Martin Chuzzlewit 3: Chapter 21 - 35

[Shirley (stampartiste)]

Bionic Jean wrote: "You may take your slime drafts till you flies into the air with efferwescence..."

is not as creatively Mrs. Gampian as it may seem!"

Thank you so much for this full explanation, Jean! I can see I would have never been able to figure it out for myself. Apparently, there were no prescribed dosages for these potent draughts. Another example of Mrs. Gamp's "expert care" at keeping her patients quiet while she eats and sleeps?

[Cindy]

I'm just getting caught up--my son is visiting from Oregon (I'm in Texas), so we have been focused on entertaining and spending time with him.

I knew that Jonas was not going to treat Mercy well but I have to admit that I didn't think it was going to be as bad as it is. He's threatening to kill her! I'm curious to know whether Pecksniff is aware of his daughter's plight, or if he cares. I can imagine him mentally dusting his hands of her after the wedding. On the other hand, I can see Jonas being a complete jackass to her in front of her father, which would not correlate with Pecksniff's ideas of the respect that is due him.

I do like Bailey and I hope that his knowledge of Jonas's threats and behavior leads to rescue for Mercy. Maybe the whole Poll Sweedlepipe/Mrs. Gamp connection will lead to Mr. Westlock rescuing her. He seems nice enough to do it! I'm also anxious to find out what is happening with our swamp-dwelling contingent of characters in America because I can't imagine how they are going to escape their current predicament! Seeing the similarities between the con artists and toad-eaters on both continents has been fascinating, though. Humans are going to human, no matter where they are!

[Bionic Jean, "Dickens Duchess"]

Kathleen - You’re welcome and I’m pleased you are enjoying Dickens’s comic creations. “I found the bloody mess of Bailey’s poor pimpled face pretty funny.” When I shared that bit with my husband, he made an agonised sound, remembering tender teenage shaving trials. 😂

Here’s another delightful illustration of our bold young Bailey:



“Mr. Bailey and Poll Sweedlepipe” - Sol Eytinge - The Diamond Edition - 1867

Yes, we still have the delights of Pickwick to come! It was one of the last ones I read too. And I’m now thinking Louisa May Alcott must have been quite a Dickens fan!

Peter - “Even within the humour, however, the mechanics of the plot move us forward.” This never ceases to amaze me! I’ll stop reading what I assume is a “much deserved reprieve” either from dread or disgust, with a happy smile on my face assuming what I’ve read is just a farcical interlude - and then realise that it has also moved the plot on quite a lot too! Thank you for these great observations.

[Bionic Jean, "Dickens Duchess"]

Peter and Chris - Corpse humour?

Mr. Mould (what a fabulous name for an undertaker by the way!)’s comment “He’s coming our way, perhaps, after all.” made me laugh too! I was going to call it “graveyard humour”, but it’s not even that. Charles Dickens loves finding grotesque humour in ever aspect of illness and death, doesn’t he? Bridget’s quotation made me laugh as I read it too.

I’m now remembering Mrs. Gamp’s immortal line in chapter 25:

“He’d make a lovely corpse”

and am put in mind of the interchange between Mr. Bumble who runs the workhouse and Mr. Sowerberry the undertaker, in Oliver Twist:

“‘The prices allowed by the board are very small, . .’ ’So are the coffins,’ replied the beadle.” (chapter 4)

As you say Chris, we just hope it’s not in every funeral director’s mind as they sum people up.

In fact reading through all these quotes and comments, John and Sue was such a tonic, that I felt as if I was reading the chapter all over again!

[Bionic Jean, "Dickens Duchess"]

Shirley - “Another example of Mrs. Gamp’s ”expert care“ at keeping her patients quiet while she eats and sleeps?” Ouch yes! Good point. I feel sure she will slip in a bit of opium to keep him quiet now and then.

Cindy - Yay! I’m glad to see you back and trust all are having a happy time. As you say you can always catch up … Somehow I think Pecksniff’s major thought is to “mentally dust[…]his hands of her after the wedding”. He seems so totally fixated on himself. Oh gosh, I hope you’re right about someone rescuing Merry. At the moment she seems destined to become a tragic Victorian heroine.

Ah, I promise it will not be too long before we will return to our friends in America. Dickens knows how to time things to perfection, doesn’t he?

So let’s see if the humour continues today with our new installment…

[Bionic Jean, "Dickens Duchess"]

Installment 12:

Chapter 30: Proves That Changes May Be Rung in the Best-Regulated Families, and That Mr. Pecksniff Was a Special Hand at a Triple-Bob-Major

All is not well in the Pecksniff home. Charity refuses to let go of her jealousy and anger, and fights constantly with her father. At dinner they quarrel, and Charity tells Mr. Pecksniff that she has been used, and will do as she pleases from now on. She accuses Mr. Pecksniff and Mercy of conspiring to make her look like a fool. Charity tells her father that she can no longer live in the same house with him, and suggests that he arranges for her to go to Todgers’s.

Meanwhile, the elder Martin Chuzzlewit is apparently beginning to weaken and fade with age. Mr. Pecksniff enjoys finding him easier to manipulate, and works on securing control of Martin Chuzzlewit’s money. He sees Mary as an impediment, and considers marrying her to secure his inheritance, though she clearly has no interest in him. This plan is also appealing to Mr. Pecksniff because it would be a way of getting back at the younger Martin Chuzzlewit.

Mr. Pecksniff goes to see the elder Martin Chuzzlewit, who appears to be getting deaf and a little slow. He tells Mr. Chuzzlewit that Charity is missing her sister, so she will go to London to be nearer to her. He also says that he is alone in his house now that Charity is leaving, and suggests that Mr. Chuzzlewit and Mary move in with him. Mr. Chuzzlewit agrees and says he will pay all the expenses.



