MC, Chp. 11-12

[Tristram]

Dear Curiosities,

Very slowly, the plot of Martin Chuzzlewit seems to set itself in motion – at least, this week we are going to witness some decisive events, or some events that might lead to decisive events. Unfortunately, I read this week’s two chapters rather early last week and did not take down any notes – doing so requires more self-discipline I can muster up when I read something that intrigues me and wants me to read on – and given the length of these chapters, there is another reason why I might not be able to remember all the details, but I hope I’ll be able to bring up all the important points. If you think I forgot something, you are, as always, very welcome to add your observations to my recaps. After this disclaimer, let’s start with

Chapter 11

Mr. Pecksniff’s stay at Todgers’s is drawing towards its termination, there being just two or three days in London for the family, when Young Baily announces a visitor in the form of a gentleman for Miss Charity. Here it was for the first time that I observed some feeling of rivalry between the two sisters in that Charity’s feeble attempts at preening herself on that visitor’s call – after all, her sister has been the main target of Mrs. Todgers’s gentlemen’s attentions – are maliciously thwarted by Mercy’s remarks. The visitor turns out to be Jonas Chuzzlewit, who has met Mr. Pecksniff and been told of his London address, and who can produce a written note by that exemplary and caring father, Mr. Pecksniff, to the effect that his two daughters are allowed to take up Jonas’s invitation and accompany him to his own house, where they will later be joined by Mr. Pecksniff.

Mr. Jonas does flirt a little bit with Miss Charity, but on the whole he never forgets to ask about Mercy, or, as he calls her, “the other one”, and he also seems to be fascinated by “the other one’s” inclination to laugh at him, Miss Charity taking these frequent references to her sister a bit sourly, which she might have every reason to do. When Jonas talks about how he met Mr. Pecksniff, he calls him, in what might well be a kind of admiration, “’a sleek, sly chap’” and likens him to a “tomcat”, another thing that does not agree with the architect’s elder daughter. As to his own father, Mr. Jonas displays even less reverence, culminating his lack of love in the words, “‘And ecod, […] now he’s gone so far without giving in, I don’t see much to prevent his being ninety; no, nor even a hundred. Why, a man with any feeling ought to be ashamed of being eighty, let alone more. Where’s his religion, I should like to know, when he goes flying in the face of the Bible like that? Threescore–and–ten’s the mark, and no man with a conscience, and a proper sense of what’s expected of him, has any business to live longer.’”

QUESTIONS
What influence might the events reported in this chapter have on the relationship between the two Miss Pecksniffs? After all, they don’t always seem to live so harmoniously together.
What might Mr. Jonas’s intentions be in visiting his two cousins? If he is really courting one of them, as I think he is, is it really clever to show his impatience as to his father’s demise in such a direct way? Interestingly, his lack of refinement – for all his slyness in money things – sets him apart from the likes of Mr. Pecksniff, who would certainly not drop his mask so carelessly.

Mr. Jonas finally takes out the two young ladies, showing them around London – but, of course, taking care that no money should be spent on seeing the insides of the famous sights he visits with them. On hearing that they were sometimes invited to the theatre and other amusements by Mr. Jinkins and the other gentlemen, and that the men paid for the ladies, Jonas laughs and opines that these men must definitely be fools. They eventually reach Jonas and his father’s abode, an old, forlorn house whose aspect displays a lot of its owners’ character and mode of life:

”Business, as may be readily supposed, was the main thing in this establishment; insomuch indeed that it shouldered comfort out of doors, and jostled the domestic arrangements at every turn. Thus in the miserable bedrooms there were files of moth–eaten letters hanging up against the walls; and linen rollers, and fragments of old patterns, and odds and ends of spoiled goods, strewed upon the ground; while the meagre bedsteads, washing–stands, and scraps of carpet, were huddled away into corners as objects of secondary consideration, not to be thought of but as disagreeable necessities, furnishing no profit, and intruding on the one affair of life. The single sitting–room was on the same principle, a chaos of boxes and old papers, and had more counting–house stools in it than chairs; not to mention a great monster of a desk straddling over the middle of the floor, and an iron safe sunk into the wall above the fireplace. The solitary little table for purposes of refection and social enjoyment, bore as fair a proportion to the desk and other business furniture, as the graces and harmless relaxations of life had ever done, in the persons of the old man and his son, to their pursuit of wealth. It was meanly laid out now for dinner; and in a chair before the fire sat Anthony himself, who rose to greet his son and his fair cousins as they entered.”

Mr. Jonas uses a very rough and contemptible tone in talking to his father, whom he actually calls “ghost” – while Miss Mercy calls Jonas “fright”, probably with more justification – but the old man, Anthony, does not really seem to mind. Instead, he seems to be perversely proud of the son he has raised when his scion shows his callousness and his greed in his words and behaviour. Anthony is not the only recipient of Jonas’s heartless remarks, but there is also Mr. Chuffey, an ancient clerk, who by now has apparently drifted into a world of his own, not paying attention to anyone else but his old master Anthony, the only person whose words he still reacts to, and so probably all of Jonas’s respectless words are lost on him. The narrator cannot let Anthony’s perverse pride in his son go by without a moral comment:

”It was strange enough that Anthony Chuzzlewit, himself so old a man, should take a pleasure in these gibings of his estimable son at the expense of the poor shadow at their table. But he did, unquestionably; though not so much — to do him justice — with reference to their ancient clerk, as in exultation at the sharpness of Jonas. For the same reason that young man’s coarse allusions, even to himself, filled him with a stealthy glee; causing him to rub his hands and chuckle covertly, as if he said in his sleeve, ‘I taught him. I trained him. This is the heir of my bringing–up. Sly, cunning, and covetous, he’ll not squander my money. I worked for this; I hoped for this; it has been the great end and aim of my life.’

What a noble end and aim it was to contemplate in the attainment truly! But there be some who manufacture idols after the fashion of themselves, and fail to worship them when they are made; charging their deformity on outraged nature. Anthony was better than these at any rate.”

QUESTIONS
What do you think of the narrator’s frequent intrusions into the story for the sake of commenting on his characters’ behaviour – there was a similar intrusion as to the devil’s tendency to quote Scripture for his own purpose earlier on in connection with Jonas’s reference to the Bible? Do they interrupt the flow of the novel for you? Do they strike you as annoying? Or are they welcome reminders of a world beyond the vice we witness at Anthony’s house?

