Martin Chuzzlewit 4: Chapter 36 - 44

[Bionic Jean, "Dickens Duchess"]

Chapter 38: Secret Service

Mr. Nadgett and Tom Pinch pass each other on the London streets, but neither knows who the other is. They are connected however by Jonas Chuzzlewit, whom Mr. Nadgett is still following closely.



“Mr. Nadgett” - Sol Eytinge, Jr. - Diamond Edition - 1867

In the meantime, Jonas has become a director of Mr. Tigg’s company. He does not notice Mr. Nadgett following him, although he sometimes sees Mr. Nadgett around. Mr. Nadgett’s technique for throwing off suspicion is to act as if he thinks he himself is being followed or watched. He frequently goes to Poll Sweedlepipe’s barber’s shop to be shaved, which causes Poll and Mrs. Gamp to speculate about this “mysterious customer”. Mr. Nadgett explains his constant presence at The Bull by saying that he is waiting to meet someone, though he seems to be perpetually stood up. He comes to know both Mr. Mould and Mr. Mould’s foreman, Mr. Tacker. He spreads a rumour at the company that he has a liver problem, and therefore begins seeing Mr. Jobling multiple times a day for his imaginary complaint.

It is the morning of the same day that Tom Pinch first came to London, Mr. Nadgett goes to Montague Tigg’s house with all the information he has collated. Mr. Nadgett does not trust giving his report aloud, afraid of who might be listening, so he hands Montague Tigg a substantial series of notes to read.



“Tigg Montague receives Nadgett’s confidential report” - Fred Barnard - Household Edition - 1872

Montague Tigg is irritated at having to do this, but becomes more serious and nervous as he reads on. Mr. Nadgett happens to mention that the information had been a certain amount of trouble to get, and Mr. Tigg assures him that he will be rewarded.

Jonas Chuzzlewit arrives and is announced.



“Mr. Nadgett breathes, as usual, an Atmosphere of Mystery”
Hablot Knight Browne (Phiz) - February 1844

Montague Tigg tells Mr. Nadgett to stay, in case there is any trouble, and he remains in the background, unnoticed.



“Jonas Chuzzlewit and Montague Tigg” - Harry Furniss - The Charles Dickens Library Edition - 1910

Jonas tells Montague Tigg that he feels he doesn’t have enough power in the company, and as a consequence cannot get any money from it. Mr. Tigg tells him he has an idea, and whispers in Jonas’s ear.

Jonas goes through a range of emotions during Tigg’s whispering, which end in his being pale-faced with terror and anger. Montague Tigg then asks him if he will continue to venture with them, and Jonas answers shakily that he will. Mr. Tigg then tells Jonas that he wants him to bring Mr. Pecksniff into the scheme. Jonas realises that he is trapped and has no way out.

[Bionic Jean, "Dickens Duchess"]

This is the end of Installment 14. We now have a free day, and on Thursday Plateresca will lead a discussion on the Preface and Postscript.

Installment 15 will begin with chapter 39 (beginning) on Friday.

[Bionic Jean, "Dickens Duchess"]

Well this is intriguing for sure! Tigg now clearly has a hold over Jonas, and there are heavy hints that it is because of what Nadgett has found out about him. But what could this be? Any ideas?

It must be quite involved, as there were a lot of Nadgett’s notes, which took some time to read. And by Jonas’s terrified reaction, it is something very serious. I can’t imagine that Jonas is easily scared. Presumably this also explains why Mr. Nadgett was allowed to stay in the room when Jonas called. We assume that Jonas is now being blackmailed into roping Mr. Pecksniff into the scheme … but he seems to be backed into a corner now. If he is realising what his greed has got him into, I wonder whether Jonas will stay docile and comply.

The build-up of tension and mystery in this chapter was superb! Charles Dickens just eked out a little at at time, while holding his cards very close to his chest. What a way to end an installment. I love it! How about you?

[Bionic Jean, "Dickens Duchess"]

Oh and just a couple of details I've noticed during posting ...

1. The title! Who would have thought that Charles Dickens could have been so prescient as to call Nadgett's work "Secret Service"? And what a short title for him. 😆

2. Montague Tigg or Tigg Montague?

It all depends on the persona he is inhabiting for which part of the book, of course. Hablot Knight Browne (Phiz) does not use his name for his original illustration, but two of the later illustrators differ for the same part of the text, as you can see.

I suspect this is mere carelessness rather than a different interpretation, but found it interesting nonetheless 🤔

[John]

Bionic Jean wrote: "John - That's because they are inside 😆! Sorry - I didn't make that clear.

There's a stone spiral staircase inside, leading to a viewing platform at the top. So you climb the 331 steps to a heigh..."

Thanks Jean. 331 steps reminds me of the 291 steps needed to get to the top of the High Point Monument in New Jersey. Not something for me these days.

https://en.wikipedia.org/wiki/High_Po...

[Cindy]

Bionic Jean wrote: "Well this is intriguing for sure! Tigg now clearly has a hold over Jonas, and there are heavy hints that it is because of what Nadgett has found out about him. But what could this be? Any ideas?..."

Based on Tigg's own reaction to Nadgett's information, my guess would be that he now has evidence that Jonas was involved in old Anthony's death. He seems fearful of being alone with Jonas, and becomes "pale and flurried". The narrator draws our attention to his apprehensive glance at his razors, and he urges Nadgett not to leave because "we don't know what may happen" (559). Clearly, Tigg believes that Jonas may react violently to the information he is going to disclose. Since Jonas doesn't seem to be a physically intimidating guy (Tom Pinch beat him up!), I would think this caution would stem from his knowledge of what Jonas is capable of from past deeds. Tigg seems to believe that Jonas would be willing and equal to using any weapon at hand on him. He didn't seem worried about Jonas before, so to me, whatever Jonas has done is pretty extreme, such as murder.