“Rustling among last year’s leaves, whose scent woke memory of the past, the placid Pecksniff strolled.” — Fred Barnard - 1872 Household edition

When Mary is out walking later, she is seen by Mr. Pecksniff. He approaches her and offers his arm, which she rejects.



“Mr. Pecksniff’s Courtship” - Sir John Gilbert - 1863

Mary tries to quickly walk home, telling Mr. Pecksniff not to touch her. However Mr. Pecksniff grabs her hand and declares ardently that he loves her:



“Mr. Pecksniff Makes Love” - Harry Furniss - 1910 ”

Mary tries to break free, but he continues to hold on to her and pour out his feelings. She firmly rejects his proposal and tells him that she will tell the elder Martin Chuzzlewit about Mr. Pecksniff’s behaviour. Mr. Pecksniff however, persists in clasping her hand and waist, and warns her not to upset the elder Martin Chuzzlewit, because it may have bad repercussions for the younger Martin. He finally take his leave of her near his house.

Inside the Pecksniff house, Charity is getting ready to leave. Mr. Pecksniff leaves and Tom Pinch enters the room. Charity tells Tom that she is still his friend, and always will be, but Tom feels sorry for the discord in the family and between the two sisters. The next day, Charity finishes her preparations and leaves for London.

[Bionic Jean, "Dickens Duchess"]

Well this was a surprise! Pecksniff’s star seems to be in the ascendant, but what moral depths will he sink to? He’s working on Old Martin, and the idea of him actually falling in love with anyone seems grotesque. He probably looks at Mary Graham and sees only £ signs in her beautiful eyes (i.e. money prospects). Now that Old Martin has moved into his Wiltshire cottage, Pecksniff probably plans to improve his chances of being the miser’s chief beneficiary by marrying Mary Graham.

But what would she see? An attractive older man? Hardly! The words Pecksniff uses are absurd, his overtly persuasive tone of voice and oily manner reveal him as a hypocrite. Charles Dickens’s writing makes the situation comes across as farcical and amusing, rather than being a threatened young woman in a wood. The description of him walking is so overblown and idealised; it is a Paradise. The birds could not sing any more sweetly, the leaves could not be any greener, the sun could not shine any more brightly etc. But he is the would-be serpent, and Mary is Eve.

Perhaps the most despicable part of Pecksniff’s proposal is when he threatens her, holding young Martin as his insurance that she will not tell old Martin Chuzzlewit, because he would take it out on the younger Martin. So what might happen now? Young Martin is across the world and unable to protect her, and the wily fox Pecksniff usually gets what he wants.

I was also surprised at Charity’s decision to leave, and complete reversal in her attitude to Tom. But then his knocking down of Jonas must have seemed positively heroic to her, since she feels like a jilted sweetheart. We have to wonder if she is aware of her sister’s
daily suffering at his brutal hands - or whether she would even care if she did.

[Bionic Jean, "Dickens Duchess"]

My favourite quotation

… has to be from Mr. Pecksniff’s courtship. Perhaps:

“Mary,” said Mr. Pecksniff in his tenderest tones, indeed they were so very tender that he almost squeaked: “My soul! I love you!””

or even better:

“She tried to disengage her hand, but might as well have tried to free herself from the embrace of an affectionate boa-constrictor; if anything so wily may be brought into comparison with Pecksniff.”

[Bionic Jean, "Dickens Duchess"]

And a little more …

The Illustrations.

The one by Fred Barnard for the Household Edition in 1872, (which I have on the seat next to me 🙂) is an unusual “dark” plate. Pecksniff himself is portrayed as a saintly figure, with a mock halo and sanctimonious clerical air.

There are only a few of these dark plates, and usually they are reserved for a threatening or menacing scene, yet here we have a perfectly peaceful woodland scene. So what is the illustrator conveying by choosing this mismatched mood? That the prospects are dark? That we are looking into Pecksniff’s very soul? Or something else?

Another plate here is by an artist whom we don’t often see, Sir John W. Gilbert R.A (1817-1897) https://en.wikipedia.org/wiki/John_Gi... He didn’t illustrate Charles Dickens much at all, but did paint a portrait of Dickens’s mother Elizabeth:



Sir John Gilbert produced four frontispieces for the four volumes in the American “Household Edition” of the early 1860s. We’ve looked at the ones for Bleak House and Little Dorrit during those reads.

His Seth Pecksniff is a successful, well-dressed bourgeois professional man of middle age, and Mary is an extremely fashionable beauty. I’m not sure either quite fits my mental image, but I like Pecksniff’s odd face! And I think it’s clever to accentuate the pretty glade, to emphasise the difference between what Mary’s idyllic surroundings are, to contrast ironically with what we know of Martin’s natural surroundings in America.

[Bionic Jean, "Dickens Duchess"]

I look forward to everyone's comments on today's chapter 30 🙂

[Connie]

Great commentary and illustrations, Jean!

I wonder if Dickens ever considered naming the book after Seth Pecksniff instead of Martin Chuzzlewit since so much of the story revolves around him. Some of the worst villains like Jonas are much more dangerous, but they hold my interest more than Pecksmith. Pecksmith is just so hypocritical, greedy, slimy, and unlikable. It's sad that Mary is being bothered by him when she does not have young Martin to protect her. The Furniss illustration depicts Mary's look of disgust and agitation quite well.