What role might Mr. Chuffey play? He seems to be very loyal towards his old master, and even Anthony is apparently not without some feelings of tenderness and affection when it comes to his ancient clerk. Does this add dimension to the character of the old miser? Does Anthony stand behind his son’s courting of the Miss Pecksniffs? And if so, what intention might father and son be following here?

After a scanty dinner, the two old men retire towards the fireplace, and as Miss Mercy, regretting the company of the gentlemen at Mrs. Todgers’s, starts reading a newspaper lest she might have to exchange words with Jonas, this young gentleman spends his time with Miss Charity. Although Mr. Pecksniff said, he would pick up his daughters, he does not show up – intentionally??? – so that Mr. Jonas himself has to walk – of course, to walk – the two ladies home, taking each of them by the arm, and often mistakenly (?), squeezing Mercy’s arm when he is actually talking to Charity – just as Mr. Pecksniff mistakenly put his arm around Mrs. Todgers’s waist.

The chapter ends with some other impressions from the establishment of Mrs. Todgers’s, and when the Pecksniffs finally take their leave, lo! there are Anthony and his son again, seeing them off, to the disappointment of Todgers’s gentlemen, particularly the youngest one, whose present of a hothouse flower – one that cost money! – is misdirected at the coachman. Anthony and Pecksniff have a word in private about the future of Jonas and Mr. Pecksniff’s daughter, and Anthony makes it quite clear that he and his son should profit from such a union, whereas Mr. Pecksniff, in his usual glibness, remains non-committal. Then the coach takes our favourite architect home, while we may look at these final

QUESTIONS
The young gentleman constantly experiences humiliations at the hands of the other boarders and at Fate’s herself. What might the future hold in store for him? Will he finally make a lasting impression upon his admired Mercy? In other words, will Fate be Mercy-ful to him?

We also learn that Young Baily is planning on leaving Mrs. Todgers’s since he considers himself to be ill-treated by the landlady. He has, as yet, no distinctive future plans but all he knows is that he will not let grass grow under his feet at Todgers’s. Might chance, or accident, or Fate, or the writer’s whim throw his future lot in with Mark Tapley’s? At least, there is one parallel between these two – they are very enterprising and imaginative guys.

[Tristram]

Chapter 12
Oh, those long chapters in Martin Chuzzlewit! One always has the impression of forgetting something important …

We are again at Mr. Pecksniff’s, when this most learned men and his beautiful daughters are still in London, doing important business. Young Martin and Tom are applying themselves to the various tasks set to them by benevolent teacher, and since they do so with pretty remarkable success, Martin lets his thoughts run free and starts to pontificate on what a pleasure it would be to build Tom’s fortune:

”‘I’d build it up, Tom,’ returned Martin, ‘on such a strong foundation, that it should last your life — aye, and your children’s lives too, and their children’s after them. I’d be your patron, Tom. I’d take you under my protection. Let me see the man who should give the cold shoulder to anybody I chose to protect and patronise, if I were at the top of the tree, Tom!’”

Tom, hearing these words, is at least as pleased with Martin as Martin is with himself while uttering them, which is yet some more undeniable proof of the quality of their friendship. Only when Martin mentions Mary, who in Martin’s castle-in-the-air is, of course, married to him, does Tom’s delight show certain signs of being impaired, but Martin does not notice this and goes on talking about how he will name one of the children he has with Mary after Tom. For all the little pain that these details in Martin’s future programme may cause Tom, he still says,

”‘It’s a proof of the kindness of human nature,’ said Tom, characteristically putting himself quite out of sight in the matter, ‘that everybody who comes here, as you have done, is more considerate and affectionate to me than I should have any right to hope, if I were the most sanguine creature in the world; or should have any power to express, if I were the most eloquent. It really overpowers me. But trust me,’ said Tom, ‘that I am not ungrateful — that I never forget — and that if I can ever prove the truth of my words to you, I will.’”

QUESTIONS
Can it really be the case that Tom has fallen in love with Mary, as his behaviour here implies? After all, he has but taken short glimpses of her while playing the organ, but then I think it is probably the easer to fall in love with a person the shorter and flightier your acquaintance with this person is. While I was writing this sentence about Tom’s playing the organ in the lonely church, I recall a question that came to me when I first read that chapter, namely, Who is working the bellows for the organ all the time? Was it, back then, possible for somebody to play an organ without another person being around to work the bellows? Are there any organists among us Curiosities who could shed some light on this question?
Another question will always rear its head, and here it is: Will Tom and Martin eventually fall out with each other? Martin seems so self-centred that at least a self-centred person like I could have no real pleasure in his company.

Their conversation now touches upon John Westlock – characteristically, Martin cannot remember the man’s name and neither does he seem to care much about it – and the fact that Westlock has come into the possession of a small inheritance and that he has invited Tom to dinner in Salisbury that very evening. Tom and Martin walk all the way to Salisbury – Tom would never dream of using Mr. Pecksniff’s horse without that gentleman’s authorization – to meet Tom’s old friend. We get a very atmospheric description of the way through the wintry country and of the sumptuous dinner John is throwing for Tom, and also for Martin, to whom he takes an immediate liking. After the meal, Tom has to go and see an acquaintance for a short while, and so Martin and John start talking about what a trusting and helpful man Tom is. Here Martin mentions the episode with Mr. Tiggs and how that scrounger has managed to borrow all the money Tom owned, a bit of news that John receives with an earnest face. When Mr. Pinch returns, the other two young men are busy discussing Mr. Pecksniff’s merits, finding very little of which, though, they focus on his vices, rather, which seem an inexhaustible subject to them. It is here that Tom for once shows great determination for, on hearing his benefactor so reviled, he is about to leave the banquet on the spur of the moment, and to walk home through the snow and the wind, but John manages to assuage his indignation.

Later, when Tom is getting himself ready to sleep, John enters his room in order to restore to him the money Mr. Tiggs cheated him out of. Knowing what a proud man Tom is, he does this using a ruse, i.e. he pretends that Mr. Tiggs has commissioned him to pay back the money in question. At the same time, John warns Tom never to let Tiggs have any more money from him because John has the impression that Tiggs is a man not to be trusted. Now, this makes Tom worry for his friend Westlock, who has apparently fallen into bad company, and he says that he had rather forfeited his money than seen John in the company of a man who is dishonest.

QUESTIONS
What do the words and actions of the three men show you about each of them? Would you have thought that John and Martin hit it off so well together? After all, one could have thought that Martin was a little bit envious when he heard that John had inherited money while he, Martin, was still stuck with Mr. Pecksniff.
Do you see any change or development in Martin here?