[Peter]

We have seen what a miserable person Jonas is, and cheered Tom as he put Jonas in his place. Now, we see Jonas further cowered. Obviously, Nadgett has unearthed some document or documents that place Jonas completely under Tigg’s control. That Jonas will attempt to bring Pecksniff into the web is intriguing. I don’t like Jonas, but if he can be a person who humbles Pecksniff, well, all the better.

My favourite phrase was the description of Nadgett’s coat which was personified to match its owner: ‘every button on his coat might have been an eye: he saw so much’.

The Browne illustration is composed very well. Both Nadgett on the left over his shoulder and Tigg on the right through his hand mirror are seen looking at Jonas. Jonas is trapped by their gazes. As the Victorian Web suggests Nadgett’s glove on the floor serves as a spectral hand reaching up to clutch Jonas. Behind Jonas Browne has placed a cheval mirror. In this illustration there is no reflection in the cheval mirror.

If, however, we look at the later illustration by Barnard we have an illustration where Jonas does not appear. What does appear, however, is another study of how a mirror can reveal much and have great meaning in an illustration. I think Barnard has worked from Browne’s earlier illustration to create his own where we see a mirror on Tigg’s table. We know from the text that Tigg has been preparing his image in front of a mirror. Most interesting is the fact that we see Nadgett sitting in front of a mirror and his reflection is clearly seen in the cheval mirror. What this suggests to me is that while Jonas has not really noticed Nadgett, he is everywhere. Here we see him and his reflection at the same time. Nadgett is present everywhere.

[Sue]

I agree with Cindy about Nadgett having found some type of evidence or link between Jonas and his father’s death. I especially noticed Nadgett making note of a visit to Mr Mould or at least to his business.

I enjoyed this chapter too. I feel that Dickens would have enjoyed writing this, giving Jonas at least the beginning of his comeuppance. And as Jonas was about to demand money from Montegue.

My favorite quote from this chapter: “He was afraid to speak, or look, or move, or sit still. Abject, crouching, and miserable, he was a greater degradation to the form he bore, than if he had been a loathsome wound from head to heel.” Even for what we know of Jonas, he seems to have sunk lower. Maybe there are even more things we don’t know about him!

[Connie]

When Jonas' father was sick, Jonas kept insisting that Mr Pecksniff stay in the room like he needed someone to provide an alibi. I'm guessing that there's either something strange going on about Anthony's death, or a second will that Jonas is hiding.

Jean, thanks for posting the wonderful illustrations connected with this chapter!

Peter, great job at the analysis of the illustrations and the use of mirrors!

[Julie]

Connie wrote: "When Jonas' father was sick, Jonas kept insisting that Mr Pecksniff stay in the room like he needed someone to provide an alibi."

Interesting: now Tigg wants Nadgett to stay when Jonas comes into the room.

(I agree with Cindy, though, that this is probably for a different reason.)

[Plateresca]

The Monument had a reputation as a site for suicide. Metz says that three men leapt to their death between 1788 and 1810; Jean mentioned how Godfrey Nickleby considered this form of suicide when he was insolvent. In 1839, a young woman called Margaret Moyes killed herself in this way (Dickens wrote to Forster discussing this incident). Moyes's death played a role in the suicide the next month of a youth named Hawes who had been overheard to discuss the case frequently...

And the apparently motiveless suicide of Jane Cooper in 1842 gave additional weight to the chorus of warnings about suicide by imitation and finally prompted the City Lands Committee to place a cage around the viewing gallery.

So, Chris, well-noted about the couple who want to see the Monument! In close proximity to the story about Charity's engagement, this scene does not bode well for her prospects.

[Plateresca]

In chapter 38, my favourite quote is this:
‘I wish you would consent to give me their purport by word of mouth.’
‘I don’t like word of mouth,’ said Mr Nadgett gravely. ‘We never know who’s listening.’
You know how some people always want to call, and some people always prefer writing emails? :)

[Chris]

Plateresca wrote: "In chapter 38, my favourite quote is this:
‘I wish you would consent to give me their purport by word of mouth.’
‘I don’t like word of mouth,’ said Mr Nadgett gravely. ‘We never know who’s listenin..."

That quote certainly sets the tone about Nadgett's spying and concern to keep things secret.
Of course these days, not only are people listening &spying through technology into your life but also searching your e-conversations being by texts or other platforms. Going back to pre-internet & other newer technology such as writing with pen & paper and securing those missives might be the only way to keep things away from prying eyes/ears!!!!

[Shirley (stampartiste)]

I'm loving all of the speculation that Jonas is being blackmailed concerning his father's death, and it also involves Pecksniff. That didn't occur to me as I was reading this chapter. Now I'm wondering if Montague is casting a wider net... old Martin Chuzzlewit, because I think he is the one with the vast wealth, not Pecksniff. So do they now also blackmail Pecksniff to get to Chuzzlewit? Wow... how fascinating this web is.

Regarding the illustrations, I'm really surprised at Phiz and Furniss' depictions of Jonas. In both illustrations, Jonas looks old! I was thinking he was probably in his late 20s to 30s.

[Sara]

I have finally caught up again and read all the comments. As always, Jean, you have offered me some wonderful insights into what I am reading. Thanks ever so much for the illustration of Mrs. Lupin. I could not get a firm idea in my head of her and now I have it! Yes, Mark, hurry home.

Greatly appreciate the commentary on the illustrations, Peter.

I am not going to comment on the portion I have missed, but I also think Tigg has evidence that ties Jonas to his father's death. Couldn't help thinking Nadgett was an early model for Columbo.

And, I absolutely love Tom Pinch and John Westlock. Had I been titling this novel, I don't think I would have made Martin seem the central character, since Tom is the one who steals people's hearts.