[Bionic Jean, "Dickens Duchess"]

Connie - It's interesting that you should say that, as Seth Pecksniff was actually the starting point for the whole book!

He is the first mentioned character in Martin Chuzzlewit, and John Forster tells us (when writing about how excited Charles Dickens was with his first installment):

"the notion of taking Pecksniff as a type of character was really the origin of the book, the design being to how more or less by every person introduced, the number and variety of humours and vices that have their root in selfishness."

He then wrote to John Forster that two of the most prominent figures surprised him as to how their characters opened out in his mind, "during the process of invention" and of how it was "as true as the law of gravitation"". One was Pecksniff, and the other not young Martin Chuzzlwit, but (view spoiler)[Jonas (hide spoiler)].

[Connie]

Jean, that's a great point that the book revolves around selfishness--Pecksniff, Anthony, Jonas, Tiggs, Mr Mould, the American property developers and newspaper editors, etc. I have to include the nurses, although I hope we see more of Mrs Gamp since she's so comic!

[Peter]

By my account, Pecksniff has now lowered himself to far greater depths of character. Early in the chapter he ‘rose and shook’ Charity and threatened that he would ‘do it again’. This is an assault, an assault on his own daughter. The sooner Cherry gets herself to Todgers the better — at least for now.

Not satisfied by treating his own daughter with disrespect he then casts his eye on Mary Graham. We learn that he has already bestowed ‘many little tokens’ on her and has decided she would make a perfect bride. Since Pecksniff knows want a good man he is, and what a perfect husband he would be for Mary, he manages to find Mary alone. I loved how Dickens describes a placid outdoor setting where Pecksniff finds Mary alone. There will, however, be no joy in this encounter.

Mary wants nothing to do with Pecksniff so he decides to force himself on her privacy. Mary resists, Pecksniff counters with force and tells Mary he loves her. To me, Pecksniff’s unwanted attention and words is his second assault on a woman in one chapter.

We are told that the outlet from the wood was close to Pecksniff’s house. There he asks in a ‘playful’ accent if he can bite Mary’s finger.
Shades of Eden?

The possible irony of this chapter is how a reader reacts to the events of the chapter. At once I find the actions of Pecksniff deplorable; somehow, however, Dickens makes the situations somewhat ludicrous as well.

[Bionic Jean, "Dickens Duchess"]

Connie wrote: "Jean, that's a great point that the book revolves around selfishness--Pecksniff, Anthony, Jonas, Tiggs, Mr Mould, the American property developers and newspaper editors, etc. ..."

John Forster viewed Martin Chuzzlewit as the turning point of Charles Dickens's career:

"he had scrutinised as keenly, but had never shewn the imaginative insight into which he now sent his humour and art into the core of the vices of the time". Charles Dickens had already said to him that he believed it was the best thing he had yet written, and that "I have a greater confidence in myself than I ever had".

Pecksniff is the embodiment of this superb blend of a comic character, with one we absolutely despise. That's quite a feat to pull off!

And yes, there are only a handful of characters who do not display selfishness or greed in one way or another. Charles Dickens also said to John Forster that it was his main aim to show the variety of ways and forms selfishness could take. And as Cindy said, this is a timeless aspect; humans are humans.

When we read the Preface it will become even more evident.

Peter - Yes! That might be another covert reference to Eden.

I too didn't think Pecksniff could sink any lower, but this is despicable behaviour - especially the veiled threat about angering Old Martin.

[Lori]

This was a humorous chapter but also a revolting one, at least for poor Mary. Pecksniff has definitely stooped to a new low, as Peter said. I was so proud of Mary for not giving in and for standing up for herself. This made me remember Tom Pinch when he stood up for himself against Jonas. Do these two have a commonality? They emit a timid demeanor, yet have a lion down deep inside? Mary is showing that she can hold her own, but being blackmailed basically to keep her mouth shut is not great. But then, what can Pecksniff really do to Martin Jr. so far away? Maybe talk badly about him and spread nasty rumors to give him a bad name for when he returns? Maybe.

[Cindy]

Well, this answered my question about how Pecksniff might feel about Mercy's treatment at Jonas's hands. Clearly, if he is willing to treat his chosen bride with such arrogant disrespect, he's not going to object to Jonas's tactics. Pecksniff might be worse than Jonas, since the younger man at least waited until Mercy was legally tied to him before the mask came off. I guess Pecksniff doesn't have that option since Mary has made her repulsion so clear. He either has to compel her or lose her.

I liked Dickens' observation that "gallantry in its true sense is supposed to ennoble and dignify a man; and love has shed refinement on innumerable Cymons." He then points out how Pecksniff, due to his heinous behavior, experiences the opposite: "he seemed to be shrunk and reduced; to be trying to hide himself within himself; and to be wretched at not having the power to do it," as if his physical presence is unconsciously attempting to mirror his inner paltriness. Indeed, he looks so small that his clothes appear to be too large, and on a darker note, Dickens even comments on how well his throat would look with a rope around it. His inner weasel is exposed as he appears "hot, and pale, and mean, and shy, and slinking, and consequently not at all Pecksniffian" (459). For a brief moment, the mask has slipped--we see the real Pecksniff. He is small, mean, sly, and slinking--an obnoxious little rat of a man. However, he recovers himself, slips back behind the mask, and returns home with "as beneficent an air as if he had been the High Priest of the summer weather" (459). I hope the next time his inner weasel reveals itself, someone other than Mary is there to see it! Hopefully, it will be Tom Pinch and he can shed his hero-worship of Pecksniff.