The chapter could end here, but it doesn’t. Instead, we accompany Tom and Martin back to the Wiltshire village in which Mr. Pecksniff’s house can be found, and we see how Mr. Pecksniff makes good his promise to old Martin: When he and his daughters arrive, the architect snubs young Martin constantly and makes great ado about Tom Pinch – doubtless to increase the effect of snubbing the young man – instead. It’s Mr. Pinch here, Mr. Pinch there, and finally, Martin’s patience has worn thin under this treatment so that he demands an explanation from Pecksniff. Mr. Pecksniff then casts his pupil out on the grounds that he has entered his house under false pretences, and Martin grows so fierce that the architect takes back a step and tumbles over a chair, once more finding himself on the floor in an undignified position. Our narrator has Mr. Pecksniff suffer from such positions quite often – remember his entrance into the novel and then the drunken Pecksniff at Todgers’s.

Young Martin immediately leaves Mr. Pecksniff’s household, much to his friend Pinch’s dismay, and he says that he has just made up his mind to go to America.

There was some talk of John Westlock’s about going to America before he came into his inheritance, and Martin heard it during their dinner – but is that a sufficient reason why Martin should now go to America, too? Do you think this reaction sensible or even realistic? Are we to believe that Martin is a young hotspur, or is it simply because at this juncture Dickens had already decided that the novel must offer a change of scenery in order to keep its readers?

[Xan]

Tristram wrote: "Dear Curiosities,

Very slowly, the plot of Martin Chuzzlewit seems to set itself in motion – at least, this week we are going to witness some decisive events, or some events that might lead to dec..."

This is one of those run-on chapters. I also think it's the chapter in which Anthony tells Pecksniff how much he admires his hypocrisy; he has raised it to an art form. Pecksniff is not insulted. I wonder if he's beaming with delight?

Ah, Jonas, a Chuzzlewit in the classic tradition. I'm glad Dickens took the time to introduce the family's genealogy in the opening chapter. Perhaps Jonas is another Guy Fawkes in the making?

Charity isn't showing any mercy towards her sister, and Mercy isn't showing any charity towards hers.

[Xan]

Tristram wrote: "Might chance, or accident, or Fate, or the writer’s whim throw his future lot in with Mark Tapley’s? At least, there is one parallel between these two – they are very enterprising and imaginative guys."

What a team that would be. They could be in competition for who's the most jolly.

[Xan]

Xan Shadowflutter wrote: "Charity isn't showing any mercy towards her sister, and Mercy isn't showing any charity towards hers."

That's my second play on Mercy and Charity. You all are going to hate me by the end of this book. And we have a long way to go.

[[deleted user]]

Nah, we probably won't hate real people that quickly ;-)

Well, the house of Anthony and Jonas Chuzzlewit clearly is the dreary and dilapidated place I've come to expect in a Dickens novel. I am very curious indeed how the sisters and Jonas will get on later in the novel. I wouldn't be surprised if one of them - could as well be Charity as Mercy at this point I guess - will marry him. And he will make a horrible husband, I am sure of it. And the way the sisters are, the one ending up with Jonas will probably not get any sympathy from her sister whatsoever.

I do believe Martin did learn some hypocrisy from his employer already. All while in the company of John he was very friendly indeed, more than I expected. But on the way back, and the next day, he was very morose, and it was pointed out that he was jealous of John's inheritance. Jealousy doesn't look good on him at all either, although Pecksniff's behaviour outshines his still. So that might add to the decision to go to America; a pretty recent gulf of jealousy topped off with being thrown out by Pecksniff and with that anger and 'what now?' I do believe it was a rushed decision after all.

[Peter]

Tristram wrote: "Dear Curiosities,

Very slowly, the plot of Martin Chuzzlewit seems to set itself in motion – at least, this week we are going to witness some decisive events, or some events that might lead to dec..."

Tristram

Jonas Chuzzlewit is an interesting, if rather uncomfortable addition, to the novel. With the two Pecksniff daughters being courted - or could we say, toyed with - and the strange relationship between Jonas and his father being introduced Dickens has opened up the plot for much more development.

The Anthony Chuzzlewit home is pure Dickens and it reflects and projects those who live in it. I hope Chuffey gets a larger part in the novel.

I agree with you there is an obvious wedge of dissatisfaction being driven between Pecksniff’s daughters Mercy and Charity and I look forward to their possible crumbling relationship. So far in the novel is seems we are watching many different forms of love and affection being developed. From the emotions of Pinch towards Mary, to the seeming attachment of Martin and Mary to the antics of Pecksniff towards Mrs Todgers to the irritable Jonas with the Pecksniff daughters love in its many forms and shapes seems to be developing.

[Tristram]

Xan Shadowflutter wrote: "Xan Shadowflutter wrote: "Charity isn't showing any mercy towards her sister, and Mercy isn't showing any charity towards hers."

That's my second play on Mercy and Charity. You all are going to ha..."

I actually enjoyed that one a lot when I read it. I still enjoy, coming to think of it.

[Emma]

Tristram wrote: "Are we to believe that Martin is a young hotspur, or is it simply because at this juncture Dickens had already decided that the novel must offer a change of scenery in order to keep its readers"

Hey friends!

FINALLY! We’re out of the long Todgers chapters. Haha!

I really enjoyed these chapters, especially since, as Tristram points out, the action finally feels like it’s moving forward.

Tristram - I’m really interested in your question about why the action is suddenly moving to America. Particularly, I was interested in your speculation that this might have been Dickens redirecting course with a floundering MC.

Here’s my thinking on the question: the end of Chapter 12 is also the end of the fifth serial (according to the Penguin edition). If Dickens suddenly decided to abandon his “original” plot (whatever that was) and suddenly move the story to America, I would be surprised. It feels still early in the novel/serialization to take a risk like that. I was under the impression that Dickens had intended to write a critique of America all along. Does anyone have any information on the sales numbers of Martin Chuzzlewit? Were they so abysmal at this point as to warrant a complete narrative overhaul? Or maybe, simply move up Martin's decision to travel to America? It’s not impossible, but it certainly seems like more work.

Also, I don’t believe that it would be out of character for Martin to be this impulsive. I think he has demonstrated this behavior previously with both his sudden engagement to Mary and his sudden desire to be a renowned architect. It seems, even at this time, America had a certain mythos about supporting the “self-made man.” The idea that you could go to America, make your fortune, and come home rich. This is alluded to in John's comments on the topic:

‘Why abroad?’ asked Martin, turning his eyes upon the speaker.