[John]

Sara, I agree about Pinch, and titling this novel Tom Pinch — well, why not?

[Plateresca]

Shirley, this is how Jonas was introduced in Chapter Five:
'Then there were Anthony Chuzzlewit, and his son Jonas; the face of the old man so sharpened by the wariness and cunning of his life, that it seemed to cut him a passage through the crowded room, as he edged away behind the remotest chairs; while the son had so well profited by the precept and example of the father, that he looked a year or two the elder of the twain, as they stood winking their red eyes, side by side, and whispering to each other softly.'
Anthony was old Martin's brother; so Jonas is of the generation of young Martin's parents, so definitely not in his late twenties. And we're told he looks older than his father (yikes!), so he might be around forty or fifty, but looks a lot older.


And as a devout member of the Tom Pinch Fan Club, I agree, we should have the novel officially renamed :)

[Plateresca]

The Three Prefaces

Both the Penguin Classics edition and the Oxford World's Classics editions place the same, first Preface (1844) at the beginning, and the two other prefaces (1850, 1867), and the Postscript (1868), at the end. As Sylvère Monod puts it: 'No apology is required for dealing with them near the end of this book. They were all written after the novel had been completed, and some many years later'.

And I will cheat and continue quoting Monod, since, in my opinion, he summarized these prefaces very well:
'The preface to the first edition was penned immediately after the last number had been completed in 1844; it is the traditional gesture of formal leave-taking. In the case of other novels, Dickens was often content to leave it at that, and to go on reprinting the original preface, with at best slight alterations. Not so for Chuzzlewit. Although there is a certain amount of overlapping between the three prefaces, there are also important innovations in the later ones. The second was written in 1849 for the Cheap Edition of the novel; it was used again for the Library Edition a few years later. But in 1867, when Martin Chuzzlewit came to be included in the proudly named 'Charles Dickens Edition of the Works of Charles Dickens', a new preface was composed and printed. <...>

Each preface can now be succinctly described in its own right and in comparison with the other two. '

Monod's summary of the prefaces, no spoilers: (view spoiler)[
'The preface of 1844 contains the following elements, in as many paragraphs <...>:
I. The author says that he has nothing to say, but must say something because a preface is customary, and thus expected of him.
II. He expresses his emotions at having finished this task.
III. His purpose has been to exhibit the commonest of all vices, at the risk of being charged with exaggeration.
IV. He has observed that nobody will recognize himself or herself when portrayed in his novels, but everybody is ready to recognize others under the same circumstances.
V. Dickens now explains that he has revisited the temptations of the current monthly number, endeavouring to keep firmer control over his story than in previous works of similar length.
VI. And he liked doing that job.

The second preface, written for the Cheap Edition, when similarly analysed, yields the following items:
I. Dickens's object in that novel has been to attack 'the commonest of all vices'. This repeats what had been said in section III of the first preface, but the phrasing is made much more specific and pungent <...>.
II. No plea will be made for the truth of Pecksniff's character (here Dickens dismisses the end of section III and the bulk of section IV of the previous version), but a few words about Jonas are in order.
III. Jonas's character must be appraised in connection with his education and parentage.
IV. This case shows that, 'as we sow, we reap', which can also be verified by visiting children's quarters in prisons and work-houses.
V. The American episodes illustrate only the ludicrous side of the United States; no softening of reality has been attempted (any more than in the case of British realities), but no exaggeration has been indulged in, even in the Watertoast scenes, which are a 'literal paraphrase' of published reports about a certain Brandywine case.
VI. The characters of S. Gamp and B. Prig are part of Dickens's continued and much needed efforts in favour of sanitary improvement.

Thus, sections III–VI, or two-thirds of the second preface, are entirely new. The novelty lies in the ideas and arguments adduced, presumably in order to refute criticisms levelled at Martin Chuzzlewit between its first publication and the end of the decade.

The third preface provides further alterations, cancellations and additions. It is composed of eight sections, as follows:
I. The charge of exaggeration may be unfair, and the fault may lie in the excessive weakness of the reader's perception rather than in the excessive vividness of the writer's. This resumes a line of argument already followed in sections III–IV of the first preface and in section III of the second, but the whole paragraph is newly written. It is also much more in the general style of a belletristic essay <...>.
II. Dickens here resurrects, with new pungency, the point made at the end of section IV of the first preface, and omitted from the second (that people refuse to recognize themselves when portrayed in his works).
III. As in section III of the second preface, Dickens dismisses the notion of defending Pecksniff and points to the need for saying something about Jonas. <...>
IV. The defence of Jonas is practically the same as before. <...>
V. On the theme of 'as we sow, we reap', Dickens here merely repeats what he had said in section IV of the second preface.
VI. This section concerns the American episodes. It is on the same lines as the fifth paragraph in the second preface, but not without significant alterations. An allusion to Mr Bevan, the good American, as an exception among his compatriots, is introduced. <...> Finally, the two concluding sentences of that section contain a new tribute to the 'good-humoured people of the United States' and to 'that great nation'. <...> It is a change of attitude to the target of the satire in Chuzzlewit <...>.
VII. The comments on the Watertoast episode continue the resumptuion of section V from the previous version with relatively few changes; the most important are an allusion to the fact that the files of The Times are still available as evidence of the literanless of his paraphrase, and the cancellation of eight lines of details, protests, and allusion to Ireland.
VIII. This is about the sanitary improvements (based on section VI of the preceding preface). A certain amount of updating has been accomplished. <...> And the concluding sentence seems to introduce a reference to Florence Nightingale <...>. Dickens <...> took time to be fair to the class concerned by his former criticism, and perhaps to imply that his criticism had taken effect.' (hide spoiler)]

Quoted from: Sylvère Monod, 'Martin Chuzzlewit'

[Plateresca]

Nancy Aycock Metz draws our attention to how Dickens encouraged the public not to confuse the symptoms of vices with their root causes, to take responsibility for allowing some children to grow up without education and opportunities, as well as for dubious penitentiary measures, the themes that were further emphasized in 'A Christmas Carol'.

