The Readers Review: Literature from 1714 to 1910 discussion

This is the thread to discuss the next part of our current read as a part of the Dickens Project. I am indeed looking forward to your feedback and comments. Please share your impressions and thoughts below.

Despite the numerous locations, I think the main theme explored in this section is the relationships between masters and their valets/helpers/secretaries. I know it is not the new one, and Sarah even mentioned this topic in one of our earlier threads, but I think in this part Dickens, intentionally or unintentionally, presents this topic for our scrutiny.

Old Chuffey, who was expected to die first because of his age, mourns sincerely when Anthony Chuzzlewit dies. He is also the one who keeps saying that Jonas might be responsible for the death of his father. His servitude borders on staunchest loyalty and love.

Thomas Pinch, despite being a likable character, is quite irritating in the way he treats Mr. Pecksniff. This strange loyalty knows no limits and is quite inexplicable. I only hope that this 'blindness' will disappear, and Thomas will be enlightened.

The final pair that sheds a certain light on the topic of relationship between a master and his server is currently in the New World where Mark is promoted to the position of an equal partner, but he humbly accepts the rank of 'Co'.

Each of these pairs conveys a certain message: old loyal Chuffey is the prophet of truth (possibly), Thomas Pinch, following the rules of the game, will have to go through the sobering moments when he will (hopefully)see his master in his true colors.

Martin might learn to appreciate Mark not as a valuable valet, but as a true and only friend (again hopefully) and will be able to see his egotism through his attitude and actions.

There are some other twists and turns in the story, and I think plot-wise this might be the most intensive part of the novel so far - Anthony dies under suspicious circumstances, Jonas proposes to Merry, Martin is 'enjoying' his moment of fame and is trying to pursue a dream in the dreamland of Eden, and all of these moves are under the magnifying glass of Dickens. And let's be honest - he hyperbolizes, understates, lampoons, criticizes, observes, and presents them with the amazing verbal dexterity.

I apologize for a brief post - I was trying to watch the Oscars while I was typing it. I promise that I will contribute more to the discussion during the week.

NOTES

Chapter 19

1. the curse pronounces on Adam: labor, see genesis 3 17-19

2. patterns: overshoes with a think iron oval on the sole.

3. fetch: an apparition of a living person, a wraith or doppelganger.

4. good in everything: Shakespeare, As You Like It, ii,i, 17

5. Tare and Tret: an arithmetical rule to determine allowances for wrapping and damage to goods in transit.

Chapter 20

1. a special Providence in the fall of a sparrow: Shakespeare, Hamlet, v, ii, 212

2. fancy gentlemen: followers of boxing or other sports.

3. Gorgon: a terrible monster in Greek mythology, whose gaze could turn people into stone.

Chapter 21

1. noble patriot: Thomas Moore in his poem 'To Thomas Hume' describes Thomas Jefferson returning 'fresh from freedom's councils' to whip or seduce his black slaves.

2. catawampous: fierce, savage, destructive

3. Death and the Lady: an allegorical figure, half-skeleton, half-woman, as in the engraving by Durer

4. Public man in Ireland: Daniel O'Connell (1775-1847), 'the Liberator'

5. Peter Wilkins: In The Life and Adventures of peter Wilkins by Robert Paltrock (1751), the hero meets a race of flying creatures and marries one of them.

The one word that kept coming to mind as I read chapter 19 was “charade”! The funeral arrangements and procession are so carefully orchestrated, as if the characters are following a script, and although Dickens attempts to be humorous, I detected a frightening undertone. I wonder what role Jonas played in his father’s death; his guilt is certainly acting upon him here, as he spares no expense with the funeral despite recently having berated his father for spending money that he would inherit—a suspicious contradiction. Jonas’ paranoia is evident; he urges Pecksniff and the doctor to remain so that no one can blame him for the death, and he is morbidly afraid of his father’s body, supposing that every noise is Anthony returning to life. He is also quick to discredit Chuffey—the only true mourner—who keeps repeating the ominous phrase, “His own son!” Apparently Chuffey knows something revelatory and Jonas wants to make sure he doesn’t tell anyone, which bodes ill for the poor old man’s future.

The other characters in this chapter are ridiculous, but what else is to be expected from this farcical, comical novel? Mrs. Gamp is a drunken midwife who reminds me some of the bawdy tavern women in Shakespeare, and Mr. Moulder has to continuously check his reflection to see if he looks appropriately sorrowful, which he quite obviously is not. He comments that people spend more money on funerals than they do on births because they are trying to mend their broken hearts, a statement which is clearly untrue in this case, although it brings up the question of exactly what Jonas is hiding with his strange behavior. Mr. Pecksniff, however, is unchanged, as he “delivered such moral reflections and spiritual consolation as might have converted a Heathen—especially if he had but an imperfect acquaintance with the English tongue” (ch 19). As usual, he is full of talk but lacking in action or affection.