‘In search,’ replied John Westlock, shrugging his shoulders, ‘of the livelihood I couldn’t have earned at home. There would have been something spirited in that.’

Though obviously John’s new wealth comes from his recent inheritance and not his time in America, this response still clearly struck something with Martin. Perhaps because Martin sees John as similar to himself? In fact, I think Dickens uses the repeated comparisons between Martin and John throughout this chapter to show they COULD have been similar people if Martin was a better person. Both attempt to provide for Tom Pinch, but whereas Martin says he will someday make Tom’s fortune, John actually tries to pay Tom for the money he lost to Tiggs.

[Bobbie]

Definitely the story is beginning to move along. I am not really too anxious for the story to move to America just after beginning to get interesting but I knew in advance that this was to happen at some point in the novel.

[Peter]

Tristram wrote: "Chapter 12
Oh, those long chapters in Martin Chuzzlewit! One always has the impression of forgetting something important …

We are again at Mr. Pecksniff’s, when this most learned men and his beaut..."

This chapter seems to be the tale of three young men, those being Tom, Martin and John.

I believe Tom Pinch is in love with Mary. Love at first sight perhaps, or even the fact that someone seems to have an interest in him by listening to him play the organ. Tom’s humility and self-doubts make him insecure. His method of compensation and survival seems to be his desire to please everyone. His music, which I think symbolically represents his harmonious nature, is appreciated by Mary. So yes, Tom does have affection for Mary.

Now, why or what Mary sees in Martin I have yet to discover. Perhaps she is somewhat clairvoyant and sees in young Martin his still hidden better self. The novel is titled Martin Chuzzlewit, and Martin is still young, and Dickens does enjoy transforming his young male characters such as the earlier Nicholas Nickleby from self-absorbed to self-actualized characters. Up to this point in the novel I’m struggling to find a reason to like young Martin at all.

Our third character is John who is kind, generous, and thoughtful. He does not forget his earlier friendship with Tom Pinch, he has come into some money, and his reappearance in the novel suggests Dickens has some future plans for him.

This was, as Tristram pointed out, another exhausting chapter but it has presented us with three characters who I believe will track some of the major issues and themes of the novel.

[Emma]

Peter wrote: "Now, why or what Mary sees in Martin I have yet to discover. Perhaps she is somewhat clairvoyant as sees in young Martin his still hidden better self. ..."

This made me laugh! I have to agree. I do hope we get to see her perspective of Martin at some point. I'm very curious about why she would risk being engaged to him if it might anger her employer, especially since Martin doesn't seem worth the risk ( in my opinion).

[Tristram]

Emma wrote: "Here’s my thinking on the question: the end of Chapter 12 is also the end of the fifth serial (according to the Penguin edition). If Dickens suddenly decided to abandon his “original” plot (whatever that was) and suddenly move the story to America, I would be surprised. It feels still early in the novel/serialization to take a risk like that. I was under the impression that Dickens had intended to write a critique of America all along. Does anyone have any information on the sales numbers of Martin Chuzzlewit? Were they so abysmal at this point as to warrant a complete narrative overhaul? Or maybe, simply move up Martin's decision to travel to America? It’s not impossible, but it certainly seems like more work."

I looked into Wikipedia just now and found the following about the sales figures of MC:

"The early monthly numbers were not as successful as Dickens's previous work and sold about 20,000 copies each, as compared to 40,000 to 50,000 for the monthly numbers of the Pickwick Papers and Nicholas Nickleby, and 60,000 to 70,000 for the weekly issues of Barnaby Rudge and The Old Curiosity Shop."

Unfortunately, we don't get any more precise information, and when I looked in Schlicke's The Oxford Companion to Charles Dickens, it says on p. 377:

"Various explanations have been offered for the low initial sales of Martin Chuzzlewit, but the most likely cause is the trade depression of 1842, which seriously affected publishers generally [...]."

In other words, we may also suppose that the decline in sales has nothing so much to do with the novel itself as with the economic situation at that time, which simply did not allow many people to indulge in buying novel instalments. And yet, the publishers wanted to share the loss by shortening Dickens's royalties, an idea which left the author disgusted. Only days after Dickens knew about this plan did he introduce the character of Sarah Gamp into the novel - a very wise decision, if you ask me. As to his motives for writing the American chapters, which appear to be strongly based on his American Notes, I can only guess that they had something to do with his desire of creating more interest in the novel. After all, the journey to America is not really closely linked with the rest of the novel, and to me it seems as though they were written without much prior consideration as to how to integrate them into the rest of the plot. We are back on Pickwick and Nickleby and Nell country here.

[Kim]

Mr. Jonas Chuzzlewit Entertains his Cousins

Chapter 11

Phiz

Text Illustrated:

"There's another thing that's not easily overdone, father," remarked Jonas, after a short silence.

"What's that?" asked the father; grinning already in anticipation.

"A bargain," said the son. "Here's the rule for bargains — "Do other men, for they would do you." That's the true business precept. All others are counterfeits."

The delighted father applauded this sentiment to the echo; and was so much tickled by it, that he was at the pains of imparting the same to his ancient clerk, who rubbed his hands, nodded his palsied head, winked his watery eyes, and cried in his whistling tones, "Good! good! Your own son, Mr Chuzzlewit" with every feeble demonstration of delight that he was capable of making. But this old man’s enthusiasm had the redeeming quality of being felt in sympathy with the only creature to whom he was linked by ties of long association, and by his present helplessness. And if there had been anybody there, who cared to think about it, some dregs of a better nature unawakened, might perhaps have been descried through that very medium, melancholy though it was, yet lingering at the bottom of the worn-out cask called Chuffey.

As matters stood, nobody thought or said anything upon the subject; so Chuffey fell back into a dark corner on one side of the fireplace, where he always spent his evenings, and was neither seen nor heard again that night; save once, when a cup of tea was given him, in which he was seen to soak his bread mechanically. There was no reason to suppose that he went to sleep at these seasons, or that he heard, or saw, or felt, or thought. He remained, as it were, frozen up—if any term expressive of such a vigorous process can be applied to him — until he was again thawed for the moment by a word or touch from Anthony.

Miss Charity made tea by desire of Mr Jonas, and felt and looked so like the lady of the house that she was in the prettiest confusion imaginable; the more so from Mr Jonas sitting close beside her, and whispering a variety of admiring expressions in her ear. Miss Mercy, for her part, felt the entertainment of the evening to be so distinctly and exclusively theirs, that she silently deplored the commercial gentlemen — at that moment, no doubt, wearying for her return — and yawned over yesterday’s newspaper. As to Anthony, he went to sleep outright, so Jonas and Cherry had a clear stage to themselves as long as they chose to keep possession of it.

