Nicholas Nickleby: Chapters 49 - 65

[Sara]

A comment on the previous chapter (sorry to be behind): Nicholas says to Gride and Ralph "your schemes are known to man, and overthrown by Heaven." And, it seemed to me that Bray's dream was a warning from Heaven regarding what he was about to do. The other men are vicious, but the fault is much, much worse in a father, who is charged by God to take care of his child. Had Bray gone with his conscience, instead of seeking and accepting a bolster of his position from Ralph, he might well have been spared.

I love all of the illustrations, but particularly the one in which both Gride and Ralph look like demons, with twisted vicious exteriors to match their blackened souls.

I wrote a review of NN the first time I read it, in which I said I had loved it despite its being predictable. I honestly wondered why I had said that, but now I understand that I was thinking about this death of Bray, which was, of course, Madeline's only way out. Dickens had surely and securely closed every other door and Nicholas had no more recourse. I do not think Kate's presence would have persuaded Madeline to detour from the path she was determined to take.

I was glad you mentioned Little Dorrit, Jean, as I kept making the comparison in my head as well.

I am going to read this chapter today and will come back to comment later.

[Shirley (stampartiste)]

Kathleen and Peter~ I quite agree with your sentiments toward Mrs. Nickleby. She just wears me out, and I'll be glad when we've seen (heard!) the last of her. While reading her l-o-n-g monologues today, I had a picture in my head of Dickens having this box on his desk, and as he writes a character out of his story, he physically picks up that character, puts it in the box and closes the lid on it! I wish he would go ahead and pick up Mrs. Nickleby!

And what a sad way to end this chapter with sweet Smike so gravely ill. I do pray that Charles Cheeryble is right, and that Smike will recover - perhaps discover something or someone worth living for in Devon!

[Shirley (stampartiste)]

Sara wrote: "The other men are vicious, but the fault is much, much worse in a father, who is charged by God to take care of his child...."

This is so true, Sara. And poor Madeline had worked tirelessly for his comforts. I wonder if the grieving process that Madeline is going through also contains a sorrow that she was unable to earn his love. That's a sad burden to bear.

[Kelly]

Despite being exasperated by Mrs Nickleby like you all, I did find humor and respite from the monologues with the line Jean mentioned:

Nicholas...“snuffed the candles, put his hands in his pockets, and, leaning back in his chair, assumed a look of patient suffering and melancholy resignation.”

For some reason (maybe because I have three teenage children), I found this hilarious.

I noticed that Mrs Nickleby called Smike "Mr Smike" in this chapter. I thought it might be the first instance I read that. But that can't be right. It conveys a sense of respect, yes? I love that for Smike.

[Paul]

Kelly wrote: "Despite being exasperated by Mrs Nickleby like you all, I did find humor and respite from the monologues with the line Jean mentioned:

Nicholas...“snuffed the candles, put his hands in his pocket..."

I've been listening to the audiobook version of NN narrated by Mil Nicholson and she absolutely nailed the incessant prattling of Mrs Nickleby perfectly. So far from being tiresome, it came off as absolutely hilarious. And no wonder Nicholas did the Victorian teenager equivalent of rolling his eyes, LOL!

[Lori]

I am with the majority here with Mrs. Nickleby. I just want to put her on mute! She’s had way too much “screen time” in my opinion. I have been thinking in the past several chapters that we are missing out on Kate’s character being involved with much since Mulberry Hawk interfered with her life. I feel like she has been in the background until she arrived with Nicholas to save Madeline. I guess I have wanted more from her and it’s been noticeable that she’s been absent.

I also share sentiments regarding Smike and do hope his prayer is answered.
Edited: I don’t mean that he dies of a broken heart but was thinking a prayer of hopefulness that he recovers. Reading the last line again, I see the grimness in the words.

[Sara]

I am now caught up and feeling very sad regarding Smike. I do not think things bode well for him. Even if he could survive the illness, he cannot survive the loss of Kate (or rather his inability to ever attain the relationship he longs for).

I can add nothing to what others have said thus far. Marvelous discussion, as always.

[Paul]

Sara wrote: "Even if he could survive the illness, he cannot survive the loss of Kate (or rather his inability to ever attain the relationship he longs for)."

I've felt for a good many chapters that Smike, within the capacity of his intellectual challenges, was in love with Kate. And, despite those challenges, I also felt that Smike somehow understood that his love could never be returned or requited in any meaningful romantic way.

That was my personal interpretation of the sound of the "prayer of a broken heart" - that Smike knows he is not long for this world and that he longs for the chance to see Kate again in heaven, even though he knows it will not be as her lover.

[Kathleen]

I have not caught up with all of the past commentary made when I was off the grid for two weeks, but now that you have caught up with me, :-) I want to participate again.

My favorite line from this chapter:
“I don’t think you quite understand,” said Kate.

It’s such a patient understatement! And I chuckled when Mrs Nickleby moaned that her children think her stupid. Many of us have made that same lament. Like Kelly, I found it hilarious when Nicholas closed his book in quiet exasperation.

I’m warmed by the generous care the Cheerybles give to those around them, including poor Smike.

[Katy]

I am feeling the opposite of almost everyone else about Mrs. Nickleby. I am finding her to be hilarious. I have to admit, her children have the patience of saints.

I, too, am feeling very sad about Smike, I hope he recovers and finds happiness, but things are not looking good.

[Sam]

I am coming to peace with the character of Mrs. Nickleby. I see her as a combination of several different character types from literature and while I thought Dickens may have overdone that opportunistic, manipulative type in the early chapters, I think overall she is entertaining, for her opinions, foolishness, machinations, and ego. In keeping with our theater-themed discussions with Shirley's mention of monologues and Lori of screen time, what is winning me over is thinking how complex and plum a role Mrs Nickleby would be for any talented actress. It would be a Hedda Gabler like challenge, but imagine Edith Evans or Maggie Smith in their primes and how important the role would be to the whole.of any production.

I tend to think of Smike and Newman as bookends, both hsve all the characteristics of the character actor from the moment we see them in the novel. Losing one would sadden me as well.

I have been postponing discussing Dickens' handling of romance in Nicholas Nickleby. IMO, he has some issues which I presume may stem from inexperience or discomfort with the topic. I won't add more till we finish, but has anyone else been wondering about this?

[Bionic Jean, "Dickens Duchess"]

Great comments all, thank you! I can't do better than to move on to today's eventful chapter now, in another part of Charles Dickens's world, and no doubt we will pick up some themes later.