[Plateresca]

Postscript

Sylvère Monod again:
'This is a two-page appendage devoted to the American episodes and to Dickens's relationship with the United States. The bulk of this postscript consists of a substantial extract from a speech delivered by the novelist at a public dinner in New York on 18 April 1868. The dinner had been given in Dickens's honour (or honor) by 'two hundred representatives of the Press of the United States of America', that is, of a body of professional men who had fared exceedingly ill at his hands in Martin Chuzzlewit. The dinner and speech occurred in the course of Dickens's second visit to the States, delayed by the Civil War, and in some ways, when it did take place, much happier, or at any rate much less ambiguous, than the first.'

Continued under the spoiler tag, but not a spoiler: (view spoiler)[Dickens's status in 1842 had been that of a guest of honour travelling at his own expense, with nothing special to do, apart from seeing the country and being entertained. Breathing incense, not unmixed with harsher smells, had proved somewhat uncongenial to Dickens. In 1867–8 his visit was put on a commercial (and artistic) basis; he came to give public readings, by which he undisguisedly hoped to make a good deal of money. This sort of give-and-take — Dickens giving out aesthetic pleasure and emotion, his audiences giving dollars and applause — apparently suited both the visitor and the visited much better than the former vague arrangement, the kind of purposeless quasi-royal tour of 1842. Dickens might have suffered from loneliness in 1868; he had no wife with him, not even his friend or mistress Ellen Ternan had been enabled to join him; he was in very poor health, and he had to face the rigours of very harsh winter weather. Yet his speech to the pressmen breathes benevolence and enjoyment, or at any rate the determination to be pleased by the welcome accorded to him. The speech, or the long passage from it quoted in the postscript, is a tribute both to the second reception experienced by Dickens and to the improvements he had observed in American cities, twenty-four years after. He uses the superlative vocabulary of admiration that was so typical of him, words and phrases like: 'high and grateful sense of my second reception... the national generosity and magnanimity... astounded... by the amazing changes... on every side... gigantic changes... unsurpassable politeness, delicacy, sweet temper, hospitality, consideration... unusrpassable respect for the privacy'; and these words and phrases were used, he said, not in mere love and thankfulness, but as an act of plain justice and honour, and they were spoken with the greatest earnestness. Anyone acquainted with Dickens's style in his speeches and letters will here recognize two or three familiar modes of rhetorical emphasis: there are the dulicated abstractions (generosity and magnanimity, love and thankfulness, justice and honour), the other kinds of iteration or repetition (astounded by/amazing, amazing changes/gigantic changes), the proliferation of superlatives (unsurpassable, the greatest). The wording may be in excess of the emotion.

Apart from the compliments, the 1868 speech contained one assertion, or conjecture, of a very unusual nature. His hearers may well have been astounded by this amazing statement: 'Nor am I, believe me, so arrogant as to suppose that in five and twenty years there have been no changes in me, and that I had nothing to learn and no extreme impressions to correct when I was here first.' Dickens was not much given to questioning his own infallibility. This expression of humility is moving, and it is one of the rare signs of a maturing and mellowing of Dickens's personality at this late date.

The speech went on to point out, with much humour, that even an immensely improved press like that of New York could occasionally be misinformed and thus misinform the general public. Whoever said that Dickens intended to write a new book about America needed to be contradicted flatly, for nothing would induce him to do so. The only thing he was going to do was to have his tribute inserted as a postscript into every copy of either American Notes or Martin Chuzzlewit henceforth to be printed, as long as he or his heirs had any power over the contents of his books. That promise was made good, and the postscript is still reprinted where Dickens wanted it. It is a useful comment on the excessively harsh satire of the American episodes. It cannot quite restore the balance, but there is in it appreciable evidence of Dickens's intellectual honesty and goodwill.' (hide spoiler)]

[Plateresca]

Charles Dickens as he appears when reading
Sketch by C. A. Barry, image from the Library of Congress

[John]

Thanks Plateresca regarding the Prefaces. I have the Nook version of the Penguin Classic. I have a Preface and a Postscript. The Preface is from 1844. The Postscript is a speech he gave in New York in 1868. Have I missed one?

Interestingly enough, my edition has two appendixes. A rather fascinating look at his “working notes” and the second is entitled “Mrs. Gamp’s eccentric speech.”

[Plateresca]

I am proud to say the group has anticipated many of the points of these here materials! :) E.g. we talked about the character of Mrs Gamp and that it was definitely not a satire against nurses like Florence Nightingale, but, on the contrary, an effort to draw attention to the problem of unqualified medical, uhm, 'professionals'.

Is everybody here aware that we have the book Dickens and Travel: The Start of Modern Travel Writing as our side read this year? So, in this book, one of the last chapters is dedicated to Dickens's second journey to America. It has more details on what Monod mentions here, about how Charles Dickens was tired and sick (e.g. he was coughing non-stop, something that is too familiar to me these days) and depressed. So, indeed, I find it heart-warming that he found the courage and honesty to admit that he mi-ight have been a bit over the top in some chapters :) And, you know, Lucinda Hawksley, the author of the 'Dickens and Travel' book (and Jean talked a bit about her in that thread), says that by the time of that second visit to America, nobody there held any grudges against him for either 'American Notes' or 'Martin Chuzzlewit'. He was received like a rock star :) (And there's a really touching story in that book about a little American girl who chanced to meet Dickens on a train; imagine that! it's worth reading!). So, I hope we here will not be less benevolent than the American press of the time :) and forgive our favourite writer for any possible slight :) exaggerations :)

Another thing I want to mention is, structure (point five in the first preface). You know, maybe this is one of those books that benefit from a second reading (Luffy, are you still here? How many times did you say you had read the book before, was it five? :)). I find it kind of touching that Charles Dickens was so proud of his planning this novel, as opposed to 'Oliver Twist' and 'Nicholas Nickleby', and I really enjoy finding all those little hints at what's to come that are scattered throughout the text, something which he just couldn't do in his previous works, and something which it's so easy to miss!.. Although we have noticed and keep noticing many of them :)

Over to you now, what do you think? Have these texts clarified things a bit for you, or are they just a confirmation of what you already thought previously?