The sinister aspect of Jonas’ character is further laid bare in chapter 20, and he is described in an almost fiendish light: “There was a certain wildness in the spirits of Mr. Jonas…” The narration informs us that it is spring and a time when men think of death, but when Pecksniff admits that he was thinking about Anthony, Jonas reacts by warning him not to broach the subject, almost reverting to threats. It doesn’t seem that Pecksniff is much better than Jonas, really. It is disturbing how he sneaks up on his daughters and purposely startles Charity in her domestic duties. He does nothing to protect his daughters, leaving them alone with Jonas (taboo at the time, I believe), who physically pushes and shoves them, saying that “Any trick is fair in love.” Pecksniff even goes so far as to scold Charity for being jealous of Jonas’ proposal to Mercy, and to top it all off, Jonas demands 5,000 pounds instead of 4,000 as dowry for not choosing Pecksniff’s so-called favorite daughter! With the lingering question of whether he murdered his father, a marriage seems alarming, to say the least.

As the setting transitions again to America in chapter 21, the ridiculous American aristocracy is again presented. Martin’s destination of Eden is an interesting allusion, indicating perhaps that it may appear to be a paradise but will likely end up being, as Mark guesses, “full of snakes.” I also wonder if the name Eden suggests that Martin must work to achieve his own paradise of sorts and not be distracted by that which merely appears attractive (a parallel to the apple in the garden). Martin is slowly becoming less arrogant, it seems, as he does offer Mark equal partnership. This is, of course, only fair since Mark’s portion for investing in the common stock is the larger, but it still seems like progress on Martin’s part to admit this, despite the fact that he still sees himself as the benefactor. It will be interesting to see what transpires for him in this new venture.

On a final note, I found the Watertoast Sympathizers to be, as Dickens intended, outlandish and bigoted. They support an Irishman simply because he is against England, yet when they discover that he is an abolitionist, they are horrified and immediately disband, giving their funds to pro-slavery causes. I felt that this chapter ended hopefully for Martin because he sees the Republican flag and remarks on how wonderful it seems until one sees it for what it is. While this serves as a warning that everything is not always as it appears, it also seems to imply that if Martin can move beyond his own egotism and naiveté, he can perhaps succeed.

"People spend more money on funerals because they are trying to mend their broken hearts." At this point, I believe it is abundantly clear that Jonas' lavish funeral is a show he is putting on for anyone who may suspect him of foul play in his father's death or at least anyone who may deem his tears as those of an alligator.

Mr Moulder (excellent name for an undertaker!) is the reverse of Mark. He is trying to look sad when he is enjoying his status and wealth at the expense of others. Mark's aim is to be happy in difficult situations, which he does so easily that he's never satisfied.

Sarah wrote: "The one word that kept coming to mind as I read chapter 19 was “charade”! The funeral arrangements and procession are so carefully orchestrated, as if the characters are following a script, and alt..."

Mrs. Gamp is a true gem of a character. I also liked how Dickens places Pecksniff in the unlikable milieu - he is looking for someone who could attend the dead body and mourn while Mrs. Gamp is the one who brings babies into this world. Pecksniff, surrounded by nursing mothers and mothers-to-be, ill at ease, is a true stroke of a literary genius. The episode is finely executed and is very cinematographic.

Robin wrote: "Mr Moulder (excellent name for an undertaker!) is the reverse of Mark. He is trying to look sad when he is enjoying his status and wealth at the expense of others. Mark's aim is to be happy in diff..."

Dickens and his characters' names! Is there anyone in the literary world who can surpass Dickens when it comes to naming his or her character?

Jonathan wrote: ""People spend more money on funerals because they are trying to mend their broken hearts." At this point, I believe it is abundantly clear that Jonas' lavish funeral is a show he is putting on for ..."

I find quite powerful how Dickens uses a detached mode in Chapter 19. It does create a feeling of pretentious pathos and mannerism.

Zulfiya wrote: "Robin wrote: "Mr Moulder (excellent name for an undertaker!) is the reverse of Mark. He is trying to look sad when he is enjoying his status and wealth at the expense of others. Mark's aim is to be..."

Yes, I fully agree. :-)

Jonathan wrote: ""People spend more money on funerals because they are trying to mend their broken hearts." At this point, I believe it is abundantly clear that Jonas' lavish funeral is a show he is putting on for ..."

Jonathan, I thought the same thing. Jonas is actually completely overcompensating here. People who know them and their frugality could wonder about this as it does not seem to be one of Anthony's wishes to be buried in such an opulent way.

Sarah wrote: "It doesn’t seem that Pecksniff is much better than Jonas, really. It is disturbing how he sneaks up on his daughters and purposely startles Charity in her domestic duties. He does nothing to protect his daughters, leaving them alone with Jonas (taboo at the time, I believe), who physically pushes and shoves them, saying that “Any trick is fair in love.” Pecksniff even goes so far as to scold Charity for being jealous of Jonas’ proposal to Mercy, and to top it all off, Jonas demands 5,000 pounds instead of 4,000 as dowry for not choosing Pecksniff’s so-called favorite daughter! With the lingering question of whether he murdered his father, a marriage seems alarming, to say the least...."