[Bionic Jean, "Dickens Duchess"]

Chapter 56: Ralph Nickleby, baffled by his Nephew in his late Design, hatches a Scheme of Retaliation which Accident suggests to him, and takes into his Counsels a tried Auxiliary

The action follows straight on with Ralph and Arthur Gride, after Nicholas, Madeline, Kate and the servant have left the Rules where Mr Bray had lived.

Ralph stands motionless: “with clenched hands, and teeth ground together so firm and tight that no locking of the jaws could have fixed and riveted them more securely”

whereas Arthur Gride cowers and shivers in abject dismay, saying that it is not his fault. Ralph says quietly that he hadn’t said it was, but Arthur claims that Ralph seems to blame him. Ralph though, says that he blames Bray himself, for not living one hour longer; Nicholas could not have taken her if he had lived. Ralph’s expression is wrathful, yet his voice is very calm—which makes him seem even more frightening. He whispers fiercely to himself about ten thousand pounds, and the threat which Nicholas had made about him being ruined.

Ralph and Arthur return to Gride’s house, but for some reason Peg Sliderskew does not answer the bell. The neighbours find this amusing—suggesting that she has been murdered, or has died from something she ate. They knew that Arthur Gride was about to be married, and joke about Ralph Nickleby being his new bride, “in boots and pantaloons”. The two money-lenders are forced to break in at the back of the house, by going to the house next door, climbing a ladder and clambering over the wall of the back yard. Gride is afraid to go in, in case his housekeeper has been murdered, but Ralph brushes this aside. When they enter:

“It was the same dark place as ever: every room dismal and silent as it was wont to be, and every ghostly article of furniture in its customary place. The iron heart of the grim old clock, undisturbed by all the noise without, still beat heavily within its dusty case.”

They explore every nook and cranny, but Peg Sliderskew is not to be found anywhere. Ralph says she must be out, preparing for the wedding festivities, and says he will burn the bond, since it is no longer of any use to them.

“Gride, who had been peering narrowly about the room, fell, at that moment, upon his knees before a large chest, and uttered a terrible yell.”



“Arthur Gride discovers the theft of the Bray will” - Charles Stanley Reinhart - 1875

He shrieks that Peg Sliderskew has robbed him; she has stolen his box of important documents. Although she cannot read, she is bound to get someone to read them for her, and tell her what to do with them. Ralph wants to call the police, but Arthur doesn’t want to, because the papers can be used against him and get him sent to Newgate prison. The panic-stricken wretch is frantic with fear, grief, and rage, as he now discovers more losses in the outer chest.



“I am robbed! I am ruined!” - Fred Barnard - 1875

Ralph abruptly leaves Gride and gets into the coach to return to his office. A letter lies on the table, the sight of which makes him pale, so that he hesitates to open it. It is as he feared:

“the house has failed. I see. The rumour was abroad in the city last night, and reached the ears of those merchants … Ten thousand pounds! And only lying there for a day—for one day! … While I ground, and pinched, and used these needy borrowers for my pleasure and profit, what smooth-tongued speeches, and courteous looks, and civil letters, they would have given me!”

Once again he remembers his nephew’s prediction:

“The time has been when nothing could have moved me like the loss of this great sum … But now, I swear, I mix up with the loss, his triumph in telling it. If he had brought it about,—I almost feel as if he had,—I couldn’t hate him more.”

It feels to him as if Nicholas is personally responsible for Ralph’s financial loss, and Ralph plans to avenge himself on him. “His meditations were long and deep.”

Finally Ralph sends Newman Noggs to post a letter to Squeers at the Saracen’s Head, if he has arrived. Noggs returns with the news that Squeers was in bed, but will be with him directly. Squeers arrives quite soon, but by that time Ralph has assumed his usual hard and firm manner. He asks after Squeers, who says that he and his family are well, but that a rash is running through the school.



“Mr. Squeers” - J. Clayton Clarke (“Kyd”) - 1910 - Watercolour reproduced on John Player cigarette card no. 44

Ralph orders Noggs to take his lunch break, although Noggs complains that it is not fair to have a different time sprung on him every day. Ralph escorts him out, and locks the door to prevent him from spying upon them. Ralph explains to Squeers that he is suspicious of Noggs. He will eventually bring about Noggs’ ruin, but until then he is keeping him ignorant of his business.

Squeers is aware of Ralph’s power, and becomes subdued in his manner. It is a pleasure to work with him of course, although more than 250 miles to come is a long way, and he is worried about the risk of their scheme. Ralph asks what risk is there to him:

“‘I wasn’t complaining, you know, Mr. Nickleby,’ pleaded Squeers. ‘Upon my word I never see such a—”

and when Ralph insists, says it is best not to talk of some subjects. Ralph points out that:

“the certificates are all genuine, Snawley had another son, he HAS been married twice, his first wife is dead, none but her ghost could tell that she didn’t write that letter, none but Snawley himself can tell that this is not his son, and that his son is food for worms!”

Thus the only one who is lying is Mr. Snawley, who “carries it off with a hypocritical face and a sanctified air”. He is the one who is claiming that Smike is his son. Squeers is thus only swearing to the circumstances of how Smike had arrived at his school—all of which are true.

Ralph then tells Squeers why he had wanted to see him. It concerns Nicholas’s latest offence. He has carried off a certain young lady, whom Ralph had planned to marry off to another. The young lady is entitled to some property of which she is currently ignorant. Any man who marries her—which Nicholas would be sure to do—will become wealthy. What was more, this deed had been concealed fraudulently, so the one holding it would not be able to take steps to retrieve it, and Ralph knows who has stolen it. Ralph wants the deed recovered, since no one can profit now except the young woman and her husband. Squeers:

“listened, with greedy ears that devoured every syllable, and with his one eye and his mouth wide open: marvelling for what special reason he was honoured with so much of Ralph’s confidence, and to what it all tended”.

But when Ralph gestures towards the fireplace and continues:

“I want that deed brought here, that I may give the man who brings it fifty pounds in gold, and burn it to ashes before his face”

Squeers is reluctant to get involved. However, Ralph tells him that the thief is old, decrepit ana weak, and had done this robbery on impulse. It will not be difficult for Squeers to get into her confidence and play upon her fears. However Ralph cannot do this himself, as the thief would recognise him. He begins smoothly flattering him, making “various comments on the uncommon tact and experience of Mr. Squeers”, and talks up the benefits which would be bound to ensue. Plus it would be a perfect revenge on Nicholas, who would marry a poor woman when he expected to marry an heiress,

“and finally hinted that the fifty pounds might be increased to seventy-five, or, in the event of very great success, even to a hundred.”

