pickwickian Illustrations
1837
Text Illustrated:
‘I can discern,’ continued Mr. Pickwick, rubbing away with all his might, and gazing intently through his spectacles—‘I can discern a cross, and a 13, and then a T. This is important,’ continued Mr. Pickwick, starting up. ‘This is some very old inscription, existing perhaps long before the ancient alms-houses in this place. It must not be lost.’
He tapped at the cottage door. A labouring man opened it.
‘Do you know how this stone came here, my friend?’ inquired the benevolent Mr. Pickwick.
‘No, I doan’t, Sir,’ replied the man civilly. ‘It was here long afore I was born, or any on us.’
Mr. Pickwick glanced triumphantly at his companion.
‘You—you—are not particularly attached to it, I dare say,’ said Mr. Pickwick, trembling with anxiety. ‘You wouldn’t mind selling it, now?’
‘Ah! but who’d buy it?’ inquired the man, with an expression of face which he probably meant to be very cunning.
‘I’ll give you ten shillings for it, at once,’ said Mr. Pickwick, ‘if you would take it up for me.’
The astonishment of the village may be easily imagined, when (the little stone having been raised with one wrench of a spade) Mr. Pickwick, by dint of great personal exertion, bore it with his own hands to the inn, and after having carefully washed it, deposited it on the table.
The exultation and joy of the Pickwickians knew no bounds, when their patience and assiduity, their washing and scraping, were crowned with success. The stone was uneven and broken, and the letters were straggling and irregular, but the following fragment of an inscription was clearly to be deciphered:—
[cross] B I L S T
U M
P S H I
S. M.
ARK
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God bless me, what's the matter?
Chapter 11
Phiz
Commentary:
An incident which did not merit attention in the narrative-pictorial sequence of 1836-37 was Pickwick's discovery of a supposedly ancient artifact — a stone bearing an inscription — just outside the village of Cobham in Kent, where in the eleventh chapter he has just been reunited with the disconsolate lover, Tracy Tupman, after Rachael Wardle's elopement with Alfred Jingle. Pickwick in the 1873 Phiz woodcut reverentially stoops with singular gaze as he discovers the stone at the door of a cottage, and immediately offers the cottager ten shillings for it. Subsequently, the amateur archaeologist writes a thirty-nine-page pamphlet about his find, corresponds about it with seventeen learned societies "native and foreign," and makes a presentation of a facsimile to the Royal Antiquarian Society. Pickwick devises twenty-seven different readings of the inscription, while his common-sense rival, Blotton, is excommunicated from the Pickwick Club for proposing (after field research in Cobham) that the inscription simply signifies "Bill Stump His Mark." Affirming their support of Pickwick, the Club then votes to purchase Pickwick a pair of gold-rimmed spectacles.
And to this day the stone remains, an illegible monument of Mr. Pickwick's greatness, and a lasting trophy to the littleness of his enemies.
In Phiz's illustration, one of a dozen that supplement the original plates, the three Pickwickian stalwarts — Tupman (centre left), Snodgrass (extreme left), and Winkle (centre, bending forward, as if to assist his chief), all readily identifiable from previous illustrations — witness the archaeological "find.":
It was at this moment that Mr. Pickwick made that immortal discovery, which has been the pride and boast of his friends, and the envy of every antiquarian in this or any other country. They had passed the door of their inn, and walked a little way down the village, before they recollected the precise spot in which it stood. As they turned back, Mr. Pickwick’s eye fell upon a small broken stone, partially buried in the ground, in front of a cottage door. He paused.
"This is very strange," said Mr. Pickwick.
"What is strange?" inquired Mr. Tupman, staring eagerly at every object near him, but the right one. "God bless me, what’s the matter?"
This last was an ejaculation of irrepressible astonishment, occasioned by seeing Mr. Pickwick, in his enthusiasm for discovery, fall on his knees before the little stone, and commence wiping the dust off it with his pocket-handkerchief.
"There is an inscription here," said Mr. Pickwick.
"Is it possible?" said Mr. Tupman.
"I can discern,‘continued Mr. Pickwick, rubbing away with all his might, and gazing intently through his spectacles: "I can discern a cross, and a 13, and then a T. This is important," continued Mr. Pickwick, starting up. "This is some very old inscription, existing perhaps long before the ancient almshouses in this place. It must not be lost."
He tapped at the cottage door. A labouring man opened it.
"Do you know how this stone came here, my friend?" inquired the benevolent Mr. Pickwick.
"No, I doan’t, Sir,’ replied the man civilly. "It was here long afore I was born, or any on us."
Mr. Pickwick glanced triumphantly at his companion.
"You — you — are not particularly attached to it, I dare say," said Mr. Pickwick, trembling with anxiety. "You wouldn’t mind selling it, now?"
"Ah! but who’d buy it?" inquired the man, with an expression of face which he probably meant to be very cunning.
"I’ll give you ten shillings for it, at once," said Mr. Pickwick, "if you would take it up for me."
The astonishment of the village may be easily imagined, when (the little stone having been raised with one wrench of a spade) Mr. Pickwick, by dint of great personal exertion, bore it with his own hands to the inn, and after having carefully washed it, deposited it on the table.
