This edition uses the definitive Clarendon text and includes all forty-one original illustrations by Phiz. The volume boasts a new introduction by Dennis Walder, highlighting Dickens's move from social and political issues to more personal, even spiritual concerns while maintaining the wide scope of his mature fiction. Also included are an up-to-date bibliography and full chronology of the author's life and times, an appendix which reproduces Dickens's number plans for the novel, substantially revised and updated notes, and a map of London.
Mixing humor and pathos, irony and satire, Little Dorrit reveals a master of fiction in top form.
About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.
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About the Author
Harvey Peter Sucksmith edited the definitive critical edition of Little Dorrit for the Clarendon Dickens, and a critical edition of Collins's The Woman in White for Oxford English Novels.
Dennis Walder is an Emeritus Professor of Literature at the Open University. He is the author of Literature in the Modern World and, most recently, Postcolonial Nostalgias: Writing, Representation, and Memory. He was a judge for the Commonwealth Writers' prize, 2011.
Date of Birth:February 7, 1812
Date of Death:June 18, 1870
Place of Birth:Portsmouth, England
Place of Death:Gad's Hill, Kent, England
Education:Home-schooling; attended Dame School at Chatham briefly and Wellington
Read an Excerpt
SUN AND SHADOW
Thirty years ago, Marseilles lay burning in the sun, one day.
A blazing sun upon a fierce August day was no greater rarity in southern France then, than at any other time, before or since. Every thing in Marseilles, and about Marseilles, had stared at the fervid sky, and been stared at in return, until a staring habit had become universal there. Strangers were stared out of countenance by staring white houses, staring white walls, staring white streets, staring tracts of arid road, staring hills from which verdure was burnt away. The only things to be seen not fixedly staring and glaring were the vines drooping under their load of grapes. These did occasionally wink a little, as the hot air barely moved their faint leaves.
There was no wind to make a ripple on the foul water within the harbor, or on the beautiful sea without. The line of demarcation between the two colors, black and blue, showed the point which the pure sea would not pass; but it lay as quiet as the abominable pool, with which it never mixed. Boats without awnings were too hot to touch; ships blistered at their moorings; the stones of the quays had not cooled, night or day, for months. Hindoos, Russians, Chinese, Spaniards, Portuguese, Englishmen, Frenchmen, Genoese, Neapolitans, Venetians, Greeks, Turks, descendants from all the builders of Babel, come to trade at Marseilles, sought the shade alike — taking refuge in any hiding-place from a sea too intensely blue to be looked at, and a sky of purple, set with one great flaming jewel of fire.
The universal stare made the eyes ache. Towards the distant line of Italian coast, indeed, it was a little relieved by light clouds of mist, slowly rising from the evaporation of the sea; but it softened nowhere else. Far away the staring roads, deep in dust, stared from the hillside, stared from the hollow, stared from the interminable plain. Far away the dusty vines overhanging wayside cottages, and the monotonous wayside avenues of parched trees without shade, drooped beneath the stare of earth and sky. So did the horses with drowsy bells, in long files of carts, creeping slowly towards the interior; so did their recumbent drivers, when they were awake, which rarely happened; so did the exhausted laborers in the fields. Everything that lived or grew, was oppressed by the glare; except the lizard, passing swiftly over rough stone walls, and the cicala, chirping his dry hot chirp, like a rattle. The very dust was scorched brown, and something quivered in the atmosphere as if the air itself were panting.
Blinds, shutters, curtains, awnings, were all closed and drawn to keep out the stare. Grant it but a chink or keyhole, and it shot in like a white-hot arrow. The churches were the freest from it. To come out of the twilight of pillars and arches — dreamily dotted with winking lamps, dreamily peopled with ugly old shadows piously dozing, spitting, and begging — was to plunge into a fiery river, and swim for life to the nearest strip of shade. So, with people lounging and lying wherever shade was, with but little hum of tongues or barking of dogs, with occasional jangling of discordant church bells, and rattling of vicious drums, Marseilles, a fact to be strongly smelt and tasted, lay broiling in the sun one day.