Squeers fidgets, and tries ineffectually to bargain, but eventually agrees. Ralph says he may not manage to track her (the thief) down, but he has ways. He tells Squeers not to visit him again until Ralph calls for him, and tries to to send him on his way, but Squeers wants a guarantee that his expenses at the Saracen’s Head will be paid, if nothing comes of the plan. Ralph testily agrees, before unlocking the door to let Squeers out and Noggs back in, pretending that he does not know why the door is locked and bolted.

Back in his office, Ralph mutters to himself about being firm and unshaken in this resolve, despite his losses:

“Let me but … defeat him in this one hope, dear to his heart as I know it must be … and it shall be the first link in such a chain which I will wind about him, as never man forged yet.”

[Bionic Jean, "Dickens Duchess"]

And a little more …

The Banking Crisis of 1837

The Transatlantic Financial Crisis of 1837 produced a global depression that lasted until the mid-1840s. Falling cotton prices, a collapsing land bubble, and speculative monetary policies pursued both by individuals and financial institutions, in both the United States and Great Britain were all responsible. Britain in particular had restrictive lending policies.

This led to widespread panic. There was a general atmosphere of pessimism and an erosion of confidence. The severity of the panic prompted politicians and financial theorists to reevaluate their ideological assumptions regarding the proper role of governmental regulation in an economy.

In a larger sense, the panic demonstrated how the expansion of slavery in the United States, British imperialism, financial speculation, and recurring cycles of boom and bust were emerging as defining features of modern capitalism.

We’ve found that this comes into Charles Dickens's novels quite often, and drives one part of the story. He regularly includes a portrayal of an avaricious financier who has given up everything - family, friends and so on - in the pursuit of money. Their downfall often happens because of the worldwide panic of 1837, and Ralph Nickleby is no exception. Here is an excellent historical article which explains how it affected the global economy, and the reasons for it.

https://economic-historian.com/2020/1....

And here is wiki https://en.wikipedia.org/wiki/Panic_o....

Paul and Kathleen - so here your query about Ralph’s great loss is explained by Ralph himself:

“the house has failed. I see. The rumour was abroad in the city last night, and reached the ears of those merchants … Ten thousand pounds!”

£10,000 in 1839 is worth £1,300,125.02 today. Ralph, for all he lives in Golden Square, a dubious area of London, is a millionaire. We don’t know if this overnight loss would completely ruin him even so. It would be more likely for an experienced money-lender to spread his investments around I think - and we have some indication of this as he goes on to say:

“Ten thousand pounds! And only lying there for a day—for one day! How many anxious years, how many pinching days and sleepless nights, before I scraped together that ten thousand pounds.”

Ralph must have judged that one house was about to collapse and moved a lot of his money to another … only to find that he lost it all. Whatever sum he has left, the collapse of a great financial institution must surely have contained a substantial part of his wealth.

[Bionic Jean, "Dickens Duchess"]

My favourite quotation in this chapter is a detail in Arthur Gride’s house, where:

“the long-legged spider paused in his nimble run, and, scared by the sight of men in that his dull domain, hung motionless on the wall, counterfeiting death until they should have passed him by.”

😆

[Bionic Jean, "Dickens Duchess"]

What a gripping and eventful chapter! It was a bit complicated to summarise, but I’m looking forward to sharing everyone’s reactions to these developments ... I can hear the cheers all the way across the Atlantic, I think! 😂

[Peter]

Bionic Jean wrote: "What a gripping and eventful chapter! It was a bit complicated to summarise, but I’m looking forward to sharing everyone’s reactions to these developments ... I can hear the cheers all the way acro..."

Jean

Toronto cheering. I must say that I initially had ambivalent feelings about Nicholas. Early in the novel I found him too impetuous, hot-headed and immature. Lacking a father’s influence after his death and saddled with his mother’s insufferable personality, I will give Nicholas some sympathy. Now, I feel confident that regardless of Ralph Nickleby’s maneuverings with Gride and Squeers I feel more confident about Nicholas’s future. With Bray out of the way Madeline is free.

We are beginning to see the cracks in Ralph Nickleby’s invulnerability, and let’s face it, Squeers is a bumbler.

[Sam]

How lucky I am that keeps Dickens supporting our theatrical- themed comments with more supporting examples. This chapter me is made memorable for me by Ralph's brilliantly written and paced soliloquy that Jean has partially quoted. I know there must be play-goers in the group and I think we'd agree that hearing a well written soliloquy performed on stage by a talented actor is an experience not quite like any other. I would add that to hear the villain's soliloquy is even more singular. I can immediately recall Richard III's, Iago's, and even a staged reading of Satan's from Paradise Lost. It is an exaggeration to compare Dickens' writing to Shakespeare's and Milton's poetry, but nonetheless Ralph's speech has a poetry of its own, and if you revisit the chapter and read it aloud, imagining it being performed, it indeed is a very powerful and entertaining speech

(BTW, I love how Dickens interrupts it with a little pause while Ralph paces the room and how Dickenss also offers a us little refrain at the end of the chapter.)

[Claudia]

Indeed, both Ralph's soliloquy and Arthur's loss of his documents reminded me of Harpagon's distress in his soliloquy in act IV, scene 7 in L'avare by Molière, after his "cassette", a chest full of money, had disappeared.

[Jim]

At Chapter 55 I’m once again getting that sense of Dickens making up the story as he goes along. There are still a lot of loose ends hanging about—especially concerning a very peeved Ralph Nickleby and the seeming inevitability of a final confrontation between uncle and nephew. Dickens cannot yet bring his tale to a conclusion and meanwhile, with four young people on his hands, he has to figure out what to do about matchmaking (a topic dear to the heart of any novelist). Having Madeline fall ill strikes me as a device to essentially “put her on ice” for a while. And getting Nicholas out of town may permit him to cool his ardor while taking him out of Ralph’s reach as well.
All that aside, Mrs. Nickleby reminds me of a somewhat addled, self-important old hen, squawking, fluffing herself up, hopping from one notion to another, while contributing nothing of particular use to the situation. I don’t recall whether we had yet identified which real person Dickens patterned her on. She is so annoyingly realistic that It seems to me unlikely that Dickens invented her out of nothing!

[Bionic Jean, "Dickens Duchess"]

Jim said "I don’t recall whether we had yet identified which real person Dickens patterned her on"

Mrs Nickleby is based on his mother, Elizabeth Dickens, (who famously queried whether anyone would really behave like that😆), Jim.

LINK HERE for my earlier post on her (including a portrait)

and for a reminder of Robert L. Caserio's unusual critical view of Mrs Nickleby, (prefaced by my thoughts 😊) for those interested in the current discussion, please LINK HERE for my earlier post.