Pecksniff as a parent - I do not even find a term to use. He is almost an anti-parent at least for his time. Usually the fathers are so protective of their daughters, esp. in cases of widowers, but he almost lacks any guardian behaviour. It is only the greediness that shows itself, and can only be topped in this scene by Jonas asking for more dowery when marrying Merry. Jonas is to me still a creepy and absolutely not trustworthy person. I am really running out of adequate words at the moment to describe my feelings for this group of characters.

<>Zulfiya wrote:
Pecksniff, surrounded by nursing mothers and mothers-to-be, ill at ease, is a true stroke of a literary genius. The episode is finely executed and is very cinematographic.

Interesting you used the word cinematographic, Zulifya, there is one element that is totally of the cinema, connecting chapter 20 & 21. The loud knocking on the door at the end of chapter 20 becomes the noise of the train at the beginning of the next. Even though Dickens says, it "bore no resemblance", I could just picture a movie fade out & in with the knocking turning into the train noise. Maybe it's Dickens' theater background that makes him think of linking the two. It's rather unusual as it draws attention to the omniscient author.

Robin wrote: " The loud knocking on the door at the end of chapter 20 becomes the noise of the train at the beginning of the next. Even though Dickens says, it "bore no resemblance", I could just picture a movie fade out & in with the knocking turning into the train noise. Maybe it's Dickens' theater background that makes him think of linking the two. It's rather unusual as it draws attention to the omniscient author. "

A wonderful observation! The first thing that came to my mind after reading your comment is the movie Once Upon a Time in America. Sergio Leone's use of the same technique was truly enigmatic.

Hedi wrote: "Pecksniff as a parent - I do not even find a term to use. He is almost an anti-parent at least for his time. Usually the fathers are so protective of their daughters, esp. in cases of widowers, but he almost lacks any guardian behaviour. It is only the greediness that shows itself, and can only be topped in this scene by Jonas asking for more dowery when marrying Merry. Jonas is to me still a creepy and absolutely not trustworthy person. I am really running out of adequate words at the moment to describe my feelings for this group of characters. "

Pecksniff? A parent? He is a peddler, trying to dispose of the goods with the limited storage life. :-)

Robin wrote: "Zulfiya wrote:
Pecksniff, surrounded by nursing mothers and mothers-to-be, ill at ease, is a true stroke of a literary genius. The episode is finely executed and is very cinematographic.

Inter..."

Yeah, very good observation. I must have missed that when I read the book a few months ago. Must go back and check that out.

Robin wrote: "Zulfiya wrote:
Pecksniff, surrounded by nursing mothers and mothers-to-be, ill at ease, is a true stroke of a literary genius. The episode is finely executed and is very cinematographic.

Inter..."

I noticed that unique transition between chapters as well, and I connected it with what I would expect in a movie. How interesting that Dickens employs it! Probably, as you mention, a throwback to his theater experiences! :-)

I have been watching the BBC series as we go along and was very disappointed that the American journey isn't depicted (Mary reads news of Martin in a letter) except for one short scene where the land agents are showing the model of Eden. Although I haven't read ahead,, I'm sure we can all guess how that heavenly sounding place will turn out.

Zulfiya wrote: "Despite the numerous locations, I think the main theme explored in this section is the relationships between masters and their valets/helpers/secretaries. I know it is not the new one, and Sarah ev..."
I like your comments about the master/servant relationship. My sense is that there was a belief in everyone being slotted into their station in life and needing to "know your place" and that things worked best when everyone knew who and what they were supposed to be and stayed and was satisfied with their lot in life. Dickens seems very much to be questioning this Philosophy, and despite all his mockery of things American I believe he is also in favour of the idea that one should be able to improve one's station by hard work. I am hoping that this is what he has in store for Mark and Martin, and I hope it is in store for Tom Pinch, if he can rid himself of his ridiculous belief in his Master.

Frances wrote: "I hope it is in store for Tom Pinch, if he can rid himself of his ridiculous belief in his Master.
"

I must admit that I once thought that nothing could diminish my love for Tom Pinch, but his continued blind allegiance to Pecksniff is really getting annoying. Is it actually possible that any human being could be that naive? I just want to grab him by the shoulders, give him a good shake and say, "Wake up. Pecksniff is a complete slimeball."

Also, I agree with everyone about Jonas. He is involved with his father's death and is overcompensating to appear grief-stricken. During Pecksniff's London visit, he kept telling Merry and Cherry that he was annoyed with his father for living so long.

Looking forward to next section where the overall theme seems to be Deception!

Robin wrote: "Looking forward to next section where the overall theme seems to be Deception!"

I am sorry, Robin. I opened a thread for a discussion some time ago but forgot to mark it as important. As a result , it did not top the list. I stay corrected and blame my cold, runny nose, and rheumy eyes! Please post!