When the tea-tray was taken away, as it was at last, Mr Jonas produced a dirty pack of cards, and entertained the sisters with divers small feats of dexterity: whereof the main purpose of every one was, that you were to decoy somebody into laying a wager with you that you couldn’t do it; and were then immediately to win and pocket his money. Mr. Jonas informed them that these accomplishments were in high vogue in the most intellectual circles, and that large amounts were constantly changing hands on such hazards. And it may be remarked that he fully believed this; for there is a simplicity of cunning no less than a simplicity of innocence; and in all matters where a lively faith in knavery and meanness was required as the ground-work of belief, Mr Jonas was one of the most credulous of men. His ignorance, which was stupendous, may be taken into account, if the reader pleases, separately.

Commentary:

During the time that Martin's progress develops apart from the other major characters, the story of Martin's cousin Jonas proceeds both in text and illustrations, and emerges visually as the most important secondary progress in the first half of the novel. (I don't know about that) "Mr. Jonas Chuzzlewit entertains his cousins" (ch. 11) is a visual embodiment of duplicity; it depicts no single incident from the text but rather conflates the reference to Jonas doing card tricks for his guests, the Pecksniff girls, with those paragraphs which make it clear that although he is pretending to woo the elder sister he is in fact aiming at both girls. If we follow a left-to-right "reading" of the plate, we first see Anthony Chuzzlewit in a sleep from which his son wishes he would never awake; next to him is the self-effacing Chuffey, sitting far from the fire. From the dark corner of the room behind Chuffey our eye moves to the strongboxes and ledgers and into the candlelight illuminating the three young persons. Jonas displays an ace of hearts to Charity, who looks at him intently, while behind his back he covertly shows an open hand of cards to Merry, who regards them out of the comer of her eye. We could not have a clearer summary of the situation: Jonas displays the emblem of love, a single heart, to the unsuspecting Cherry, while showing his hand — literally — to Merry. How much of the iconographic invention is Dickens' and how much Browne's is impossible to say, but the plate is typical of the special role illustrations play in Dickens novels: the presentation of meanings which, if made explicit in the text, might seem like clumsy moralizing, premature revelation, or both.

.......I have my own thought about this commentary and was wondering what you thought. Our commentator (I'm assuming that's a word) says that Jonas Chuzzlewit emerges as the most important secondary character. I know we're not very far yet but I have a lot of other people I could put on the list for most important, Tom Pinch, unless he's considered a main character, what about Mark Tapley, or Mr Tigg, even Mrs. Todgers. She has been in the book more than Jonas has. So far anyway. Or will Tom Pinch's sister have more of a role? She is his sister after all. Anyway, on to the next illustration.

[Kim]

"The door of a small glass office, which was partitioned off from the rest of the room, was slowly opened, and a little blear-eyed, weazen-faced, ancient man came creeping out."

Chapter 11

Fred Barnard

Text Illustrated:

"I've lost my glasses, Jonas,' said old Anthony.

"Sit down without your glasses, can't you?" returned his son. "You don't eat or drink out of 'em, I think; and where's that sleepy-headed old Chuffey got to! Now, stupid. Oh! you know your name, do you?"

It would seem that he didn't, for he didn't come until the father called. As he spoke, the door of a small glass office, which was partitioned off from the rest of the room, was slowly opened, and a little blear-eyed, weazen-faced, ancient man came creeping out. He was of a remote fashion, and dusty, like the rest of the furniture: he was dressed in a decayed suit of black; with breeches garnished at the knees with rusty wisps of ribbon, the very paupers of shoe-strings; on the lower portion of his spindle legs were dingy worsted stockings of the same colour. He looked as if he had been put away and forgotten half a century before, and somebody had just found him in a lumbercloset.

Such as he was, he came slowly creeping on towards the table, until at last he crept into the vacant chair, from which, as his dim faculties became conscious of the presence of strangers, and those strangers ladies, he rose again, apparently intending to make a bow. But he sat down once more without having made it, and breathing on his shrivelled hands to warm them, remained with his poor blue nose immovable about his plate, looking at nothing, with eyes that saw nothing, and a face that meant nothing. Take him in that state, and he was an embodiment of nothing. Nothing else.

"Our clerk," said Mr. Jonas, as host and master of the ceremonies: "old Chuffey."

"Is he deaf?" inquired one of the young ladies.

"No, I don't know that he is. He an't deaf, is he, father?"

"I never heard him say he was," replied the old man.

"Blind?" inquired the young ladies.

"N-no. I never understood that he was at all blind," said Jonas, carelessly. "You don't consider him so, do you, father?"

"Certainly not," replied Anthony.

"What is he, then?"

"Why, I'll tell you what he is," said Mr. Jonas, apart to the young ladies, "he's precious old, for one thing; and I an't best pleased with him for that, for I think my father must have caught it of him. He's a strange old chap, for another," he added in a louder voice, `and don't understand any one hardly, but him!" He pointed to his honoured parent with the carving-fork, in order that they might know whom he meant.

[Kim]

Old Chuffey

Chapter 11

Harry Furniss

Text Illustrated:

As he spoke, the door of a small glass office, which was partitioned off from the rest of the room, was slowly opened, and a little blear-eyed, weazen-faced, ancient man came creeping out. He was of a remote fashion, and dusty, like the rest of the furniture; he was dressed in a decayed suit of black; with breeches garnished at the knees with rusty wisps of ribbon, the very paupers of shoestrings; on the lower portion of his spindle legs were dingy worsted stockings of the same colour. He looked as if he had been put away and forgotten half a century before, and somebody had just found him in a lumber-closet.

Such as he was, he came slowly creeping on towards the table, until at last he crept into the vacant chair, from which, as his dim faculties became conscious of the presence of strangers, and those strangers ladies, he rose again, apparently intending to make a bow. But he sat down once more without having made it, and breathing on his shrivelled hands to warm them, remained with his poor blue nose immovable above his plate, looking at nothing, with eyes that saw nothing, and a face that meant nothing. Take him in that state, and he was an embodiment of nothing. Nothing else.

‘Our clerk,’ said Mr Jonas, as host and master of the ceremonies: ‘Old Chuffey.’