In Marseilles that day there was a villainous prison. In one of its chambers, so repulsive a place that even the obtrusive stare blinked at it, and left it to such refuse of reflected light as it could find for itself, were two men. Besides the two men, a notched and disfigured bench, immoveable from the wall, with a draught-board rudely hacked upon it with a knife, a set of draughts, made of old buttons and soup bones, a set of dominoes, two mats, and two or three wine bottles. That was all the chamber held, exclusive of rats and other unseen vermin, in addition to the seen vermin, the two men.
It received such light as it got, through a grating of iron bars, fashioned like a pretty large window, by means of which it could be always inspected from the gloomy staircase on which the grating gave. There was a broad strong ledge of stone to this grating, where the bottom of it was let into the masonry, three or four feet above the ground. Upon it, one of the two men lolled, half sitting and half lying, with his knees drawn up, and his feet and shoulders planted against the opposite sides of the aperture. The bars were wide enough apart to admit of his thrusting his arm through to the elbow; and so he held on negligently, for his greater ease.
A prison taint was on every thing there. The imprisoned air, the imprisoned light, the imprisoned damps, the imprisoned men, were all deteriorated by confinement. As the captive men were faded and haggard, so the iron was rusty, the stone was slimy, the wood was rotten, the air was faint, the light was dim. Like a well, like a vault, like a tomb, the prison had no knowledge of the brightness outside; and would have kept its polluted atmosphere intact, in one of the spice islands of the Indian Ocean.
The man who lay on the ledge of the grating was even chilled. He jerked his great cloak more heavily upon him by an impatient movement of one shoulder, and growled, "To the devil with this Brigand of a Sun that never shines in here!"
He was waiting to be fed; looking sideways through the bars, that he might see the further down the stairs, with much of the expression of a wild beast in similar expectation. But his eyes, too close together, were not so nobly set in his head as those of the king of beasts are in his, and they were sharp rather than bright — pointed weapons with little surface to betray them. They had no depth or change; they glittered, and they opened and shut. So far, and waiving their use to himself, a clockmaker could have made a better pair. He had a hook nose, handsome after its kind, but too high between the eyes, by probably just as much as his eyes were too near to one another. For the rest, he was large and tall in frame, had thin lips, where his thick moustache showed them at all, and a quantity of dry hair, of no definable color, in its shaggy state, but shot with red. The hand with which he held the grating (seamed all over the back with ugly scratches newly healed) was unusually small and plump; would have been unusually white, but for the prison grime.
The other man was lying on the stone floor, covered with a coarse brown coat.
"Get up, pig!" growled the first. "Don't sleep when I am hungry."
"It's all one, master," said the pig, in a submissive manner, and not without cheerfulness; "I can wake when I will, I can sleep when I will. It's all the same."
As he said it, he rose, shook himself, scratched himself, tied his brown coat loosely round his neck by the sleeves (he had previously used it as a coverlet), and sat down upon the pavement yawning, with his back against the wall opposite to the grating.
"Say what the hour is," grumbled the first man.
"The mid-day bells will ring — in forty minutes." When he made the little pause, he had looked round the prison-room, as if for certain information.
"You are a clock. How is it that you always know?"
"How can I say! I always know what the hour is, and where I am. I was brought in here at night, and out of a boat, but I know where I am. See here! Marseilles Harbor"; on his knees on the pavement, mapping it all out with a swarthy forefinger; "Toulon (where the galleys are), Spain over there, Algiers over there. Creeping away to the left here, Nice. Round by the Cornice to Genoa. Genoa Mole and Harbor. Quarantine Ground. City there; terrace-gardens blushing with the bella donna. Here, Porto Fino. Stand out for Leghorn. Out again for Civita Vecchia. So away to — hey! there's no room for Naples"; he had got to the wall by this time; "but it's all one; it's in there!"
He remained on his knees, looking up at his fellow prisoner with a lively look for a prison. A sunburnt, quick, lithe, little man, though rather thickset. Ear-rings in his brown ears, white teeth lighting up his grotesque brown face, intensely black hair clustering about his brown throat, a ragged red shirt open at his brown breast. Loose, seamanlike trousers, decent shoes, a long red cap, a red sash round his waist, and a knife in it.