[Bridget]

Bionic Jean wrote: "My favourite quotation in this chapter is a detail in Arthur Gride’s house, where:

“the long-legged spider paused in his nimble run, and, scared by the sight of men in that his dull domain, hung m..."

Jean, I underlined this quote in my book as well! I loved how the spider "played possum" at the sight of men. Given the gruesomeness of those two men, I would have done the same!

I very much enjoyed the interaction between Ralph and Squeers. It's someone pleasurable to watch these two despicable men try to maneuver each other. Dickens skillfully writes the schoolmaster as so slimy and slithery in his greed for more money from Ralph. Always trying to squeeze the last drop of honey from the honey pot. But he's no match for Ralph who (even though I detest him) always amazes me at how easily he manipulates people. It's like he's Satan himself twisting people to his will.

I've wondered for most of this novel whether redemption is in the cards for Ralph Nickleby. Sometimes Dickens does that with his villains, especially when they are related by family to the title character. After this chapter, I'm leaning towards no redemption.
But there is more tale to be told.

[Kathleen]

Ralph’s dislike of Nicholas is an obsession. His belief that Nicholas knows more about him and is trying do mischief against him is beyond reasonable. Nicholas is busy at work and at home he worries about his family, Smike and Madeleine.

But we have a new mystery. Who took Arthur’s papers and what will that person do with them?

[Sara]

Peg knows exactly how to do the most damage to Gride, even if she is unable to read and know exactly what the damage is. That he and Ralph should both be ruined is, as Shakespeare would say, "a consummation devoutly to be wished."

Thank you, Jean, for the explanation of the crash. I felt it must be something akin to the Stock Market Crash of the 1920s, and it would appear that is correct. People were wiped out overnight. I was not envisioning Ralph as being quite so well off, just well-off compared to Nicholas. Might he actually be as well off as the Cheerybles?

[Sue]

And Peg is likely still angry at Gride for marrying, not knowing what happened and that her place was secure in that horrible household.

My favorite quote comes after Squeers has given a lengthy response to Ralph’s question “how do you do?”

‘Mr. Squeers,’ said Ralph drily.
‘Sir.’
‘We’ll avoid these precious morsels of morality if you please, and talk of business.’

No need for any fakery between scoundrels.

[Katy]

Sue, I enjoyed that quote also. I also laughed out loud at the scene where the neighbors were all speculating about what happened to Peg, especially the comment that she had fallen into a fit after being frightened by the sight of food, since she wasn't used to it. I also thought the comments about Ralph being Arthur's bride were very humorous.

I think Ralph's plan to hurt Nicholas by taking away Madeline's wealth is going to fall flat. Judging by Nicholas' reaction to Frank and Kate, it seems like he would be more encouraged to marry Madeline if he thinks she is poor.

[Sue]

Katy, I agree about Nicholas and his intentions. I believe at this point he has no knowledge of any possible inheritance coming to Madeline anyway. He fell in love with her appearance not anything else.

Yes, I enjoyed those other examples you mentioned too. Dickens can mix in humor with the absurd actions of evil men can’t he.

[Sara]

I think Nicholas does know that Madeline has an inheritance coming to her. It was revealed to him by Newman and he tried to tell her as much when he was attempting to dissuade her from the marriage but she scoffed at it as a ridiculous hypothetical.

[Bionic Jean, "Dickens Duchess"]

Bridget - we evidently have the same sense of humour! 😂

There are so many great observations here, but it's already nearly evening for me, so I should post the next chapter in case anyone's waiting! And I'll try to incorporate some of them later.

[Bionic Jean, "Dickens Duchess"]

Chapter 57: How Ralph Nickleby’s Auxiliary went about his Work, and how he prospered with it

A one-eyed man, wearing dirty clothes far too large for him as a disguise, sits alone in a poor and wretched attic of a house near Lambeth. Even Mrs Squeers would find it difficult to recognise her husband. He is not in a happy state of mind, having spent six weeks following Peg Sliderskew. Disconsolately he swigs from a black bottle and gazes at the damp patches on the ceiling, complaining to himself about having to follow the “blessed old dowager petty larcenerer”, and musing to himself about Ralph Nickleby:

“He’s what you may call a rasper, is Nickleby. To see how sly and cunning he grubbed on, day after day, a-worming and plodding and tracing and turning and twining of hisself about, till he found out where this precious Mrs. Peg was hid, and cleared the ground for me to work upon. Creeping and crawling and gliding, like a ugly, old, bright-eyed, stagnation-blooded adder!”

Squeers begins to worry about Dotheboys Hall while he is gone, but reminds himself that he will make £100 from this, and cheers up a little:

“one hundred pound is five boys, and five boys takes a whole year to pay one hundred pounds, there’s their keep to be substracted, besides. There’s nothing lost, neither, by one’s being here; because the boys’ money comes in just the same as if I was at home, and Mrs. Squeers she keeps them in order.”

He takes out a well-thumbed letter from his wife to enjoy again. It tells him all about all the animals, and then adds about the boys—which child is sick, which one has died, which one is complaining about the food, and so on. Squeers says he will have to give several beatings when he returns, but doesn’t mind that. He drinks a final toast to his wife:

“leering with his one eye as if the lady to whom he drank had been actually present”

and goes to knock on Peg Sliderskew’s door, which is opposite his. She lives in “a garret far more deplorable than that he had just left”. As there is no reply he walks in, remembering that she is deaf.

They greet each other but it soon becomes clear that neither understands the other. However when Squeers shows Peg the black bottle, toasts her and hands her a glass:

“Mrs. Sliderskew … blinking and chuckling, and with looks expressive of her strong admiration of Mr. Squeers, his person, manners, and conversation”

is willing to chat a little.



“Do you see his? This is a bottle.” - Fred Barnard - 1875

Squeers holds forth “with tipsy profundity and a serio-comic air,” but Peg Sliderskew cannot hear a word. After a little more from the bottle for them both, Squeers mentions the £20.10s he gave her the first time they met.

“‘Ah!’ said Peg, shaking her head, ‘but you frightened me that day.’”

Squeers knows why that is, he says; it is because he knew so much about her, and Peg agrees. He tells her that he is a lawyer of first rate standing, who can help people who have got themselves into trouble by stealing things. But Peg Sliderskew interrupts, laughing and saying that Arthur Gride didn’t marry then, after all. Squeers says no—and she adds that a young lover came and ran away with Gride’s bride. Clearly having heard it all before, Peg begs him to tell the story again with great relish, so Squeers repeats the story - with embellishments. He plies Mrs. Sliderskew freely with the liquor, and agrees with her that she has got her revenge; in fact she is now a long way ahead:



“Introducing Peg Sliderskew, Gride’s Grotesque Housekeeper
- “Fill it again, and hand it over to you.”” - Charles Stanley Reinhart - 1875

“Mrs. Sliderskew was in an ecstasy of delight, rolling her head about, drawing up her skinny shoulders, and wrinkling her cadaverous face into so many and such complicated forms of ugliness, as awakened the unbounded astonishment and disgust even of Mr. Squeers.”