[Kim]

"Stand off a moment, Tom," cried the old pupil

Chapter 12

Fred Barnard

Text Illustrated:

A famous Inn! the hall a very grove of dead game, and dangling joints of mutton; and in one corner an illustrious larder, with glass doors, developing cold fowls and noble joints, and tarts wherein the raspberry jam coyly withdrew itself, as such a precious creature should, behind a lattice work of pastry. And behold, on the first floor, at the court-end of the house, in a room with all the window-curtains drawn, a fire piled half-way up the chimney, plates warming before it, wax candles gleaming everywhere, and a table spread for three, with silver and glass enough for thirty—John Westlock; not the old John of Pecksniff’s, but a proper gentleman; looking another and a grander person, with the consciousness of being his own master and having money in the bank; and yet in some respects the old John too, for he seized Tom Pinch by both his hands the instant he appeared, and fairly hugged him, in his cordial welcome.

‘And this,’ said John, ‘is Mr Chuzzlewit. I am very glad to see him!’—John had an off-hand manner of his own; so they shook hands warmly, and were friends in no time.

‘Stand off a moment, Tom,’ cried the old pupil, laying one hand on each of Mr Pinch’s shoulders, and holding him out at arm’s length. ‘Let me look at you! Just the same! Not a bit changed!’

‘Why, it’s not so very long ago, you know,’ said Tom Pinch, ‘after all.’

‘It seems an age to me,’ cried John, ‘and so it ought to seem to you, you dog.’ And then he pushed Tom down into the easiest chair, and clapped him on the back so heartily, and so like his old self in their old bedroom at old Pecksniff’s that it was a toss-up with Tom Pinch whether he should laugh or cry. Laughter won it; and they all three laughed together.

‘I have ordered everything for dinner, that we used to say we’d have, Tom,’ observed John Westlock.

‘No!’ said Tom Pinch. ‘Have you?’

‘Everything. Don’t laugh, if you can help it, before the waiters. I couldn’t when I was ordering it. It’s like a dream.’

[Kim]

Mr. Pecksniff Renounces the Deceiver

Chapter 12

Phiz

Text Illustrated:

"Go on," said Martin, with a scornful smile. "I understand you now. What more?"

"Thus much more, sir," cried Mr. Pecksniff, trembling from head to foot, and trying to rub his hands, as though he were only cold. "Thus much more, if you force me to publish your shame before a third party, which I was unwilling and indisposed to do. This lowly roof, sir, must not be contaminated by the presence of one who has deceived, and cruelly deceived, an honourable, beloved, venerated, and venerable gentleman; and who wisely suppressed that deceit from me when he sought my protection and favour, knowing that, humble as I am, I am an honest man, seeking to do my duty in this carnal universe, and setting my face against all vice and treachery. I weep for your depravity, sir," said Mr. Pecksniff; "I mourn over your corruption, I pity your voluntary withdrawal of yourself from the flowery paths of purity and peace;" here he struck himself upon his breast, or moral garden; "but I cannot have a leper and a serpent for an inmate. Go forth," said Mr. Pecksniff, stretching out his hand: "go forth, young man! Like all who know you, I renounce you!"

With what intention Martin made a stride forward at these words, it is impossible to say. It is enough to know that Tom Pinch caught him in his arms, and that, at the same moment, Mr. Pecksniff stepped back so hastily, that he missed his footing, tumbled over a chair, and fell in a sitting posture on the ground; where he remained without an effort to get up again, with his head in a corner, perhaps considering it the safest place.

Commentary:

Tom Pinch restrains the indignant young Martin from his assault upon the arch-deceiver, plagiarist, and general hypocrite Seth Pecksniff. This dramatic moment in Chapter 12 signals an important shift in the story because young Martin will now have to leave his studies in order to make his way in the world. The plot calls for the protagonist to quit Peckniff's house (a development which Old Martin has orchestrated). Dickens had just recently returned from America, where he had experienced the young nations’s money-morality and multiple hypocrisies. He therefore seizes the opportunity to draw upon his recent experiences and sends his protagonist to the eastern United States and the Mississippi valley, on which he pours scathing satire.

The melodramatic scene of genuine and assumed indignation collapses into physical comedy or farce as Pecksniff, losing his footing in retreating from his adversary, tumbles over a chair and lands on the ground. The moment is not without levity as Dickens contrasts the seriousness of Martin's situation with the sanctimonious Pecksniff's pratfall: "Pinch caught Martin in his arms, and Mr. Pecksniff tumbled over a chair, and fell in a sitting posture on the ground." In all probability, Old Martin anticipated such a scene when he commanded the architect to eject his latest pupil. The scene repeats Pecksniff's earlier dismissal of Tom Pinch's fellow apprentice John Westlock. Here, the accident disrupts Pecksniff's heretofore imperturbable equanimity, and signals his humiliation at Martin's hands.

The juxtaposition of this with the other plate for the May 1843 installment, Mr. Jonas entertains his Cousins, implies that, at least for a time, the negative forces in the novel will be in the ascendant.

[Kim]

Mr. Pecksniff fell into a sitting position on the ground

Chapter 12

Charles Edmund Brock

1910

[Kim]

Tristram wrote: "Who is working the bellows for the organ all the time? Was it, back then, possible for somebody to play an organ without another person being around to work the bellows?"

I can't really play the organ, but since I can play the piano I can sit down at the organ and play it so that it actually sounds like what I am playing. However, I don't know why there are two or three or more keyboards on the thing, not to mention all the "stops" to pull out or push in, and the row of pedals for the feet to play the bass is really beyond me, but the notes I can play. However, every organ I've played you play by turning it on. I do however, have an antique organ that doesn't play anymore but when it did there are two pedals at the floor and you would "pump" them with your feet as you played. Here is a picture of what it looks like:

[Peter]

Kim wrote: "

Mr. Jonas Chuzzlewit Entertains his Cousins

Chapter 11

Phiz

Text Illustrated:

"There's another thing that's not easily overdone, father," remarked Jonas, after a short silence.

"What's that?..."

Hi Kim

Thanks, as always, for posting the illustrations. You ask a very interesting question. I too wonder who might be the second most important character in the first chapters of this novel. I don’t see Jonas in this role.

Visually, Pecksniff is more prominently displayed than Jonas. It is also through Pecksniff that we are introduced to Todgers, Tom Pinch, Martin Chuzzlewit, and the entire troop of avaricious family hangers on.

[Peter]

Kim wrote: "

Old Chuffey

Chapter 11

Harry Furniss

Text Illustrated:

As he spoke, the door of a small glass office, which was partitioned off from the rest of the room, was slowly opened, and a little blea..."