"Judge if I come back from Naples as I went! See here, my master! Civita Vecchia, Leghorn, Porto Fino, Genoa, Cornice, Off Nice (which is in there), Marseilles, you and me. The apartment of the jailer and his keys is where I put this thumb; and here at my wrist, they keep the national razor in its case — the guillotine locked up."
The other man spat suddenly on the pavement, and gurgled in his throat.
Some lock below gurgled in its throat immediately afterwards, and then a door clashed. Slow steps began ascending the stairs; the prattle of a sweet little voice mingled with the noise they made; and the prison-keeper appeared, carrying his daughter, three or four years old, and a basket.
"How goes the world this forenoon, gentlemen? My little one, you see, going round with me to have a peep at her father's birds. Fie, then! Look at the birds, my pretty, look at the birds."
He looked sharply at the birds himself, as he held the child up at the grate, especially at the little bird, whose activity he seemed to mistrust. "I have brought your bread, Signor John Baptist," said he (they all spoke in French, but the little man was an Italian); "and if I might recommend you not to game —"
"You don't recommend the master!" said John Baptist, showing his teeth as he smiled.
"Oh! but the master wins," returned the jailer, with a passing look of no particular liking at the other man, "and you lose. It's quite another thing. You get husky bread and sour drink by it; and he gets sausage of Lyons, veal in savory jelly, white bread, strachino cheese, and good wine by it. Look at the birds, my pretty!"
"Poor birds!" said the child.
The fair little face, touched with divine compassion, as it peeped shrinkingly through the grate, was like an angel's in the prison.
John Baptist rose and moved towards it, as if it had a good attraction for him. The other bird remained as before, except for an impatient glance at the basket.
"Stay!" said the jailer, putting his little daughter on the outer ledge of the grate, "she shall feed the birds. This big loaf is for Signor John Baptist. We must break it to get it through into the cage. So, there's a tame bird, to kiss the little hand! This sausage in a vine-leaf is for Monsieur Rigaud. Again — this veal in savory jelly is for Monsieur Rigaud. Again — these three white little loaves are for Monsieur Rigaud. Again, this cheese — again, this wine — again, this tobacco — all for Monsieur Rigaud. Lucky bird!"
The child put all these things between the bars into the soft, smooth, well-shaped hand, with evident dread — more than once drawing back her own, and looking at the man with her fair brow roughened into an expression half of fright and half of anger.
Whereas, she had put the lump of coarse bread into the swart, sealed, knotted hands of John Baptist (who had scarcely as much nail on his eight fingers and two thumbs as would have made out one for Monsieur Rigaud), with ready confidence; and, when he kissed her hand, had herself passed it caressingly over his face. Monsieur Rigaud, indifferent to this distinction, propitiated the father by laughing and nodding at the daughter as often as she gave him anything; and, so soon as he had all his viands about him in convenient nooks of the ledge on which he rested, began to eat with an appetite.
When Monsieur Rigaud laughed, a change took place in his face, that was more remarkable than prepossessing. His moustache went up under his nose, and his nose came down over his moustache, in a very sinister and cruel manner.
"There!" said the jailer, turning his basket upside down to beat the crumbs out, "I have expended all the money I received; here is the note of it, and that's a thing accomplished. Monsieur Rigaud, as I expected yesterday, the President will look for the pleasure of your society at an hour after mid-day, to-day."
"To try me, eh?" said Rigaud, pausing, knife in hand and morsel in mouth.
"You have said it. To try you."
"There is no news for me?" asked John Baptist, who had begun, contentedly, to munch his bread.
The jailer shrugged his shoulders.
"Lady of mine! Am I to lie here all my life, my father?"
"What do I know!" cried the jailer, turning upon him with southern quickness, and gesticulating with both his hands and all his fingers, as if he were threatening to tear him to pieces. "My friend, how is it possible for me to tell how long you are to lie here? What do I know, John Baptist Cavalletto? Death of my life! There are prisoners here sometimes, who are not in such a devil of a hurry to be tried."
He seemed to glance obliquely at Monsieur Rigaud in this remark; but Monsieur Rigaud had already resumed his meal, though not with quite so quick an appetite as before.
"Adieu, my birds!" said the keeper of the prison, taking his pretty child in his arms, and dictating the words with a kiss.