Although the original serial text offered a facsimile of the inscription — + / BILST / UM / PSHI / S. M. / ARK — the satire of Pickwick's antiquarian pretensions was not underscored by an appropriate illustration. In his 1873 series of woodcuts, Phiz addressed this deficit with a visualisation of Pickwick's taking out his handkerchief to clarify the inscription. Although the text specifies that the stone is adjacent to a cottage door, the only cottage included by Phiz is the substantial, thatched specimen with leaded-pane window in the background. Logically, Tupman should be at Pickwick's side after their discussion in private of Tupman's depression; however, Phiz has placed the bumbling Winkle nearest Pickwick, as if his participation signals Pickwick's utter misconstruction of the inscription. Then, too, the cottager should not yet be present, for, after discovering the stone, Pickwick knocks at the door and the "labouring man" comes forth, presumably (although specifically) in the linen smock-frock that Phiz has included. The cottager is apparently puzzled at Pickwick's interest in the stone, but has none of the look of sharpness that, about to defraud Pickwick, one would expect him to possess. In order to avoid making it a distraction, Phiz has reduced the size of Pickwick's umbrella to ridiculously small dimensions. Another curious aspect of the illustration is Phiz's signature (right) which is a mirror image, while the Dalziel signature (left) is positive, a fact which suggests that Dalziel corrected what he felt was an error in construction, and engraved the block in reverse of Phiz's sketch. His reasoning may have been that, in keeping with stage convention, the figures should be shown looking from the left to the right. The engraver's intervention would suggest (if this instance may be generalised) the importance of the Dalziel brothers in the creation of the woodcuts for the Household Edition since they obviously felt entitled to correct any errors that they discovered in the illustrations.
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Chapter 10
Phiz
Commentary:
Literary historians generally agree that, over the course of its first three monthly instalments, sales of of The Posthumous Paper..."
Could this possibly be the most important illustration in the entire canon of Dickens writing career? There are the “dark plates” of the later novels, and certainly many famous characters yet to come. And yet, here we see how the particular alchemy of Dickens and Hablot Browne ignited the interest of the reading public. It’s hard to conceive any series going from 1000 copies to 40,000 copies.
We think that perhaps it is only in our media-driven world that clothing styles, linguistic phrases, an immence fan base and spin-offs such as plays, book copies, and songs can spring from a single moment in time. Consider also how since Thackeray did not get to be Dickens’s illustrator his life took on a different direction. John Leech’s career became more firmly entrenched with Punch Magazine and yet he still was to become the illustrator of A Christmas Carol, and produce Mr Fezziwig’s Party, arguably the single most recognizable and reproduced illustration in all of Dickens’s work.
Buss, who did not get to be Dickens early illustrator, was to become the illustrator who gave the world “Dickens Dream” the illustration that summarized Dickens career shortly after his death. In fact, we use the Buss picture as the headline banner for our Curiosity Club.
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https://www.google.ca/search?client=s...
Here is Robert Buss’s “Dickens Dream.”
http://www.charlesdickenspage.com/bus...
Peter wrote: "Chapter 9Can you think of any other carriage chase scenes in literature? In Dickens? Certainly, in modern movies, the car chase has become a stock feature in many scripts. I still remember Steve McQueen in Bullitt. I think that is where my love affair for the Ford Mustang was born."
What a great book and great comments! Although this is a hectic period for me, I’m keeping up with the schedule. I can’t give up my daily dose of fun: I am irremediably addicted to the Pickwickians’ adventures.
When I was reading chapter 9, I could see the Formula 1 pilots stopping at the pit box to change tyres, add fuel and resume the race as quickly as possible. I think that if Dickens lived in our time, he could write a great car chase. Although I’m not much into car races, I remember Michael Schumacher when he raced in Formula One for Ferrari. Schumacher and Jean Todt were great.
As for a carriage race I can think of, I have one in mind: the race in the film “Asterix at Olympic Games”. Unfortunately Rome doesn’t win, Germany does, but look at the actor they choose to play the German pilot. It’s not fair! :)
https://www.youtube.com/watch?v=LoHov...
Love the idea of "Weller vests" coming into fashion! I'm trying to think of a contemporary analogy. A few years ago some of the college students where I teach started wearing scarves when the weather didn't necessarily require it, and I couldn't tell if it was a Harry Potter generation thing, or Benedict Cumberbatch's Sherlock. Or who knows, something else altogether.
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Can you think of any other carriage chase scenes in literature? In Dickens? Certainly, in modern movies, the car chase has become a stock feature in many scripts. I still r..."
Hi Milena
I’m glad you are finding the time to read along with us. Everyone deserves a daily dose of fun!
Isn’t it great when we can link a character or event from a book to other events in life? For you, a Formula One event, for me a Steve McQueen movie. What a great link you provided. I especially liked how they portrayed the pit stop and how it was timed. Great stuff.
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I confess that I once bought a deerstalker hat and wore it a couple of times. My wife thought it was kind of silly and so I stopped wearing it. Then the mysterious and magical occurred. It simply disappeared from the closet. Neither of us ever mentioned it again. A case for Sherlock Holmes, or a fact of married life? :-))
Deerstalker hats are kind of irresistible!