He wants Peg to show him the papers in order for him to show her which are the deeds, so she can burn them, but Peg isn’t willing to show them just yet. He tells her she is a bold woman to keep papers she could turn into money. She agrees, but then Squeers pretends that he doesn’t want to see them after all. He might have carried on a little longer, but Peg Sliderskew becomes very affectionate in her desire to please, so he hastily agrees, and asks her to bolt the door.

Peg does so, and fetches the wooden box from its hiding place under the coals, and the key to it from under her pillow. She wants to burn what isn’t useful, get money for the papers which are valuable, and:

“if there’s any we could get him into trouble by, and fret and waste away his heart to shreds, those we’ll take particular care of; for that’s what I want to do, and what I hoped to do when I left him.”

Squeers asks her why she didn’t take money as well when she left, but Peg says that Arthur Gride would have pursued her if she had taken money. She took what she thought his secrets were hidden in, which he couldn’t risk being made public. Squeers approves of this, and tells her to burn the box after emptying its contents, (but really in order to distract her, while he looks for the deed among the papers).

“And taking the candle down beside him, Mr. Squeers, with great eagerness and a cunning grin overspreading his face, entered upon his task of examination.”

Both he and Peg are too distracted in their tasks to notice that Frank Cheeryble and Newman Noggs have quietly entered the room:

“The old woman, with her wrinkled face close to the bars of the stove, puffing at the dull embers which had not yet caught the wood; Squeers stooping down to the candle, which brought out the full ugliness of his face, as the light of the fire did that of his companion.”



“Squeers and Peg play havoc with Gride’s Papers - Harry Furniss
- 1910

The newcomers advance stealthily with anxious faces, and:

“Newman had caught up, by the rusty nozzle, an old pair of bellows, which were just undergoing a flourish in the air preparatory to a descent upon the head of Mr. Squeers”

when Frank stays his hand. Squeers can’t find the deed he is looking for, and scrutinises the first one carefully.

“Having tried it by reading from left to right, and from right to left, and finding it equally clear both ways, he turned it upside down with no better success”

he orders Peg to burn it. He goes through them all one by one, saying which should be burnt and which kept. Peg follows his instructions. Then he finds one which makes him excited:



“Mr. Squeers and Mrs. Sliderskew Unconscious of Visitors- Hablot K. Browne (Phiz) - September 1839

“Ah! “Madeline Bray—come of age or marry—the said Madeline”—here, burn that!’
Eagerly throwing towards the old woman a parchment that he caught up for the purpose, Squeers, as she turned her head, thrust into the breast of his large coat, the deed in which these words had caught his eye, and burst into a shout of triumph.“

But Squeers’s jubilation is short-lived, because the bellows finally descend on his head, felling him to the floor.

[Bionic Jean, "Dickens Duchess"]

This is probably another chapter which makes us want to cheer in the end! As it proceeds, Charles Dickens’s descriptions are some of his most grotesque and theatrical.

The end scene with four people: Squeers and Peg Sliderskew, with Noggs and Frank creeping up behind them:

“with the large bare room, damp walls, and flickering doubtful light, combined to form a scene which the most careless and indifferent spectator (could any have been present) could scarcely have failed to derive some interest from, and would not readily have forgotten.”

is almost a tableau, but I can imagine this entire chapter staged, with Squeers soliloquising to an audience’s reaction, and also the reaction to his own distaste about Peg Sliderskew.

Oddly enough, I had just written this commentary yesterday when I read Sam and Claudia’s comments about both the theatrical nature of chapter 56, and Ralph’s soliloquy! Now we have another even more pronounced soliloquy by the tipsy Squeers. It's odd that his strong Yorkshire accent has been considerably reduced since the early chapters. Perhaps readers in other areas such as Londoners - and Americans - complained that they couldn't understand it.

[Bionic Jean, "Dickens Duchess"]

No wonder this is the Charles Dickens novel chosen to be produced on stage in such a complete way, over 8 and a half hours (2 evenings). Here’s the link again - no spoilers - and there is a fantastic DVD of it. https://en.wikipedia.org/wiki/The_Lif...

This also went to America, and recently has been staged at Chichester, although cut to only 6 hours I think. (My cousin knows about stuff like this, as he used to be a stage technician, going round the country doing things like making Mary Poppins or Chitty Chitty Bang Bang fly - or the huge chandelier fall, and building the underground canal in The Phantom of the Opera.)

Sam - Indeed, I used to be an avid theatre-goer - every Friday I’d be able to see a different play in London’s West End, as there was a ticket booth selling half price tickets on the day. I’d never know quite what it would be though until the last minute! I’m sure others are too, such as Connie. How about you? You often seem to comment on stage effects, or cinematic lighting in scenes. It is very easy to visualise these previous two chapters on stage, isn't it?

[Bionic Jean, "Dickens Duchess"]

This part where Squeers tries to quote (as usual) from a grammar book he must have, is such hilarious nonsense!

“’Ah! it’s me, and me’s the first person singular, nominative case, agreeing with the verb “it’s”, and governed by Squeers understood, as a acorn, a hour; but when the h is sounded, the a only is to be used, as a and, a art, a ighway,’ replied Mr. Squeers, quoting at random from the grammar. ‘At least, if it isn’t, you don’t know any better, and if it is, I’ve done it accidentally.’”

If you go through it, every single thing here is incorrect!

My favourite quotation? Perhaps - but I enjoyed the ghastly grotesquerie here:

“Mrs. Sliderskew was in an ecstasy of delight, rolling her head about, drawing up her skinny shoulders, and wrinkling her cadaverous face into so many and such complicated forms of ugliness, as awakened the unbounded astonishment and disgust even of Mr. Squeers.” 😆

Anyway, let’s hear your thoughts. And please remember there are 4 chapters in this installment, so there’s another one tomorrow. 😊

[Kathleen]

I just want to repeat how much I am enjoying the illustrations, Jean--thank you. The last two, the Furniss and the Phiz were interesting to compare.

The Phiz is in the copy I'm reading, but I appreciate the Furniss even more. You could even say some of the dramatic elements you're talking about can be found here: the way Furniss has depicted Frank and Newman in shadow, the lovely allusion of the fire without actually picturing it, Peg's arthritic fingers, and the way you can almost feel the greasiness of Squeers' coat.

It's a little masterpiece!
Kathleen C.