Does anyone in literature create such a wide array of unforgettable minor characters as Dickens?

[Peter]

Kim wrote: "

Mr. Pecksniff Renounces the Deceiver

Chapter 12

Phiz

Text Illustrated:

"Go on," said Martin, with a scornful smile. "I understand you now. What more?"

"Thus much more, sir," cried Mr. Pecksn..."

What a great plate by Phiz. As Dickens’s text has Pecksniff again (I think this is the third time) take a tumble the illustration plays on the theme of the fall. if we look at the centre left of the illustration we see a portrait of Pecksniff on the wall. Our Pecksniff does admire himself. If we move to the centre right of the illustration we see a bust with the signature upturned hair style of Pecksniff prominently displayed. What makes this part of the illustration so interesting is the fact that the bust sits atop a pedestal of what appears to be books. This bust on the pedestal is suggestive of a wall and Pecksniff is thus transformed into the iconography of Humpty Dumpty sitting on a wall.

Beneath the bust we see that Pecksniff has indeed had another great fall. This illustration adds humour to a dramatic event of the novel.

[Peter]

Here is a Jan Steen painting that is suggestive of the illustration in message 14. I wonder if Browne had it in mind when creating his own illustration.

https://commons.wikimedia.org/wiki/Fi...

[Julie]

Tristram wrote: "Can it really be the case that Tom has fallen in love with Mary, as his behaviour here implies? "


I think the question is more, does Tom have a chance, and I think the answer is still no, but I would love to be disappointed, unless Martin improves pretty quickly.

Peter wrote "Our third character is John who is kind, generous, and thoughtful. He does not forget his earlier friendship with Tom Pinch, he has come into some money, and his reappearance in the novel suggests Dickens has some future plans for him."

John does seem like a model guy. Maybe a good sign that Martin is taking a hint from him and heading off abroad?

[Julie]

Tristram wrote: "Their conversation now touches upon John Westlock – characteristically, Martin cannot remember the man’s name and neither does he seem to care much about it..."


This was my favorite moment in the chapter:

‘Who may that be?’ asked Tom, seeming to enter a mild protest on behalf of the dignity of an absent person.

‘You know. What is it? Northkey.’

‘Westlock,’ rejoined Tom, in rather a louder tone than usual.

‘Ah! to be sure,’ said Martin, ‘Westlock. I knew it was something connected with a point of the compass and a door...'

I laughed--this exchange felt very Lewis Carroll to me.

[Tristram]

Kim wrote: "Tristram wrote: "Who is working the bellows for the organ all the time? Was it, back then, possible for somebody to play an organ without another person being around to work the bellows?"

I can't ..."

A wonderful organ, Kim! I don't know what the stops and the additional keyboards are for, either, but they probably make the organ such a majestic instrument. Nowadays, there are electric bellows, but I wonder whether at the time Tom played the organ, there had already been developed a way to dispense with an additional person working the bellows. To me it always seems as though Tom were completely alone on these occasion when he plays the organ - for nothing, as Martin repeatedly points out. That a person does play an instrument for the enjoyment of it seems to be a notion entirely above his head.

[Tristram]

Peter wrote: "Does anyone in literature create such a wide array of unforgettable minor characters as Dickens?"

I think the answer is simple: No :-)

[Emma]

Tristram wrote: "Emma wrote: "Here’s my thinking on the question: the end of Chapter 12 is also the end of the fifth serial (according to the Penguin edition). If Dickens suddenly decided to abandon his “original” ..."

Thank you, Tristram, for the sales figures! That's really helpful and also interesting to think about :) I guess I'm surprised they (Dickens and his publishers) knew so early on that sales weren't going well. Personally, I'm really interested in publishing data and I think this is all fascinating! Thanks for indulging me.

[Tristram]

You're most welcome, Emma!

[Xan]

Tristram wrote: "Can it really be the case that Tom has fallen in love with Mary, as his behaviour here implies?"

I think young men fall in love absurdly quickly in Dickens' novels.

I like the way Martin remembers Westlock's name after Tom reminds him: "Ah, yes, I remember it had something to do with direction and a door. Only Dickens.

Mr. Pecksniff takes yet another spill. It will become harder and harder for him to maintain his false dignity if he keeps to the floor.

[Xan]

Hmmm . . . a little late for Martin to meet de Tocqueville in America, but not too early as to not meet Mark Twain. Well, you know, despite the size and population of London and England, Dickens characters have no trouble falling over one another miles from home - a frightful occurrence in OT and NN. So why not Twain?

[Tristram]

Or, maybe, Martin and Mark are meeting Edgar Allan Poe, and Mark tries to keep jolly all the while. It would have been interesting to read how Dickens would have presented an interaction between his fictitious characters and real-life American authors.

[Xan]

That would have been wonderful. But let's see what Dickens has to say about 19th century Americans. That should be interesting.

[Peter]

Twain did once attend a reading by Dickens.

http://www.twainquotes.com/18680205.html

[Xan]

Peter wrote: "Twain did once attend a reading by Dickens.

http://www.twainquotes.com/18680205.html"

But that queer old head took on a sort of beauty, bye and bye, and a fascinating interest, as I thought of the wonderful mechanism within it, the complex but exquisitely adjusted machinery that could create men and women, and put the breath of life into them and alter all their ways and actions, elevate them, degrade them, murder them, marry them, conduct them through good and evil, through joy and sorrow, on their long march from the cradle to the grave, and never lose its godship over them, never make a mistake! I almost imagined I could see the wheels and pulleys work. This was Dickens -- Dickens.

Nice. Very nice.

And I see Dickens had nothing over Twain when it came to long sentences.

[Bobbie]

Peter wrote: "Twain did once attend a reading by Dickens.

http://www.twainquotes.com/18680205.html"

Thanks, Peter, That was an interesting little article but somewhat disappointing. I would have liked to believe that Dickens was a fascinating reader.

[Tristram]

Thanks a lot for sharing this quotation, Xan! And yet I cannot help thinking that Mark Twain's impression might not have been a hundred per cent on-spot because from what I know of Dickens's public readings, he usually moved people to tears and to laughter, and when he read Nancy's death, one pregnant woman is said to have fainted with fright. I also once saw his notes in a passage he meant to read aloud to an audience, and these notes show how carefully he prepared his readings. Apart from that, he was an amateur actor and took great delight in play-acting. All in all, I cannot believe that this man should have cut such a bad impression during a public reading. Maybe, he was a bit off colour that day, or maybe, Twain was in a bad mood. I cannot think of any other explanation.