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thanks for linking the film extract. :-) And yes, like you, I feel turning to the mirthful pages of Pickwick every week is like taking a bath in laughter.
Tristram wrote: "Yes, they are as irresistible as capes, Julie! But, like Peter's wife, my better half has seen to it that these indispensible items of my attire have somehow ... disappeared. Likewise has my poncho."At least no one can take your profile pic away!
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Good.
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I'd never under-estimate my wife ... she is the voice of reason in our relationship, and a lot of other voices, too.
Tristram wrote: "Julie wrote: "At least no one can take your profile pic away!"I'd never under-estimate my wife ... she is the voice of reason in our relationship, and a lot of other voices, too."
Tristram, I know somebody like that. Fortunately he likes my cowboy boots.
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The Old Curiosity Club
Books mentioned in this topic
Charles Dickens (other topics)Dickens at Work (other topics)
We begin the chapter with the promise of a good meal but within moments are presented with a mystery and a question. Where are Jingle and Rachael? The fat boy does not know, or is not talking. Perhaps he was asleep when all the action was happening. Well, supper waits for no one, so Mr Wardle orders supper because “I never wait supper for anybody.” Pickwick finds this rule “admirable.” I imagine the fat boy does too. I wonder if someone has done a study or analysis of all the meals the Pickwick Club will eat and all the liquor they will consume during this novel. We will be able to monitor much of their goings on from our table tucked near the fire in The White Hart. The fat boy has already volunteered to assist our studies.
Dinner is served but is soon interrupted by the news that Jingle and Miss Rachael have run off. This news must be serious because it brings an end to supper and ushers in a great chase to capture the runaways before anything too serious occurs. Another chase. From hats to potential elopements, our Pickwickian friends are always on the move either chasing something or someone. I think this must be part of Dickens’s plans. Keep the action moving the reader forward. What might be lost in terms of serious plot development is aptly replaced by non-stop action. When we do stop moving, it is to hear a story of sadness and grief. I think a stylistic pattern may be developing. Movement - Story. Repeat. This makes sense as the readership is kept in a constant state of anticipation. We have discussed earlier the differences in style between a Victorian serial publication and a modern novel. We must keep in mind the readership and the entertainment differences that 180 some years has created. For now, I can imagine and feel the potential for the melodramatic building at this point in the story. If we enjoyed the recent meandering Pickwick Club's arrival at Wardle’s, let’s see how much fun Dickens can create with a chase scene in full flight. To himself, Pickwick reflects “Pretty situation for the General Chairman of the Pickwick Club. Damp chase - strange horses - fifteen miles an hour - and twelve o’clock at night!” Poor Pickwick. I’m enjoying his escapades more and more. And don’t forget, he has left an unfinished dinner behind.
It is a merry midnight chase across the countryside, through turnpike-houses on the roads and changes of horses at a hostler. There is some dishonesty encountered with the man at the turnpike and the hostelry that raises our sympathy for Pickwick. Pickwick does manage, however, to have a quick sleep during the chase. I found that quite funny. It is as if Dickens is assuring his readers that all will be well in the end. The desperate chase continues and as it does the weather becomes worse which just adds to the drama of the evening’s pursuit. Finally, they close in on their eloping quarry. And then disaster strikes ... Wardle’s coach throws a wheel. Jingle delights in his pursuer’s helplessness, and with a wave from his handkerchief, rides away leaving our intrepid Pickwickians stranded.
Thoughts
I found the chase scene to be very well written. Did you enjoy it? If so, what part(s) were most effective to you? If you didn’t enjoy it, what was the reason for your disappointment?
Can you think of any other carriage chase scenes in literature? In Dickens? Certainly, in modern movies, the car chase has become a stock feature in many scripts. I still remember Steve McQueen in Bullitt. I think that is where my love affair for the Ford Mustang was born. I have not, in a mid-life crisis, bought one, but every time I see one of those classic Mustangs it still turns my head.
Through all the turmoil of the evening Pickwick has maintained a reasonable calm. To him, the true villainy of the evening was Jingle borrowing money from a friend and follower of Pickwick, and using the name “Tuppy” to describe Mr Tupman. We must remember that even though the members of the Pickwick Club get into and out of difficulties they are gentlemen. As such, decorum appears to be a prime factor with the gentlemen of the Club. With their carriage broken down, Pickwick and the pursuing party must walk 6 miles to the next stage stop so they “set manfully forward on the walk, first tying their shawls round their necks, and slouching down their hats” and head out into a “deluge of rain.” It is evident that the Pickwick Club are a band of brothers and so we must take heart. No matter how much it rains I’m sure nothing can completely dampen the Pickwickian spirit. As we progress through the chapters it is apparent that even though there may be some scuffing around the edges of The Pickwick Club at various times, there is a clear undercurrent of love and support for each other. I find this a very appealing aspect of the group.
Thoughts
To what extent are you finding The Pickwick Papers is a visual novel, one that depends on the reader seeing the story as much as reading it?