[Sue]

This chapter surprised me…I didn’t expect the observers though I was very glad for who they were and that they showed up. I wonder now if Noggs had a special, secret way to get back into the office to listen to Nickleby’s meeting with Squeers or if he simply alerted Frank or someone else to keep an eye on Squeers. What a long wait they had before this payoff.
I remember Noggs hid once before but I thought that was when he pretended to leave, not escorted out by Ralph.

[Shirley (stampartiste)]

Sue, I love your thoughts on how Noggs could have found out what was going on between Ralph and Squeers. I, too, had wondered about that closet, but gave up on that when Ralph locked him out of the office. It is a good question! I am so glad that Frank and Noggs showed up at just the right time! And Noggs finally got to hit somebody for real instead of shadow boxing. LOL

What this chapter left me with was a further understanding of the baseness of Squeers. How many businessmen would have stooped to stay in those quarters he was living in? I could just feel the ooze and slime dripping off the ceiling and working their way down the walls. In some ways, it was worse than Gride's place. Squeers really came off as no higher on the social scale than old Mrs. Sliderskew.

The other thought I had about Squeers was that he very much was a slaver at heart. The way he thought of those boys in his "care" was very reminiscent of how slaves are valued. No thought of their humanity: "Still, one hundred pound is five boys, and five boys takes a whole year to pay one hundred pounds, and there's their keep to be subtracted, besides."

We have met so many despicable people in this novel... Ralph Nickleby, Squeers, Sir Mulberry Hawk, Arthur Gride... Each of them are despicable in their own unique way. It's amazing how Dickens was able to delve the depths of depravity and give each of these men a measure of that depravity.

[Bionic Jean, "Dickens Duchess"]

Kathleen wrote: "I just want to repeat how much I am enjoying the illustrations, Jean--thank you ....I appreciate the Furniss even more. You could even say some of the dramatic elements you're talking about can be found here"

I know exactly what you mean Kathleen! Harry Furniss is quite a bit later, at 1910, but I think his drawings are always so artistic. 🥰

I'm so pleased you're enjoying them. I tear my hair out sometimes, as all these later Fred Barnard ones are mislabelled and have the wrong accompanying text - and 2 days ago one by Sol Eytinge Jnr. was even misattributed to The Old Curiosity Shop! 🙄

But it's worth it, as once I've managed to put them all in the right place, I do think like you that they add something 😊

[Bionic Jean, "Dickens Duchess"]

Sue and Shirley - Never fear, Charles Dickens will answer all these questions in a couple of days' time! He's just teasing us and keeping us guessing! 😁

[Sara]

Glad to know answers are coming, Jean. These chapters are written to keep us in a stew. I remember this feeling from when TV was young and you watched a show that left you with all kinds of unanswered questions...so that you could hardly wait for the week to pass so that you could get to the next episode.

Shirley: "We have met so many despicable people in this novel... Ralph Nickleby, Squeers, Sir Mulberry Hawk, Arthur Gride... Each of them are despicable in their own unique way." I so agree with what you have said. Dickens manages to give us evil in varying degrees and with different faces, but we recognize it as the depths of human degradation in each of them.

[Kathleen]

This scene takes place six weeks after Squeers agreed to get the stolen documents from Peg. I assume that during that time Noggs discovered what Ralph was up to and thus could intervene. But, the timing does seem a bit too convenient, to put it mildly.

[Peter]

Shirley (stampartiste) wrote: "Sue, I love your thoughts on how Noggs could have found out what was going on between Ralph and Squeers. I, too, had wondered about that closet, but gave up on that when Ralph locked him out of the..."

Thanks for the comment that Noggs finally gets to hit someone rather than simply shadow box. I totally missed that connection.

Now, I am hoping that there will come a reckoning between either Noggs and Ralph Nickleby or Nicholas and his uncle. Perhaps both? I don’t need any violence but a complete humbling of Ralph Nickleby would be a delight.

[Sue]

Shirley, I agree that Squeers is, in essence, a slave holder at heart (using the word heart metaphorically only). His attitude toward people in general is how he can use them or avoid being used. And, as to his surroundings in this terrible place, it appears he has finally found a place that lives down to his level, lower than even Gride.

[Bionic Jean, "Dickens Duchess"]

OK, it's another day, another chapter and another complete change of mood from Mr Dickens. 🤔

[Bionic Jean, "Dickens Duchess"]

Chapter 58: In which one Scene of this History is closed

Nicholas is travelling in the coach with Smike, having divided the trip into two days to give Smike the opportunity to rest. Nicholas is returning to the place where he grew up, and recalling the happy childhood he had.

He never leaves Smike’s side:

“To encourage and animate him, administer to his wants, support and cheer him to the utmost of his power, was now his constant and unceasing occupation”

although Smike’s health continues to deteriorate. Whenever he feels strong enough Smike shows an interest in visiting places which had been Nicholas’s favourite haunts. They rested in “a humble lodging in a small farmhouse, surrounded by meadows where Nicholas had often revelled when a child with a troop of merry schoolfellows”. Nicholas reminisces about his childhood more and more, and about the places he and Kate used to go to, when they were children.

“Nicholas made such spots the scenes of their daily rambles: driving him from place to place in a little pony-chair, and supporting him on his arm while they walked slowly among these old haunts, or lingered in the sunlight to take long parting looks of those which were most quiet and beautiful.”

Nicholas even takes Smike to the graveyard to visit his father’s grave. He tells Smike that Kate had once got lost, and been found in this spot. His father had wished to be buried there, so he could always hold out his arms to the ones he loved, just as he did that day when he gathered her up in his arms.

Later, waking from what seems to be a slumber, Smike tearfully asks Nicholas to promise him something. He would like to be buried near the tree too, and Nicholas promises earnestly that he will be.

“His poor friend kept his hand in his, and turned as if to sleep. But there were stifled sobs; and the hand was pressed more than once, or twice, or thrice, before he sank to rest, and slowly loosed his hold.”

After a fortnight, Smike becomes too ill to be driven around as the motion of the chaise makes him faint, which is dangerous. Nicholas places a couch in a little orchard, and they spend time there, with Smike well wrapped up. Sometimes they would sit there together for hours.

One evening, Smike is watching the sunset from his couch. Nicholas has fallen asleep, but is awakened, terrified by Smike screaming, to see:

“to his great astonishment, that his charge had struggled into a sitting posture, and with eyes almost starting from their sockets, cold dew standing on his forehead, and in a fit of trembling which quite convulsed his frame, was calling to him for help.””



“The Recognition” - Hablot K. Browne (Phiz) - September 1839

Smike clings to him in terror saying that there is something behind the tree, but Nicholas says he has been dreaming.