[Sue]

Yes, I’m hoping that Tom will finally witness the true Pecksniff. I don’t see how he could miss some aspect of it once old Martin is ensconced in the home. Once he does, I think he will act to protect anyone he perceives is being abused.

I found this an exciting chapter to read for all the horror of Pecksniff himself. Dickens’ writing was energetic and the irony was dripping from his pen. There were so many quotable lines but I think my favorite was the reference to the boa constrictor too, Jean.

[Plateresca]

Jean, thank you for the artwork, it's fascinating!

I enjoyed the quote:
‘<...> that I should live to be shook!’
:)
I know, I know, it's an assault, like Peter says, and I really feel for Charity, but at the same time, I find it very comical that the great Pecksniff should revert to such arguments, and that his daughter says not 'disrespected', or 'hurt', but 'shook'.


What I like here is this: this whole chapter is a logical continuation of what we saw at Todgers's, when Mr Pecksniff got drunk and was kind of harassing Mrs Todgers, and Charity was unhappy about her father's advances to this lady (I think it was Cindy who drew our attention to her reactions). I guess it's another sign of the structure of the novel that Charles Dickens was so proud of.


LIke Lori, I do not see how Pecksniff can harm young Martin at this point, but, of course, if I were Mary, I would still be very worried, because, well, who knows. But what do you think, is this an empty threat or not?


Animals are historically ascribed human vices, but really, neither foxes nor weasels blackmail young girls into marrying them; these metaphors sadden me, because these animals often need protection nowadays, not bad publicity.

[John]

I have to echo what Connie said and feel as if this novel could have been entitled Pecksniff. And then Jean mentioned the letter to Forster, which seemed to state that Pecksniff was a starting thought or point to the story Dickens wanted to tell. The novel, to date, has been far different than what I was expecting. I seem to have been marinated in the idea that young Martin Chuzzlewit was the entire focus of the story. I also anticipated that this would be a story with fewer characters.

[Bionic Jean, "Dickens Duchess"]

Lori - Great point that Tom Pinch and Mary Graham display a commonality in resisting and not giving in to those who attempt to bully them. We have to search for the noble characters among those who are only out for themselves, but these two are quietly strong and steadfast to their principles. Though I too have that niggling worry about Pecksniff’s threat.

Cindy - Another great post! For those who are wondering about the quotation Cindy liked, here's a little more:

“gallantry in its true sense is supposed to ennoble and dignify a man; and love has shed refinement on innumerable Cymons.”

Cymon is in a story by Boccaccio (translated by John Dryden as "Cymon and Iphigenia" (1700). He was transformed by love from a lout to a civilised man.

I absolutely love the term you use: “inner weasel”! 😂

[Bionic Jean, "Dickens Duchess"]

Sue - Yes, so many quotable lines! There aren’t many authors who can do this, to make us feel excited, happy and yet full of dread, all by the same bit of writing.

Plateresca - I’m so pleased to see you return, and hope you’ve had a restful well deserved few days/

I completely agree about the unfortunate metaphors for wild animals (foxes, weasels, snakes, boa constrictors, etc.) when we think of the actuality, but you know, it does not bother me. Dickens employs such metaphors a lot, and as you say “these animals often need protection nowadays”. I think it is precisely because of the time this was written, that the perception has changed, and so we accept it just we we accept all the social conventions we may now dislike or disapprove of in a Victorian novel. It’s no longer “bad publicity” because when we read fiction from the 19th century, we are not influenced by such ideas for our own lives.

In fact I think we can push this even further, because such animals have assumed a sort of literary convention, that we associate them in metaphors only by their commonly known traits. So a fox is “wily” just because throughout history they have often managed to elude those humans who want to kill them; a weasel is fierce because it can kill its larger prey very effectively for its size, a snake looks slimy (although actually it isn’t) etc. So these metaphors perpetuate and are accepted throughout modern literature, whereas all the likeable traits or those interpreted by humans as caring for their young, bravery or stamina, are ignored. I don’t like using them as a literary device this way much in modern novels either, but I think I must assume a sort of “literary hat” when I read it, and take it off afterwards!

John - Isn't it great when as a seasoned Dickens reader, you read a novel by him for the first time? He surprises all over again. I think those points may have been in all our minds at the beginning; thanks for highlighting them.

[Bionic Jean, "Dickens Duchess"]

Chapter 31: Mr. Pinch Is Discharged of a Duty Which He Never Owed to Anybody, and Mr. Pecksniff Discharges a Duty Which He Owes to Society

Mr. Pecksniff is strolling through the churchyard when he hears Tom Pinch begin to play the organ. He goes quietly into the church to listen, where he falls asleep on a pew. He wakes up to overhear Tom Pinch and Mary talking. Mr Pecksniff is all ears! They talk about Martin, and Mary worries that she has had no word from him. Tom says that he received a letter saying that Martin was going to Eden, and that no news is good news.

The subject of their conversation shifts to Mr. Pecksniff. Tom defends Mr. Pecksniff, as usual, but Mary becomes very upset. She says she will have to tell him what Mr. Pecksniff is really like. She describes the whole story of Mr. Pecksniff’s relationship with her guardian: how he is taking advantage of both Mary and the older Martin Chuzzlewit.

Tom is confounded at this story. He recognises the truth about his master at last, and his entire world seems to come crashing down. Tom Pinch finally changes his opinion of Mr. Pecksniff and denounces him for a scoundrel. Mr. Pecksniff hears the entire thing from his hiding place, bobbing his head up now and then so he can get a better view.