"Adieu, my birds!" the pretty child repeated.
Her innocent face looked back so brightly over his shoulder, as he walked away with her, singing her the song of the child's game:
"Who passes by this road so late?
Compagnon de la Majolaine!
Who passes by this road so late?
that John Baptist felt it a point of honor to reply at the grate, and, in good time and tune, though a little hoarsely:
"Of all the king's knights 'tis the flower,
Compagnon de la Majolaine!
Of all the king's knights 'tis the flower,
Which accompanied them so far down the few steep stairs, that the prison-keeper had to stop at last for his little daughter to hear the song out, and repeat the Refrain while they were yet in sight. Then the child's head disappeared, and the prison-keeper's head disappeared, but the little voice prolonged the strain until the door clashed.
Monsieur Rigaud, finding the listening John Baptist in his way before the echoes had ceased (even the echoes were the weaker for imprisonment, and seemed to lag), reminded him with a push of his foot that he had better resume his own darker place. The little man sat down again upon the pavement, with the negligent ease of one who was thoroughly accustomed to pavements; and placing three hunks of coarse bread before himself, and falling to upon a fourth, began contentedly to work his way through them, as if to clear them off were a sort of game.
Perhaps he glanced at the Lyons sausage, and perhaps he glanced at the veal in savory jelly, but they were not there long, to make his mouth water; Monsieur Rigaud soon dispatched them, in spite of the president and tribunal, and proceeded to suck his fingers as clean as he could, and to wipe them on his vine-leaves. Then, as he paused in his drink to contemplate his fellow-prisoner, his moustache went up, and his nose came down.
"How do you find the bread?"
"A little dry, but I have my old sauce here," returned John Baptist, holding up his knife.
"I can cut my bread so — like a melon. Or so — like an omelette.
Or so — like a fried fish. Or so — like Lyons sausage," said John Baptist, demonstrating the various cuts on the bread he held, and soberly chewing what he had in his mouth.
"Here!" cried Monsieur Rigaud. "You may drink. You may finish this."
It was no great gift, for there was mighty little wine left; but Signor Cavalletto, jumping to his feet, received the bottle gratefully, turned it upside down at his mouth, and smacked his lips.
"Put the bottle by with the rest," said Rigaud.
The little man obeyed his orders, and stood ready to give him a lighted match; for he was now rolling his tobacco into cigarettes, by the aid of little squares of paper which had been brought in with it.
"Here! You may have one."
"A thousand thanks, my master!" John Baptist said it in his own language, and with the quick conciliatory manner of his own countrymen.
Monsieur Rigaud arose, lighted a cigarette, put the rest of his stock into a breast-pocket, and stretched himself out at full length upon the bench. Cavalletto sat down on the pavement, holding one of his ankles in each hand, and smoking peacefully. There seemed to be some uncomfortable attraction of Monsieur Rigaud's eyes to the immediate neighbourhood of that part of the pavement where the thumb had been in the plan. They were so drawn in that direction, that the Italian more than once followed them to and back from the pavement in some surprise.
"What an infernal hole this is!" said Monsieur Rigaud, breaking a long pause. "Look at the light of day. Day? The light of yesterday week, the light of six months ago, the light of six years ago. So slack and dead!"
It came languishing down a square funnel that blinded a window in the staircase wall, through which the sky was never seen — nor anything else.(Continues…)
Excerpted from "Little Dorrit"
Copyright © 2018 Charles Dickens.
Excerpted by permission of Dover Publications, Inc..