“Smike’s Delusion” - Harry Furniss - 1910

Smike begs Nicholas not to leave him for an instant, saying that he saw the man who first took him to the school. Nicholas says he will never leave him, and tries to convince Smike that it is his imagination. Even if he was still alive, and wandering here, could Smike still recognise him? But Smike is insistent:

“just now, he stood leaning upon his stick and looking at me, exactly as I told you I remembered him. He was dusty with walking, and poorly dressed—I think his clothes were ragged—but directly I saw him, the wet night, his face when he left me, the parlour I was left in, and the people that were there, all seemed to come back together. When he knew I saw him, he looked frightened; for he started, and shrunk away. I have thought of him by day, and dreamt of him by night. He looked in my sleep, when I was quite a little child, and has looked in my sleep ever since, as he did just now.”

Nothing will dissuade Smike from his belief, so having made sure Smike is safe for a few minutes with the people who own the house, Nicholas immediately makes a thorough search of the area:

“behind the tree, and through the orchard, and upon the land immediately adjoining, and in every place near, where it was possible for a man to lie concealed”

but it is all in vain. Neither, the people tell him, have any strangers arrived. Nicholas’s fears are calmed, although Smike:

“still declared, again and again, in the most solemn and fervid manner, that he had positively seen what he had described, and that nothing could ever remove his conviction of its reality.”

Finally comes a day when Smike, worn and wasted, has no strength and is exhausted:

“There was little pain, little uneasiness, but there was no rallying, no effort, no struggle for life.”

Nicholas knows that his time is near, and every now and then checks to see that he is still breathing. As he watches “the closed eyes opened, and on the pale face there came a placid smile.”

Smike says he has had such happy dreams, and that:

“’I shall soon be there!”
After a short silence, he spoke again.
‘I am not afraid to die,’ he said. ‘I am quite contented.’“

He welcomes death, and is certain he will meet Nicholas again.

Now Smike says that he has a secret which he must tell Nicholas. Although he know he should not have a secret from him, he knows Nicholas would not blame him, at a time like this.

Smike at last hesitatingly reveals his secret, and:

“Nicholas learnt, for the first time, that the dying boy, with all the ardour of a nature concentrated on one absorbing, hopeless, secret passion, loved his sister Kate.”

Smike had removed himself from her company whenever Frank visited, because it broke his heart to see them together, even though he knows that Frank loves her. He asks Nicholas to bury him with the lock of Kate’s hair, which he wears around his neck folded into her ribbons, so that nobody will see it. Upon his knees, Nicholas promises to do this, and to make sure Smike is buried by the tree, where he wishes. They embrace each other, and Smike:

“fell into a light slumber, and waking smiled as before; then, spoke of beautiful gardens, which he said stretched out before him, and were filled with figures of men, women, and many children, all with light upon their faces; then, whispered that it was Eden—and so died.”



“Smike Dies in the Arms of Nicholas - ”Now,“ he murmured, ”I am happy.” - Charles Stanley Reinhart - 1875

[Bionic Jean, "Dickens Duchess"]

This is the end of Installment 18. Installment 19 begins with chapter 59, on Tuesday

[Bionic Jean, "Dickens Duchess"]

Smike

This chapter, full of pathos, is probably as difficult for us to read now as it ever was. Smike had to die, but it doesn’t make it any easier for us to bear. Smike is a strange character, but his goodness has been stressed throughout, plus the fact that he is a victim, bringing out the worst in both Squeers and Ralph, who have hounded him to his death.

We had so many clues as to Smike's nature, right from the start, where he obediently performs as a slave to the Squeers family, but is so irrevocably damaged by harsh treatment and victimisation that he remains a child in his mind, even when an adult.

When he has been recaptured by Squeers who beats him in the coach, Smike:

“warded off the blows as well as he could and now shrunk into a corner of the coach with his head resting on his hands and his elbows on his knees, he was stunned and stupefied and had no more idea that any act of his would enable him to escape from the all-powerful Squeers, now that he had no friend to speak to or advise with, than he had in all the weary years of the Yorkshire life which had preceded the arrival of Nicholas.”

His only thought is to be loyal to Nicholas, and he would do this even if the beating killed him. Nicholas is the only being who has ever shown compassion towards him. But we have a sense of foreboding when Nicholas tells him he has a sister. Kate and Nicholas are two years apart in age, but several times in the text their similarity in looks and values has been stressed. Think of when they arrive to rescue Madeline, or how she confuses them. They could be identical twins, so it is predestined that Smike would fall in love with Kate. Smike may be stunted, but he has the feelings of a grown man.

By the way, there are two episodes which remind us uncannily of Oliver Twist. One is this one, which is similar to (view spoiler)[ Oliver's recapture by Sikes and Nancy (hide spoiler)], and the other is right at the end where Smike sees someone hiding behind a tree. In Oliver Twist when (view spoiler)[Oliver sees Fagin and Monks behind his window, (hide spoiler)] that was a dreamlike mesmeric episode. It was not possible in any way, as we examined, but here we know that it actually happened, because Charles Dickens tells us so! He just doesn't reveal how, yet. 🤔

When they are a part of the theatrical troupe, unlike Nicholas who finds this way of life beneath him: slightly embarrassing and absurd, Smike comes into his own. He works at his full mental capacity to learn his lines, helped by the patient Nicholas, and most importantly he is accepted for what he is.

Peter suggested in ch 25 that we pay attention to the play they are performing, which was William Shakespeare's Romeo and Juliet. This is a bit of a hint as to what Smike’s destiny will be.

Around now too, Nicholas jokes with Smike that he can be his “squire”. This is also portentous.

Although Smike would have no idea of the chivalric code and tradition, Nicholas obviously does. Squires were the second step to becoming a knight, after having served as a page. Boys served a knight as an attendant, doing simple but important tasks such as saddling a horse or caring for the knight’s weapons and armour. The squire would sometimes carry the knight’s flag into battle with his master. All noble and good, and quite a compliment for Smike, intended to cheer him up and encourage him to be bold on their journey.

However, I believe there is a subtle subtext here.

You may know “The Squire’s Tale”: a tale in Geoffrey Chaucer’s The Canterbury Tales. Here the Squire is the Knight’s son, a novice warrior and lover with more enthusiasm than experience.

We can also think of Lancelot in various tellings of King Arthur and the Knights of the Round table, who becomes enamoured of Guinevere (as she does of him). Knowing now what Smike’s destiny will be with Kate, this allusion is even more poignant.