[Bionic Jean, "Dickens Duchess"]

Just popping in to say thank you for dealing with these so characteristically thoroughly dear Plateresca. They are linked to the start now. Thanks too for reminding the group about our side read. Indeed in her book Dickens and Travel: The Start of Modern Travel Writing, Lucinda Hawksley distils much of the information about his 2 American trips in John Forster's The Life of Charles Dickens in a very readable way (lucid Lucinda!) So if you've read those three volumes it will be a good recap and if not, please do enjoy the side read. It's current to the end of the year.

I hope everyone also enjoys the extra perspective provided by these later thoughts of Charles Dickens. Now (hopefully) you can see why we placed the group read of them here 🙂

[Shirley (stampartiste)]

Plateresca wrote: "Shirley, this is how Jonas was introduced in Chapter Five:
'Then there were Anthony Chuzzlewit, and his son Jonas; the face of the old man so sharpened by the wariness and cunning of his life, that..."

Thank you so much for referring back to that passage about Jonas, Plateresca! I don't know how I missed that. Wow! So Jonas would not only be a despicable human being, but he was also ugly and much older than the two sisters. And if he is in business with Montague, he is also not as wealthy as we had assumed he was. It definitely makes you wonder what they saw in him that was worth fighting over!

[Peter]

Plateresca wrote: "Postscript

Sylvère Monod again:
'This is a two-page appendage devoted to the American episodes and to Dickens's relationship with the United States. The bulk of this postscript consists of a subst..."

Plateresca Thank you for providing the details of the Postscripts. Taken as a glimpse of how MC stands not only as a novel but as a reflection of the historical times and events of history it is very interesting to see what Dickens had to say.

[Plateresca]

Jean, thank you ❤️
Lucid Lucinda, how lovely and appropriate :)


Shirley, yes-s, Jonas is horrid, there can be no doubt about that.
I actually think he's wealthy enough, though; remember the expensive funeral? Also, we know that old Martin is wealthy; his brother the wily businessman was likely to be at least well-off.
Why exactly Jonas goes into business with Tigg//Montague is another question...
But yes, it's definitely hard to imagine somebody like Mercy having tender feelings for Jonas.


Peter, thank you for sharing this.
For me, these texts reflect, more than anything else, Charles Dickens's personality: passionate, striving to be honest and authentic. I, personally, feel that maybe he shouldn't have tried so hard to always prove to the world that his characters were realistic, that his fiction was based on real events. I find it a bit awkward, but also, in a way, likeable.
I am content to treat 'MC' as fiction, but I'll think of what you've said about 'AN' and 'MC' being a reflection of history; I'm sure Charles Dickens himself would not have been opposed to such an interpretation of his work :)

[Chris]

My edition has no prefaces nor the postscript. So thanks for the info.

[Bionic Jean, "Dickens Duchess"]

Just a little bit of trivia to add about the reading desk you can see in C.A. Barry's sketch ...

It was designed and especially made to Charles Dickens's own exact specifications, and he took it on all his reading tours. It became like a sort of talisman to him.

Now it is in the Dickens museum in Doughty St. Each time I see it I get a little thrill 🙂.

[John]

That reading desk is great!

https://dickensmuseum.com/blogs/charl...

[Julie]

Plateresca wrote: "‘I don’t like word of mouth,’ said Mr Nadgett gravely. ‘We never know who’s listening.’
You know how some people always want to call, and some people always prefer writing emails? :)"

Ha!

[Julie]

Plateresca wrote: "His hearers may well have been astounded by this amazing statement: 'Nor am I, believe me, so arrogant as to suppose that in five and twenty years there have been no changes in me, and that I had nothing to learn and no extreme impressions to correct when I was here first.' Dickens was not much given to questioning his own infallibility. This expression of humility is moving, and it is one of the rare signs of a maturing and mellowing of Dickens's personality at this late date."

What a nice touch. And 25 years (especially with a war in the midst of them, for the US) must have produced a lot of transformation.

[Plateresca]

Chris, this Gutenberg page:
https://www.gutenberg.org/files/968/9...
has the first preface and the postscript before the text of the novel, in case you want to have a look at them.


Jean, speaking about desks, I remembered Charles Dickens's little portable travel (writing) desk that you once posted. I do envy his desks :)


Julie, exactly, things changed somewhat.

[Bionic Jean, "Dickens Duchess"]

John - That is an excellent article on Charles Dickens's reading desk! Thanks for sharing it. I think it may have been in "The Dickensian" magazine in 1978, but I wasn't a member of the Dickens Fellowship then.

"I have a Preface and a Postscript. The Preface is from 1844. The Postscript is a speech he gave in New York in 1868. Have I missed one?"

There are two missing in your edition, those from 1844 and 1849, as Plateresca explains LINK HERE

I urge everyone to read the part under her spoiler in this post, as it contains the essence of all three prefaces, summarised by Sylvère Monod, but coloured by a droll wit. 😆From an English point of view it is screamingly funny! The only reason Plateresca has placed it under a spoiler is to save space for anyone reading on an app.