""I say," cried Tom, in great excitement, "He is a scoundrel and a villain! I don't care who he is, I say he is a double-dyed and most intolerable villain!" - Fred Barnard - 1872

Mary leaves, and Tom wanders around the church trying to come to terms with a lifetime of mistaken admiration for Mr. Pecksniff. Eventually he leaves, and Mr. Pecksniff stays in the church a little while thinking, before going home.

Upon returning, Mr. Pecksniff goes straight to the older Martin Chuzzlewit and tells him that Tom Pinch has deceived him. He calls Tom Pinch to join them, and asks him to secure a vestry-window, as he had been obliged to use it to exit the church. Tom leaves on the errand, although he struggles to control his expression.

On his return Mr. Pecksniff tells him that he had overheard Tom confess his love to Mary in the church.



“Mr. Pinch,“ said Mr. Pecksniff, shaking his head, ”Oh, Mr. Pinch! I wonder how you can look me in the face!” - Fred Barnard - 1872

Tom does not deny it, thinking that if he had explained about Mary and Martin, that would only have made it worse, as the older Martin would be angry. Mr. Pecksniff makes a show of counting out Tom’s salary and dismisses him.



“The Dismissal of Tom Pinch” - Harry Furniss - 1910

Tom however makes sure that Pecksniff knows he is aware that he had deliberately listened to their conversation, and not merely chanced to hear a few words. He had picked up Pecksniff’s eyeglass from the pew he was hiding in, and now returns it to him. Martin remarks that he is glad to see Tom go.

Tom packs his things, heartbroken to find that the man he worshipped never actually existed.



“Mr. Pecksniff Discharges a Duty Which He Owes to Society” - Hablot Knight Browne - December 1843

Some of Tom’s friends and acquaintances show up to say goodbye, and Mrs. Lupin invites him to come and stay at the Blue Dragon. He thanks her and says he will walk to Salisbury, and asks her to send his luggage on. Some people begin speculating that Tom must have done something bad to be sent away by Mr. Pecksniff who affects a rightfully dismissive stance outside the door.

Tom tells the toll man on the way out that he is going to Salisbury and has left Mr. Pecksniff, and the toll man passes this on to everyone who passes by.

[Bionic Jean, "Dickens Duchess"]

Well I absolutely loved this chapter, but could weep buckets for noble Tom Pinch.

Yet again I am full of admiration for Dickens’, writing style in this chapter. The comic caperings of Pecksniff are priceless. Alongside this, Dickens describes the sensitivity of Tom, as he consoles Mary without revealing his true feelings. We perceive his loyalty to Martin, whom Tom (for some reason) believes to be a better man than he, and more deserving of her love than he is. Then Dickens perfectly conveys the inner pathos of Tom’s sudden realisation of Pecksniff’s true nature, as Mary sobs:

“‘The worst. The falsest, craftiest, meanest, cruellest, most sordid, most shameless,’ said the trembling girl—trembling with her indignation.”

Since of course Mary is as honest a person as Tom is himself, it hits him like a bolt from the blue, turning his world view upside down. Shattered by the discovery, as much as his unquestioning belief in Pecksniff’s goodness was total, so now is his disgust in the man.

Mr. Pecksniff, being the one who had used Tom for many years, should have been the one to feel pain at Tom’s discovering his true character. But Mr. Pecksniff seems to feel nothing, instead turning the situation to his advantage with old Mr. Chuzzlewit.

[Bionic Jean, "Dickens Duchess"]

Tom only ever had two choices—to wilfully remain deluded about Mr. Pecksniff, or to have his heart completely broken with the realisation that the Mr. Pecksniff he thought he knew was a fantasy the whole time.

The only time I thought Dickens was a little too overblown for modern taste, was in his indignant diatribe, starting:

“Oh, late-remembered, much-forgotten, mouthing, braggart duty …”

But it is of its time, and the rest is perfectly nuanced. This is wonderful:

“Something without a name; compassion, sorrow, old tenderness, mistaken gratitude, habit; none of these, and yet all of them; smote upon Tom’s gentle heart at parting.”

And even when Tom is leaving, Dickens does not fall into a stereotype, where because the reader knows he is good, everyone in the novel is sorry to see him go. No, there are gradations. Some are sorry but others hesitate, and think Tom must have done something awful to be banished by Pecksniff, because they “know” that Pecksniff is such a good, upright man.

[Bionic Jean, "Dickens Duchess"]

The final words are masterful. Perhaps they should be my favourite quotation:

“Pecksniff had gone out of the world—had never been in it—and it was as much as Tom could do to say his prayers without him. But he felt happier afterwards, and went to sleep, and dreamed about him as he Never Was.”

So quell that lump in your throat, and tell us what you think!

[Peter]

Yes indeed, another masterful chapter Jean. So much seems to be going on in such a compressed time and physical location.

First, Tom Pinch is such a fine person. When he says to Pecksniff ‘This is your double eye-glass, I believe’ my respect grew even more. That phrase is a master stroke of understatement, irony, symbolism, and yes, even sarcasm. Tom is finally able to see who and what kind of a man Pecksniff is. Pecksniff is revealed as being unable to see kindness, thoughtfulness, and the truth of both Mary and Tom. At present Martin Sr. may not see Pecksniff for what he truly is, but I think that may be coming as he does understand the virtues of Mary.

There is, of course, the humour of Pecksniff’s bobble head antics as described by Dickens. Who else can touch Dickens’s ability to present multiple views and emotions in such a short span of time?