All the theatre troupe are outcasts because of their way of life, (acting is regarded as disreputable) and all are eccentrics. They are the only people who truly accept Smike, and do not take advantage, or seek to change him - except Mrs Nickleby - who (I think it was) Sue pointed out, call him “Mr Smike” as a term of respect. (Mrs Nickleby incidentally is also the only character who never declaims. She may be chatty but she is always herself, and never plays a role!)

Miss Le Creevy recognised that Smike was unhappy, and although it was clear to us and some of the characters that he was in love with Kate, she also recognised that it was because he didn’t fit in, and was even more aware, as she said, of his own deficiencies. The middle class bourgeois lifestyle may have been the answer to a dream for the Nicklebys, but I think it has been a death sentence for Smike. Remember his words:

“‘Home!’ faltered Smike, drawing timidly back …‘In the churchyard we are all alike, but here there are none like me. I am a poor creature, but I know that well.’”

and in chapter 55, Smike is praying for release from this world, when he clasps his hands together, and prays he will meet Nicholas and Kate in heaven, we are told:

“It sounded like the prayer of a broken heart.”

The overall drive of the final third of the book is no longer Nicholas’s adventures in the world, but a search for normality, a home, and a family. Much as his friends tried, there is no place for Smike here, and he knows it better than anyone. We are given to understand that Smike has died partly of a broken heart as well as consumption (to which the doctor said he was prone, because of his early maltreatment).

There are many places where we can see that the text is foretelling what Smike’s destiny will be. Perhaps you are trying to square this with our knowledge that this novel was unplanned, but there is another aspect which explains this, and which I’ll put in a new post.

[Bionic Jean, "Dickens Duchess"]

Individual Characters or “Roles”?

We’ve mentioned before that in the 1830s characters both on stage and in novels were still very much influenced by the 18th century tradition. The general public were not overly concerned with depth of character. What they wanted to see and read were roles in a pantomime. In Crummles’s theatre troupe, we have seen examples in Mr. Folair, the comedian and Mr. Lenville, the tragedian - as well as learning many authentic details about Victorian theatre. Nicholas Nickleby itself is dedicated to the great tragedian, William Charles Macready.

The public gloried in the grand gestures, exaggerated demeanour or body language, and histrionic speeches where actor declaim. Not only did they want to recognise familiar types in their reading, but they wanted to recognise known situations, and be able to predict the “right ending”. Goodness has to be rewarded and evil punished. We see ample evidence of this in Nicholas Nickleby.

The other day Sara mentioned how surprised she was that she had called Nicholas Nickleby “predictable” in her review (of an earlier reading). It was in regard to Walter Bray's death, and others here also realised beforehand that there could be no other satisfactory ending, which would thus release Madeline. But the fact that we could guess this, does not make it a fault.

So Sara was surprised, not (I think) because it isn’t true, but because she then - as many other present-day readers continue to - regarded this as a fault. However one thing we’ve learnt from our reading of Charles Dickens’s early plays, is that viewing melodrama, stock characters and predictability as faults is merely a blinkered, modern attitude. The early Victorians loved these aspects, but today if you hear someone say a book or drama is “melodramatic”, or “predictable” these are both used pejoratively. I don’t believe I’ve ever heard those words used now as anything but a criticism.

But if we remove our modern lenses, and imagine ourselves back in the early 19th century, this book is a marvel. Not only does it function perfectly by the ideals of the time, but whereas every person in it is playing a role, it even includes an actual theatre troupe, who play their roles professionally, but unlike many characters outside their world, they have no intent to deceive in their real life. They represent a sort of microcosm of real life, much of which in Nicholas Nickleby is peopled by pretenders.

Too many people regard Nicholas Nickleby as one of Charles Dickens’s "lesser" novels, simply because of a misunderstanding of what it is trying to do. It should never be judged in comparison with Charles Dickens’s later novels, which conform much more to our modern ideals. Neither should it be judged in comparison with 18th picaresque novels. Although Charles Dickens titled this “The Life and Adventures of Nicholas Nickleby, Containing a Faithful Account of the Fortunes, Misfortunes, Uprisings, Downfallings, and Complete Career of the Nickleby Family”, and was to include elements of the picaresque all his life, it is evident that during the writing of it Charles Dickens has begun to move away from this. Nicholas Nickleby is virtually uncategorisable, and unique.

Returning to the roles, which Victorian readers longed to see in their books, how many of these can you identify?

The gallant hero
The beautiful and virtuous young woman (if she is poor, so much the better!)
The ogre
The witch
The fool
The rustic with a heart of gold
The wicked uncle
The miser
The villain
The flirt
The flunkey
The brainless aristocrat
The fairy godmother, or benevolent stranger
The penniless drudge
The child as victim
The dotty old woman
The worthy and devoted friend
The hypocrite

You may well think of others, but I have a feeling that our answers to these may be very similar! All the characters in Nicholas Nickleby are larger than life, and brilliantly depicted. Charles Dickens has nailed it! And if he also gives us the endings which we wish for each of these, according to the conventions beloved by early Victorians, Nicholas Nickleby is a great achievement indeed.

Smike makes us weep … but we always knew he would. And I console myself with the fact that he achieved great happiness, for a time.

[Bionic Jean, "Dickens Duchess"]

I’m so excited to see your responses to today’s heart-breaking chapter, but will just add that we are now in the installment which was published in September 1839. If you ever doubt how “close to the mark” Charles Dickens wrote his episodes, according to one of his letters (in Pilgrim letters) Charles Dickens finished the entire novel on 20th September and the next day he wrote to William Charles Macready asking permission to dedicate it to him.

Lots to think about here, and I'll see you on Tuesday!

[Claudia]

Thank you Jean for these comprehensive posts. Indeed this chapter was heartbreaking even if we knew that Smike's health was very precarious.

I noticed the sudden appearance of the unknown man whom Smike recognised as the mysterious and still unidentified one who took him to Dotheboys and whom he mentioned in chapter 22, "The dark withered man". We met someone whose description corresponded in chapter 44, "roughly clothed in shabby garments", eventually identified as Brooker and whom Ralph knows very well, and who got in touch with Newman Noggs.

Interestingly the common denominator formerly"dark withered", has shifted to "shabby", "poorly dressed", clothes ragged".

After this sad event, we are expecting to learn more about this strange character who has vanished into thin air.

[Lee]

”Individual Characters or Roles”

Bravo, Jean! You express here so much of what I have learned from NICHOLAS NICKLEBY, Victorian literature, and how this particular novel fits into the entire span of Charles Dickens’s fiction. Learning to appreciate melodrama as an art form in itself has greatly refined my appreciation of 19th century literature.

Thank you so much for such an informative post - and I don’t even touch upon the significance of archetypes in literature that you have introduced!