[Xan]

Mark Twain, jealous?

[Tristram]

Wouldn't any writer be jealous of Dickens? I'm pretty sure that Trollope was - just consider his satire of Mr. Popular Sentiment in The Warden - and he would not have been the only contemporary to be jealous of the Inimitable.

[Xan]

Oh, yes, and his reputation obviously traveled over the pond; otherwise, he wouldn't have had Americans attend his readings.

[Julie]

Twain may well have been jealous, but he was also clearly appreciative of Dickens's writing talents, if not his reading. This was fascinating to look at. Thanks, Peter!

[Mary Lou]

Emma wrote: " Personally, I'm really interested in publishing data and I think this is all fascinating! ..."

Emma - if you haven't already, please read "The Man Who Invented Christmas" by Les Standiford. It's not at all like the movie it inspired. There's a lot of detail about the publishing industry at the time, copyright laws, and Dickens' sales figures. Sounds like it would be right up your alley.

[Mary Lou]

Peter wrote: "Twain did once attend a reading by Dickens.

http://www.twainquotes.com/18680205.html"

I, too, am surprised and sorry to hear Twain's opinion that Dickens wasn't much of a reader, but I love the detail he went into. Twain's description made me feel as if I was sitting right there in the room with him.

[Mary Lou]

I've finally gotten through some new chapters, though I still have a long way to go before I've caught up with all of you!

Jonas is a piece of work, and definitely injects some much needed anticipation into the story. He doesn't make my skin crawl like some other Dickens characters have, but there's no doubt - he's a creep. Why is Pecksniff letting him associate with Merry and Cherry? I'm more curious about Pecksniff's motivations here than Jonas's.

Martin is going to the US. My opinion of this insertion will have to wait until we've traveled along with Martin and shared his experiences. Going to America will necessitate that he leave Mary for a substantial period of time. Will their love bear the separation? Interesting that we've gotten to know both Mary and Martin, but we've never actually seen them together. Odd, in a love story! The only other novel I can think of that has deprived the reader of seeing the lovers together is (sorry Tristram!) Austen's Persuasion. Austen replaced Anne and Frederick's scenes together with longing and regret. So far, Dickens hasn't convinced me that Martin and Mary have a love affair to remember. In fact, I don't think Mary's scenes even mentioned it.

Question: Does Pinch know that Martin's Mary is the woman who listened to him play? Pinch fell for her, but I don't remember that he knew her identity; I thought she was a mystery woman to him. But he must know or he wouldn't have had such a reaction to Martin's musings. Can anyone help me out with this?

Interesting juxtaposition between Martin and John. It's fascinating to see Dickens portray them as such similar characters, but with that one significant difference: one being self-centered, and the other selfless. I wonder if we would find it so difficult to like Martin if we didn't have John to compare him with. I also wonder if Tom sees this difference in the two. He doesn't seem to. Will the time come when the difference becomes too important for him to ignore?

An observation/question about the passage of time: Martin arrives at Pecksniffs within a few days of John's departure, and the family leaves for London the very next morning, yes? They are at Todgers for less than a week. In that time, Tom and Martin dine with John. The family returns, Martin and Pecksniff have words, and he leaves immediately.

If I've got all that right, we've only seen the passage of a couple of weeks at the most. And yet, when Tom and Martin arrive at the Inn the reunion between Tom and John makes it seem as if months have elapsed. John has received an inheritance, and they remark on the physical changes between the two, among other things. Did I miss something in the passage of time, was this Dickens being humorous, or was it a continuity issue? It really doesn't matter in the great scheme of things, but it's been niggling at me.

Finally, Old Chuffey. Here is someone who is more than meets the eye! Surely he's not as deaf and dumb as Jonas assumes. He is the invisible servant who knows where all the bodies are buried, and should never be taken for granted! At least I hope that's the case. I hope that when Jonas gets his comeuppance, Chuffey will be in the thick of things. :-) I will definitely keep an eye on him, and the things he hears and sees.

[Peter]

Mary Lou wrote: "I've finally gotten through some new chapters, though I still have a long way to go before I've caught up with all of you!

Jonas is a piece of work, and definitely injects some much needed antici..."

Hi Mary Lou

You are motoring along and will catch up with us I’m sure. The action does pick up later in the novel (well, somewhat ...)

I will attempt not to give away spoilers so I’m hesitating on some of your questions. I will not spoil for you what is coming, but forgive me if I do lift the veil slightly.

Yes, Jonas is rather odious but in a different manner than others such as Ralph Nickleby or Quilp or Mulberry Hawk. Young Martin’s trip to America will keep him from Mary. How strong their love is will no doubt be tested. I’m not sure what Mary ever saw in Martin. Certainly Martin’s father is not a big selling point for the Chuzzlewit clan.

The Pinch-Mary subplot is intriguing. Stay tuned for some very interesting plot developments.

There is not a great passage of time in the Tom-Martin-John plot point. Dickens is compressing time in the plot, but that might be good for us readers. Too much of a time lag would slow down and burden the plot - or make the chapters even longer.

Chuffey. He is a delightful puzzle. Is he the quintessential servant for a not-so-nice master? Are his business skills and family knowledge going to have repercussions later in the novel for Jonas? You are right when you say he is an “invisible servant.” Will he be part of Jonas’s comeuppance if that occurs?

Stay tuned.

[Mary Lou]

Peter wrote: "Dickens is compressing time in the plot, but that might be good for us readers. Too much of a time lag would slow down and burden the plot - or make the chapters even longer...."

Amen to that! These long chapters are killing me!

[[deleted user]]

I always thought the Pecksniffs were at Todgers' for a couple of weeks, at least a month. But it might be that my interpretation was wrong.

[Peter]

Jantine wrote: "I always thought the Pecksniffs were at Todgers' for a couple of weeks, at least a month. But it might be that my interpretation was wrong."

Hi Jantine

You may well be right. I do tend to miss stuff along the way. I’m not sure about length except to say that some of these chapters seem never to end.

[Tristram]

As to the time going by: It was autumn when we first meet Mr. Pecksniff on the point of entering his house, and when the worthy architect sent away John Westlock, whose eye simply wouldn't be covered with the wool of Pecksniff's kindness, and unless I remember incorrectly, it was early winter when Pinch was sent for the new pupil. When Pinch and Martin went to Salesbury in order to meet John, there was snow on the road. So, there must be at least two months between John's departure and his return - time enough to make an inheritance and also time enough to change one's outward appearance a little bit :-)