At least read his six points summarising the first one.

e.g. "1. The author says that he has nothing to say, but must say something because a preface is customary, and thus expected of him." 😂🤣

This is perfect as a summary of the first paragraph, because it not only contains the essence, but also makes you want to read - and better appreciate - Charles Dickens's original.

And here I should also perhaps say that although Nicholas's ancestor in Nicholas Nickleby threatens to climb up the Monument (for the purpose of throwing himself off), it is right at the start, and very very funny in the English way! It sets the tone for the book, rather like the first chapter of Martin Chuzzlewit was designed to.

[Bionic Jean, "Dickens Duchess"]

Chris - Don't you even have the Postscript? That is disappointing, and specifically against Dickens's own wishes. In fact Charles Dickens himself insisted that it be published in every single edition for ever:

"This testimony, so long as I live, and so long as my descendants have any legal right in my books, I shall cause to be republished, as an appendix to every copy of those two books of mine in which I have referred to America."

He believed that America had changed so much in the intervening years between his visits, that he wanted this postscript to stand as a permanent record, and be read by every reader alongside both Martin Chuzzlewit and American Notes for General Circulation. Happily it is in the Gutenberg copy Plateresca linked to for you.

When we read the latter as a group, we therefore also read this. I find it quite poignant for a man of his temperament to say such a thing; yes as Nancy Metz says, it is almost humble. 🤔

So now as they say, "back to the plot", and the first half of chapter 39 ...

[Bionic Jean, "Dickens Duchess"]

Installment 15:

Chapter 39 (beginning): Containing Some Further Particulars of the Domestic Economy of the Pinches; With Strange News from the City, Narrowly Concerning Tom (part (i) until “they found a little blear-eyed glass door up in one corner, with Mr Fips painted on it in characters which were meant to be transparent.”)

Ruth is overjoyed to become Tom’s housekeeper “for it was such a grand novelty to be mistress of anything”. It is a pleasure to her to keep busy, especially for her brother. Ruth and Tom enjoy planning their dinner, although Ruth is not sure what she can cook, and is only confident about chops (since they turned out alright before). But then she decides she might be able to make a beef-steak pudding, and Tom is very enthusiastic about this, encouraging her first experiments with cooking.

Ruth bustles about, taking great pride in everything and being very merry about doing various domestic chores. Then they set off to buy groceries together, and congratulate themselves on having found such a nice area to live in, and at so reasonable a cost.

When they return Tom sits down to write a letter. When Ruth asks him what he is writing, he explains that he is writing to John Westlock about finding employment. Ruth says that she will also need to look for work, as they cannot afford for her to just keep house, but Tom wants them to stay together and insists that they try and stick it out. Tom tries to write his letter, but:

“for the life and soul of him, Tom could get no further in his writing than, ‘A respectable young man, aged thirty-five,’”

Ruth carries on making the pudding:



“I am going to begin, Tom. Don’t you wonder why I butter the inside of the basin?” - Fred Barnard - Frontispiece to Household Edition 1872

So Tom finally gives up and there is a lot of teasing and gentle banter between the two.



“Ruth makes a Pudding” - Harry Furniss - 1910

Then suddenly Ruth gives a start and turns very red. John Westlock has appeared in the room!


“Mr. Pinch and Ruth Unconscious of a Visitor” - Hablot Knight Browne (Phiz) - March 1844

John apologises for startling them, and explains that they had not heard his knock. Tom introduces the two, as John seems:

“transfixed in silent admiration, and he held out his hand to Miss Pinch; who couldn’t take it, however, by reason of the flour and paste upon her own. This … had in reality the best effect in the world, for neither of them could help laughing; and so they both found themselves on easy terms immediately.”

Ruth continues making dinner, but is horrified when Tom invites John to stay, since she is making a dish she has never tried out before and doesn’t know how it will turn out.

Tom and John talk while Ruth works on the pudding. John tells Tom that there is no need for him to finish his letter, because a man visited him today to offer Tom a job. John Westlock says that he is surprised to know Tom has friends in London, and Tom is equally baffled, also unaware of any friends he might have there. The man wants to hire Tom as a secretary and librarian for a hundred pounds a year. He said he doesn’t know Tom personally, but knew that Tom had left his situation with Mr. Pecksniff. He was not at liberty to give any more explanation, but that:

“to any person who had ever been in Mr Pecksniff’s neighbourhood, Mr Thomas Pinch and his acquirements were as well known as the Church steeple, or the Blue Dragon.”

John had been beginning to think this was something supernatural, but then the man gave him a card, introducing a “Mr. Fips of Austin Friars”, and saying they were expected the following morning.

Tom is both overjoyed and amazed, but Ruth suspects that John might not be telling them everything he knows. John assures them that he knows no more about it than he has related.

The next morning, Ruth makes sure that Tom looks his smartest, and John and Tom head out to Austin Friars to meet Mr. Fips. As they walk, John brings up the possibility that Tom Pinch is the son of someone important. Tom denies this:

“my poor father was of no consequence, nor my mother either …My poor mother was the last. She died when Ruth was a mere baby, and then we both became a charge upon the savings of that good old grandmother I used to tell you of. You remember! Oh! There’s nothing romantic in our history, John.”

They arrive at Austin Friars, which is a dark and gloomy place, and sit down in Mr. Fips’s office.

(to be continued...)

[Bionic Jean, "Dickens Duchess"]

Writing Style

The first part of this chapter gives a little insight into Victorian domestic lower-middle class life in London. I really appreciated the details, such as using a cabbage-leaf to wrap up the stewing steak, rather than today’s extravagance of polystyrene trays, clingfilm and paper or plastic bags. And it’s worth mentioning that it is a little unusual for the author to have such a detailed knowledge of how to make a meat pudding; Charles Dickens did actually research this specific pudding quite carefully! But it is so more than a detailed description of domestic lower-middle class life.