[Lori]

I am not surprised that Mary was the one to convince Tom and open his eyes to the truth of Pecksniff. Dickens’ prose was perfect when the narrator comments letting us know how Poor Tom felt about the real Pecksniff. His Pecksniff doesn’t and never did exist. He is mourning but hopefully this will awaken him to the ways of the world. He is such a noble guy and my favorite character in this novel. Now what will Tom do? Who will he connect with next? Will it be someone we know or haven’t met yet? This is a new lease on life, a new beginning for Tom! I’m excited for him!

[Sue]

I was struck by the extent of this injury to Tom. Pecksniff has been a cornerstone of his life for years, a man he routinely and easily defended against anyone and everyone who might challenge him. Tom’s very belief system has been rocked. Now he will need to rebuild. From the appearance of him in the room in the tavern that night, it looks like the rebuilding has begun. He trusts himself.

I wonder if he will seek out his friend John. Perhaps he will be back from London now, with the mystery man. He will be pleased that Tom has been enlightened. This was another great chapter.

[Katy]

I am wondering about old Martin. Is he really oblivious to Pecksniff's true character or is he up to something? I feel like it could go either way.

[Cindy]

Katy wrote: "I am wondering about old Martin. Is he really oblivious to Pecksniff's true character or is he up to something? I feel like it could go either way."

I, too, am surprised by the seeming ease with which Pecksniff has managed to ingratiate himself with old Martin. The old man seemed to be a pretty knowing one at the beginning of the book, but now accepts every pronouncement from the mouth of the man he previously distrusted. I suppose Dickens intends this to be seen as a side-effect of aging. The mind slows down, the reasoning skills become less effective, and comprehension wanes. I was hoping that old Martin had something up his sleeve when he proposed "partnering" up with Pecksniff, but it feels like he is genuinely taken in by him at this point.

My heart weeps for Tom! I wanted him to have his eyes opened to the true nature of his idol, but there was no scenario of this in which Tom would not suffer--and he is suffering! To be so completely duped for so long! His admiration for Pecksniff was one of the cornerstones of his life. The crumbling of it shakes the very foundation of everything he believes in. I was happy to see that inner strength reveal itself in this difficult moment. Tom stood straight and tall before Pecksniff's false accusations, refusing to grovel and allowing his contempt to be seen. I don't know where he'll go from here but I believe he will be better off, wherever it is! Poor Mary, however, has lost her "good angel." Who can she now turn to for support against Pecksniff's vile blackmail?

[Bionic Jean, "Dickens Duchess"]

Peter - I too thoroughly enjoyed Pecksniff’s ridiculous bobbing head in the church pew. And thank you so much for picking out Tom’s comment with its many significances:

“This is your double eye-glass, I believe”

Everyone has made such insightful comments today, thank you. I could not agree more, so instead of repeating them I will simply move on to today’s chapter.

[Bionic Jean, "Dickens Duchess"]

Chapter 32: Treats of Todgers’s Again; and of Another Blighted Plant Besides the Plants Upon the Leads

Charity arrives at Mrs. Todgers, where she tells Mrs. Todgers that Mr. Pecksniff has been courting another woman and together they denounce both him and men in general. Mrs. Todgers begins to talk about the youngest gentleman boarder, and how he had been obsessed with Merry, but Charity does not want to hear about this. Mrs. Todgers also tells Charity that she has only seen Merry once since she was married, and that she didn’t look very well.

The youngest gentleman’s name is Mr. Moddle. Charity initially avoids him, not wanting to be connected with someone who doted on Merry, and yet had been laughed at by her. Mr. Moddle is depressed by her supreme indifference. He tells Mrs. Todgers that he likes being around Charity because she reminds him of her sister, but it also pains him because of what he lost.



“Mrs. Todgers and Mr. Moddle” - Sol Eytinge, Jr. - Diamond Edtion - 1867

Bailey has gone, and has been replaced by an old woman who is ironically named “Tamaroo”, after a fiery hackney coachman in a ballad. Nothing could be less fiery than this little old woman, who “was chiefly remarkable for a total absence of all comprehension upon every subject whatever.”

Charity continues to be haughty towards Mr. Moddle, but his admiration of her increases, as she reminds him so much of Merry.

“Mr Moddle began to be impressed with the idea that Miss Pecksniff’s mission was to comfort him; and Miss Pecksniff began to speculate on the probability of its being her mission to become ultimately Mrs Moddle.”

After all, thinks Charity, he is a young man with a good salary prospects, who will be easy to control, unlike Jonas. Mr. Moddle:

“could be shown off like a lamb when Jonas was a bear.”

He is also better looking. Mrs. Todgers observes that he is ready to propose marriage, but tells Charity that he is possibly too shy to work up the nerve to propose to her, so she must encourage him a little.



"On the fourteenth night, he kissed Miss Pecksniff's snuffers in the passage, when she went up-stairs to bed: meaning to have kissed her hand, but missing it." - Fred Barnard - 1872

Charity decides to prompt him by telling Mr. Moddle that she has feelings for him. However, she then says that they must either get engaged or stop interacting, as people are beginning to gossip.



“Mr. Moddle is Both Particular and Peculiar in his Attentions - Hablot Knight Browne - December 1843

Mr. Moddle chooses to propose, but:

“Instead of being triumphant, he shed more tears than he had ever been known to shed before.”

[Bionic Jean, "Dickens Duchess"]

So we end this installment with a bit of light relief.

Charity is not choosing to marry for love, but seems to be acting out of a sense of practicality. She is also apparently a better judge of character than her sister, and picks a man who will likely be gentle and generous and give her her own way.

Yet again, we see that that each of the Pecksniff family is totally concerned with self! We have to wonder if any or all of them will profit by it in the end.

[Bionic Jean, "Dickens Duchess"]

This is the end of installment 12. We now have a free day. Installment 13 will begin with chapter 33 on Tuesday.