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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Table of Contents
BOOK THE FIRST: POVERTY
CHAPTER 1. Sun and Shadow
CHAPTER 2 Fellow Travellers
CHAPTER 3. Home
CHAPTER 4. Mrs Flintwinch has a Dream
CHAPTER 5. Family Affairs
CHAPTER 6. The Father of the Marshalsea
CHAPTER 7. The Child of the Marshalsea
CHAPTER 8. The Lock
CHAPTER 9. Little Mother
CHAPTER 10. Containing the whole Science of Government
CHAPTER 11. Let Loose
CHAPTER 12. Bleeding Heart Yard
CHAPTER 13. Patriarchal
CHAPTER 14. Little Dorrit’s Party
CHAPTER 15. Mrs Flintwinch has another Dream
CHAPTER 16. Nobody’s Weakness
CHAPTER 17. Nobody’s Rival
CHAPTER 18. Little Dorrit’s Lover
CHAPTER 19. The Father of the Marshalsea in two or three Relations
CHAPTER 20. Moving in Society
CHAPTER 21. Mr Merdle’s Complaint
CHAPTER 22. A Puzzle
CHAPTER 23. Machinery in Motion
CHAPTER 24. Fortune-Telling
CHAPTER 25. Conspirators and Others
CHAPTER 26. Nobody’s State of Mind
CHAPTER 27. Five-and-Twenty
CHAPTER 28. Nobody’s Disappearance
CHAPTER 29. Mrs Flintwinch goes on Dreaming
CHAPTER 30. The Word of a Gentleman
CHAPTER 31. Spirit
CHAPTER 32. More Fortune-Telling
CHAPTER 33. Mrs Merdle’s Complaint
CHAPTER 34. A Shoal of Barnacles
CHAPTER 35. What was behind Mr Pancks on Little Dorrit’s Hand
CHAPTER 36. The Marshalsea becomes an Orphan
BOOK THE SECOND: RICHES
CHAPTER 1. Fellow Travellers
CHAPTER 2. Mrs General
CHAPTER 3. On the Road
CHAPTER 4. A Letter from Little Dorrit
CHAPTER 5. Something Wrong Somewhere
CHAPTER 6. Something Right Somewhere
CHAPTER 7. Mostly, Prunes and Prism
CHAPTER 8. The Dowager Mrs Gowan is reminded that ‘It Never Does’
CHAPTER 9. Appearance and Disappearance
CHAPTER 10. The Dreams of Mrs Flintwinch thicken
CHAPTER 11. A Letter from Little Dorrit
CHAPTER 12. In which a Great Patriotic Conference is holden
CHAPTER 13. The Progress of an Epidemic
CHAPTER 14. Taking Advice
CHAPTER 15. No just Cause or Impediment why these Two Persons
CHAPTER 16. Getting on
CHAPTER 17. Missing
CHAPTER 18. A Castle in the Air
CHAPTER 19. The Storming of the Castle in the Air
CHAPTER 20. Introduces the next
CHAPTER 21. The History of a Self-Tormentor
CHAPTER 22. Who passes by this Road so late?
CHAPTER 23. Mistress Affery makes a Conditional Promise,
CHAPTER 24. The Evening of a Long Day
CHAPTER 25. The Chief Butler Resigns the Seals of Office
CHAPTER 26. Reaping the Whirlwind
CHAPTER 27. The Pupil of the Marshalsea
CHAPTER 28. An Appearance in the Marshalsea
CHAPTER 29. A Plea in the Marshalsea
CHAPTER 30. Closing in
CHAPTER 31. Closed
CHAPTER 32. Going
CHAPTER 33. Going!
CHAPTER 34. Gone
Reading Group Guide
1. Imprisonment is a theme in many of Dickens’s novels, but is perhaps most fully realized in Little Dorrit. Discuss the attitudes of Mr. Dorrit and Little Dorrit toward the Marshalsea. How are they similar? Different? To what extent is either character able to overcome feelings of imprisonment once set free?
2. Critics have noted that, just as the text is divided into two books with opposing titles, “Poverty” and “Riches,” Little Dorrit is organized according to numerous symmetries. (For instance, “Sun and Shadow” of the first chapter.) Identify and discuss some of these symmetries. In what specific ways do they help advance the novel’s complex plot.
3. As in many of his novels, Dickens uses Little Dorrit to criticize government agencies he finds corrupt or incompetent. Discuss Dickens’s portrayal of the Circumlocution Offic. What is the meaning of the office’s name? Did you find Dickens’ critique successful? Why or why not?
4. Discuss the role of female figures in Little Dorrit. In particular, how do figures such as Amy Dorrit compare to other female characters that you have encountered in other novels by Dickens?
5. Dicuss the character of Arthur Clennam. Do you consider him the novel’s hero? Why or why not?