It is such a delightfully cosy scene to read; Charles Dickensat his most sentimental for sure, but also painting the best picture, in which everything is marvellously exaggerated. In fact it is so vivid, it is almost surreal, and reminded me strongly of another time and place familiar to almost everyone, not only lovers of Charles Dickens. I wonder if you felt this echo too …

It is the scene from A Christmas Carol, where Bob Cratchit and his family are sitting down to their Christmas dinner. The plum pudding must in reality be very small indeed, as Bob’s employer makes sure that the family have little money. Like Tom Pinch, Bob works in a menial role for a selfish skinflint of a boss (Scrooge = Pecksniff). But to read that delightful scene, with Charles Dickens’s wonderful description, we feel how the Christmas pudding is imbued with everyone’s love, fellowship and hope, and as a consequence it is the best pudding in the world.

A similar feeling was engendered by this meat pudding of Ruth’s, (which quite honestly was probably a disaster, with very little meat in it, and baked by an inexperienced and fairly scatterbrained cook.) But the way Charles Dickens tells it, it is the best meat pudding there ever was - because of the love, respect and optimism the brother and sister feel for each other.

So I decided to check the dates. This installment (chapters 39–41) was published in March 1844, and A Christmas Carol, had of course been published in December 1843. So yes, it is an echo of the story the original readers first read just three short months earlier! How they must have loved it, perhaps with the earlier treat of a scene still fresh in their minds. 🥰 And perhaps it adds an extra charm now to a scene which, in all honesty as 21st century readers, we might otherwise have thought a little self-indulgent?

[Bionic Jean, "Dickens Duchess"]

It’s also crystal clear that Charles Dickens is falling in love with his created heroine here. Perhaps Ruth is to be another incarnation of his beloved sister-in-law Mary Hogarth, who had died in his arms so tragically while he was writing Oliver Twist. Someone else seems to be falling in love with her too … 🤔

We see that Tom may go out and get a day job, but we deduce that if Ruth takes work, she will have to move in with the family or employer. Therefore the only work Ruth could find would be live-in work presumably as a governess.

[Bionic Jean, "Dickens Duchess"]

I have two favourite quotations today! One is from the beginning,where Ruth is bustling about and searching:

“the two little damp cupboards down by the fireplace, where the very black beetles got mouldy, and had the shine taken out of their backs by envious mildew”

I always enjoy Dickens’s powers of personification, but would not have imagined that he could even conjure up mildew's feelings! 😆

And this is from the end of today’s segment:

“a wicked old sideboard hiding in the gloom hard by, meditating designs upon the ribs of visitors; and an old mat, worn into lattice work, which, being useless as a mat (even if anybody could have seen it, which was impossible), had for many years directed its industry into another channel, and regularly tripped up every one of Mr Fips’s clients.”

And I’m really intrigued about this “Mr. Fips”!

[Bionic Jean, "Dickens Duchess"]

Did you enjoy this chapter as much as I did? Charles Dickens said that Tom Pinch and his sister Ruth were two of his favourite creations. 🥰

And I searched in vain through this chapter in my 1872 Household edition … surely Fred Barnard would not miss out the chance to illustrate this charming scene? Then I found it. It has pride of place, at the beginning of the luxury volume, as its frontispiece!

We will be reading the second half of chapter 39 tomorrow (Saturday) but since I will be travelling home all day, I will post it a few hours early (i.e. tonight for me.)

Over to you!

[Lori]

This is the Dickens I love! I’m so happy to read this sentimental day in the life of Tom and Ruth. Jean, you noted my favorite part already - all of the little details he describes in this most common of days. I loved the mouldy beetles. You can just tell these two will make it work because they have love and respect. I also loved that Dickens equated Ruth’s joy to a little girl’s love for her doll house where it’s playing make believe. Yet, reality for Ruth is pure joy!

Now, who is this mysterious employer?

[Peter]

I really enjoyed the Fred Barnard illustration for two reasons. First, I think it captures a very good moment in the life of Tom and his sister. The second is more personal. I collect letters written by the illustrators of Dickens’s novels. I have one from Barnard to a client who owes him money for illustrations that have not yet been paid for. Barnard wants the money so he can pay his butcher. That reminds me of the coming Pinch dinner.

A peek into the world of illustrators and their daily lives. What I find really interesting is Barnard drew a picture of himself lying on the floor with a razor if he cannot pay his butcher. That’s an interesting peek at Barnard’s sense of humour (and perhaps a serious plea for the money owed to him)

If anyone would like to see the signed Barnard letter just send me an email/contact note and I’ll happily send you images of the letter and illustration.

[Connie]

This is such a charming chapter full of laughter, love, and optimism! Tom and Ruth are delightful characters, and Tom has such a good friend in John Westlock. Dickens has introduced a mystery element that does not involve villains since we don't know the identity of Tom's benefactor. He's also hinting that John is captivated by Ruth. I doubt that either man will care if the meat pie is perfect or not since they are all enjoying each other's company so much.

[Sara]

Like Lori, this is the Dickens I love. Every detail is perfection. You are there in the room, you can smell the cooking spices, hear the laughter, you cannot help smiling right along with them. This is what Dickens generally excels at: creating characters that come alive off the page. He does it so well that even he fell in love with his creations.

John Westlock is toast.

[Shirley (stampartiste)]

I, too, loved the exuberance of this chapter and the almost childish joy experienced by the two siblings. As I read it, I couldn't remember another example like this in any of Dickens' novels. But I had forgotten about the Cratchit dinner scene in A Christmas Carol. Thank you for reminding us of that, Jean. Yes, that is exactly the same emotions this chapter invoked in me.