[Plateresca]

Uhm, actually, the word 'fox' occurs thrice in the text of 'MC', and never in relation to Mr Pecksniff; and the word 'weasel' never occurs there at all. So, if even Charles Dickens did not compare his villain to these animals, maybe we shouldn't be doing this, either? Proof that foxes are unlike Mr Pecksniff: here's a fox charity I know: https://foxproject.org.uk/ Foxes are cute, and he's not! :)

I personally think Pecksniff can't really be indifferent to losing Tom Pinch, but, of course, he would never admit it.

When we talked about why on earth Mercy accepts Jonas, I kept saying that she can't possibly have many candidates to choose from; and this applies even more to Charity, who, I think, does not so much choose Mr Moddle as chooses to try to get married to whomever possible, by the same principle that any marriage is better than none.

[Bionic Jean, "Dickens Duchess"]

Sorry Plateresca, I was merely thinking of all the times Charles Dickens (and other Victorian - and some modern) authors use the literary convention of selecting negative words for natural habits animals have, whereas positive words are selected for the same human habits.

For example animals which are unpopular are rarely described as "courageous" although if a human demonstrated the same behaviour, they would attract that term. I wasn't really making any statement broader than that. (As an almost lifelong vegetarian and animal rights campaigner, I've learned that expressing my personal beliefs in certain contexts is as unwelcome as expressing my religious or political beliefs!) Perhaps it is time to redefine these literary stereotypes and similes such as "as sly as a fox", but that's outside the scope of this discussion really.

Anyway, all I can say is that I agree with you, and apologise: I'm sorry to have offended you by mistakenly giving or endorsing examples of different animals from his other novels, and ask to move on.

[Bionic Jean, "Dickens Duchess"]

Plateresca wrote: "Charity, who, I think, does not so much choose Mr Moddle as chooses to try to get married to whomever possible, by the same principle that any marriage is better than none ..."

Yes, that's right. She does add that he is better behaved than Jonas, and good looking, (I laughed out loud at Sol Eytinge's illustration, but quite like Phiz's) so there's an element of competition there. Mr. Moddle we are told has good prospects, but Charity determinedly winning him round when he clearly still dotes on her sister, is an example of clever manipulation which she must have learnt from her father, I think!

[Plateresca]

Jean, thank you! You haven't offended me at all! I felt I had to mention this, (view spoiler)[partly because I see how Aesopian associations lead to a lack of protection for animals, e.g. wolves, in my own country (hide spoiler)], but I am more than happy to move on!

And moving on: Remember those questions John Sutherland asks, like 'can Jane Eyre be happy?' So, can Charity be happy, what, do you think, needs to happen for that?

[Bionic Jean, "Dickens Duchess"]

Do we think "Moddle" comes from "muddle" (i.e. a muddled mind?)

[Plateresca]

Bionic Jean wrote: "but Charity determinedly winning him round when he clearly still dotes on her sister, is an example of clever manipulation which she must have learnt from her father, I think!"
Ooh, that's an interesting thought! Again, I've always maintained that Mercy marries Jonas partly to spite Charity.

There was this deleted scene at the beginning of Chapter 6 in which, as Metz puts it, 'the sisters quarrel over young Martin until Pecksniff threatens to restore peace by getting rid of the troublemaker. At that point, the hostilities of all three are deflected to the usual scapegoat, Tom Pinch <...>', which I didn't mention at the time just because, well, if Charles Dickens decided to discard this beginning, he probably had some reasons for this. I am now coming to think that the rivalry of the two sisters, though shown to a lesser degree than in the original design, still plays an important part in the final version of the novel.

[Bionic Jean, "Dickens Duchess"]

Plateresca - That's appalling about the fall-out after Aesop 🥹 But animal welfare is very different in different countries, as you know. I think America is more similar to the UK than Spain in this, so when Cindy used weasel in the literary sense, I assumed and am pretty sure that she - like me - had her literary hat on!

not a spoiler, just off-topic ... (view spoiler)[The most recent time I saw a weasel was in a wildlife park. It was a wild weasel and not "supposed" to be part of the collection. But it was darting to and fro in the egrets' enclosure (a lake plus grounds) and grabbing some food from the bowls before running back through the tunnel it had dug.

Those of us who were watching him/her were amazed at the weasel's ingenuity and bravado 🙂 (hide spoiler)]

[Kathleen]

I had to catch up with these last three chapters, but they went fast!

I think the greedier Mr. Pecksniff gets, the more he loses: both his daughters and now Tom. He will regret this I'm sure.

And as to our beloved Tom, I have a wish for him that he gains a position playing the organ in Salisbury Cathedral!

And while I'm feeling very worried for Mercy, I did enjoy the lines when Charity was scheming to pull one over on her sister, that her Mr. Moddle was "better looking, better shaped, better spoken, better tempered, better mannered than Jonas." But it seems everyone of this foursome will lose here.

[Shirley (stampartiste)]

This installment has been so interesting in its character developments. Dickens is exposing the heart of his characters, and we're seeing them for who they really are.

Martin Chuzzlewit. Like Katy and Cindy, I am really wondering at what we perceive to be this drastic change in old Martin. Reading the following passage again, I'm wondering if Dickens is telling his readers that Martin's mind is declining, or is this the perception that Martin wants Pecksniff to believe about him (because in my heart of hearts, I believe Martin is playing Pecksniff for some as yet unrevealed purpose):

But from that hour, his character seemed to have modified by regular degrees, and to have softened down into a dull indifference for almost everyone but Mr. Pecksniff. His looks were much the same as ever, but his mind was singularly altered. It was not that this or that passion stood out in brighter or in dimmer hues; but that the colour of the whole man was faded. As one trait disappeared, no other trait sprung up to take its place. His senses dwindled too. He was less keen of sight; was deaf sometimes; took little notice of what passed before him; and would be profoundly taciturn for days together.