I was, and still am, confused about the passage you quoted, Jean: “the two little damp cupboards down by the fireplace, where the very black beetles got mouldy, and had the shine taken out of their backs by envious mildew”. Was Dickens referring to actual beetle insects, or something else? I couldn't picture beetles being afflicted with mold or mildew.

And Sara, you made me laugh when you said "John Westlock is toast." Oh yes, indeed he is!!!

[Shirley (stampartiste)]

Peter wrote: "I really enjoyed the Fred Barnard illustration for two reasons. First, I think it captures a very good moment in the life of Tom and his sister. The second is more personal. I collect letters writt..."

This sounds like such an interesting and unusual endeavor, Peter! May I ask how you go about finding the illustrators' letters? What fascinating research.

I had to laugh at Barnard illustrating his dire consequences with a razor lying next to his body. He is my absolute favorite Dickens illustrator, but I never pictured him with such a wicked sense of humor. I would love to see that. Thank you for offering to share that with us!

[Peter]

Yes indeed. The opening of this chapter is comforting, happy, and loving. Isn‘t it good to find Tom and Ruth together? It's about time we had a portrayal of a happy, functioning household. One of the great symbols of a Victorian novel is a set of keys that most often will signal that the house is secure and happy. Ruth is the keeper of the keys, the mistress of their home.

The change of tone in this chapter as compared to earlier domestic settings is remarkable. Dickens spends a few paragraphs extolling the gentle and affable character of Ruth and then we see John enter the scene. It seems that I am not the only person who notices the interaction between Ruth and John. The trio of Tom, Ruth, and John offer the reader much gentle relief from the pairing of Jonas and Merry or Pecksniff and Chuzzlewit Sr.

[Bionic Jean, "Dickens Duchess"]

Ah Shirley, do you remember our group read of The Cricket on the Hearth? It's similar to that; a sort of pun.

The Victorians liked to have brass or iron ornaments on their hearths to complement their fireplace tools. Large insects such as crickets or beetles were considered to be good luck; either naturalistic or anthropomorphised. Here's a beetle:


And a cricket:


But of course Charles Dickens can't resist making us think of their real life counterparts too, either by a chirping cricket in his "fairy tale of home", or these beetles in a damp cupboard by the fireplace. Are they alive, or ornamental?

Who can say, except that they are imbued with Dickens's magic 🥰

[Bionic Jean, "Dickens Duchess"]

Chapter 39: Containing Some Further Particulars of the Domestic Economy of the Pinches; With Strange News from the City, Narrowly Concerning Tom (part (ii) from “they found a little blear-eyed glass door up in one corner, with Mr Fips painted on it in characters which were meant to be transparent.” to end)

Mr. Fips asks if Tom thinks the offer is worth his time, and Tom replies that he is very grateful. They discuss particulars, and Mr. Fips repeats that he is acting on behalf of someone else whom he cannot name. Tom says that he would like to take the position, and Mr. Fips confirms that Tom is hired. An hour later, they all go to see the place where Tom will be working. It is a dusty room filled with piles of books; Tom’s job is to clean, organise, and catalogue the contents of the room. He is delighted to be offered such suitable work.



“Mysterious Installation of Mr. Pinch” - Hablot Knight Browne (Phiz) - March 1844

Mr. Fips doesn’t give Tom’s employer’s name, and John begins to wonder if maybe Mr. Fips is the employer after all.

https://victorianweb.org/art/illustra...

“Tom’s Dream Commission” - “”I can’t say; it’s impossible to tell. I really have no idea. But,“ said Fips, taking off a very deep impression of the wafer-stamp upon the calf of his left leg, and looking steadily at Tom, ”I don’t know that it’s a matter of much consequence.” - Fred Barnard - Household Edition 1872

Then to their surprise Mr. Fips leaves suddenly, and John and Tom are left alone in the room full of books. They laugh about this, and look around to see if there are any clues about Tom’s employer.

Then they return home to find Ruth ready for supper, and her meat pudding proves a great success. The three talk until late and Tom tells John all about Martin’s trip to America and the situation with Mary, but he does not reveal his secret love for her. All three go to the theatre, which John assures them he has a free pass for, but Tom does not suspect the truth; that whenever John goes in first, he pays for them all.

The next day Ruth finds a cookbook waiting for her in the parlour, with the recipe for beefsteak pudding obliterated.

[Bionic Jean, "Dickens Duchess"]

I am intrigued by Mr. Fips! The description of him shows us that he is old-fashioned:

“small and spare, and looked peaceable, and wore black shorts and powder”

This refers to knee breeches and hair powder, which are out of date. (You might remember that Mr. Tulkinghorn the solicitor in Bleak House, also wore a similar old-fashioned style of dress.)

Later on the text refers to “boots and a wig” which are also old-fashioned but in a different way:

“Why does Mr Fips wear shorts and powder, and Mr Fips’s next-door neighbour boots and a wig?”

But this is nothing compared to his behaviour, which is so bizarre! I can see that Mr. Fips was in search of a displacement activity while he thought about what to say, but couldn’t he have played with pen nibs or something? But no, he stamped his legs with the letter F - the initial of his surname.

A wafer stamp was a hand held stamp used to impose a device on a thin wafer, used to seal a letter. So he’s not just printing inky patterns there, but pressing hard enough to emboss his leg! Is this self-validation? That doesn’t seem Dickens’s style really.

Later in the chapter we follow Mr. Fips through labyrinthine corridors, and find a room full of chaotic papers and where everything is shrouded in dust. This is more familiar ground! Dickens’s savage parodies of the legal profession and red tape generally, abound in his novels. I assume then that the stamping of his leg is also a parody of the “rubber stamping” of approval before anything can be done in the civil service.