Several times, Pecksniff audibly mumbles under his breath about Martin "He's getting deafer than a flint", "He's a child today," "And I can wind him round my little finger! Only think!"

And in Chapter 31, Dickens tells us that "Pecksniff was always very particular to have him [Martin] well supplied with writing materials" [perhaps to facilitate Martin rewriting his will in Pecksniff's favor?] I think it's very likely that Martin Chuzzlewit is very aware of Pecksniff's machinations, and his reaction to Pinch's disgrace was probably all show. (Just my opinion. LOL)

Pecksniff is finally revealing his utmost depravity in his treatment of his daughters, Tom and Mary. I don't know about Victorian times, but when Pecksniff put his arm around Mary and held her prisoner against his body and even threatened to (playfully? - disgusting) bite her finger, in present-day America, that is assault! I was livid that he did this to Mary with her Victorian sensibilities. He is no better than Bill Sikes in my book!

I am so proud of Tom Pinch. He is a brave man who stood up to Pecksniff in the only way he could. Like Lori, Tom is my favorite character to-date. There is no guile in the man. But it really grieved me to see him struggle so much over the loss of the man who Never Was [Pecksniff]. His faith in the man was so complete that it completely shattered him. I hope he doesn't lose faith in others, as he has been surrounded by so many Pecksniffians.

And I totally agree with you about Charity, Jean: Charity determinedly winning him [Mr. Moddle] round when he clearly still dotes on her sister, is an example of clever manipulation which she must have learnt from her father, I think.. That apple didn't fall far from the tree. LOL

[Bionic Jean, "Dickens Duchess"]

Adding to my previous thought about the name Moddle:

It could be derive from "molly-coddle": "milksop" which apparently had another form: "moddley-coddle".

And I've just discovered another irresistible illustration of Pecksniff's bobbing head in my Household Edition, for ch 31, titled by Fred Barnard "I say," cried Tom, in great excitement, "He is a scoundrel and a villain! I don't care who he is, I say he is a double-dyed and most intolerable villain!" (1872), so have added it to our summary here Chapter 31. And another one for today's chapter too! 🙂

[Peter]

We seen to circle back to Todger’s each time we are in London. That’s fine with me. Her lodgers are an interesting crew and Dickens is very comfortable mixing and matching the boarders.

The young Moddle is a case in point. At one time an ardent lover of Merry Pecksniff he now transfers his unrequited love for one sister onto his focus on the other sister. Really, it seems either sister will suffice as long as Cherry bears some qualities of her sister. But to Moodle, love is love and comes with many tears.

In every category Moddle appears to be a better potential match for Cherry than Jonas would have been. That said, I’m not sure he would be much of a husband. Perhaps I’m wrong.

Candidly, I found this chapter a bit of a slog. There was humour, but not the humour that would entertain either a reader or theatre-goer for more than a few moments. There was some character and plot development, but in my opinion, not much of memorable proportions.

Now, I did enjoy the Brown illustration — which is not a surprise I guess. The sofa, heavy curtains, and table with a chair certainly suggest that Todgers was a comfortable establishment. Moddle’s face is expertly executed and the stiff rigid posture of Cherry who is fully focussed on her work all suggest that this couple’s passion will never set the world on fire.

[Sam]

There has been much more of the writing I prefer from Dickens over the past few chapters where through for most of the book, instead of trying to address what I intended at the beginning of the read, I have devoted almost all my thoughts to speculation on what might have been going on with Dickens that contributed to the changes in the prose that we have seen so far. This has been the elephant in the room for me with this book and caused me the most thought. It is only with some recent chapters that I find myself able to read several paragraphs before finding myself wondering what Dickens might have been thinking as an author that prompted a certain phrase, sentence, or character behavior, and most of my thoughts have been asking myself what the heck he intended. I won't pursue outside thoughts till finished but that has been my preoccupation with this novel and even the great comments by all the other members can't rid me of the preoccupation thus I have been very quiet. I won't be speaking more of this till the end as some may find this critical of Dickens. I do not. I find it intriguing and interesting when conceiving of Dickens as a whole since everyone has ups and downs. I find it most interesting because out of this prose Dickens developed a mix of flow and clunk that I think is uniquely Dickens later style which some of us love more than others. But for the moment back to the reading of the day.

I looked at Moddle to satirically mean model in the sense of an exemplary representation, as in "I am the very model of a modern major general." I believe there was such usage at the time and isn't Mr. Moddle a perfect model? of what though I am not sure.

[Sue]

Sam, I like that. Mr. Moddle perhaps is the model of the perfect selected husband, found and by a woman determined to be married.

[John]

I was thinking about Moddle and I thought the word was a satirical play on model. When I decided to post that, I looked at the two posts above mine and saw that Sam and Sue had noted it.

It is an ingenious creation as a word. It has the sound of model combined with the visual of muddle.

[Kathleen]

It strikes me that not many people in this book are married. The undertaker has a wife and Jonas and Merry are wed. But no other major characters are married.

Contrary to the many comments above, I think that Tom Pinch is a very naive man. He watched how Pecksniff treated the young architects who studied in the household, and closed his eyes to it. Perhaps he unconsciously chose to ignore much of Pecksniff’s behavior as a protective mechanism. He does not have obvious other options.