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Little Dorrit

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(1855-87)

Dickens's masterpiece about prison life is set in an English debtors' prison where his own father had been imprisoned. Amy Dorrit, the heroine, has spent her entire life caring for her imprisoned father. The novel portrays both the physical and psychological horrors of imprisonment and the hypocrisy of a society that allows them to continue.

Little Dorrit, like many of Charles Dickens' work, involves a large number of characters--from the mightiest to the lowliest--whose paths cross. It would seem that Dickens had a concept that each person can impact the lives of numerous others in profound ways, and that this could have a great impact on society. Of all his books, I would say that Little Dorrit displays this concept the most.

In fact, when you begin reading, it can be rather difficult to understand how any of these people are related. What does a man in jail for murder in France have to do with a little girl who is born inside a debtor's prison in England? It would seem that Dickens is actually telling several totally unrelated stories. Yet, if you continue reading, you will see how everything ties together.

The book primarily tells the tale of the Dorrit family. William Dorrit had been a gentleman who fell on hard times and wound up in a debtor's prison called the Marshalsea. He attains a position of importance within its walls and later becomes known as The Father of the Marshalsea. William Dorrit, despite his circumstances, never loses his grandiose opinion that he is better than other people. He passes this feeling of family pride to his eldest children, his idle son Edward (known as Tip) and his headstrong daughter Fanny. His third child, who is the heroine of this book, was born inside the Marshalsea--and despite her father's teachings, developed a compassion for the poor. Yet, she is also devoted to her family, despite their weaknesses. Frail and younger looking than her years, Amy Dorrit is the quiet backbone of her family.

The Dorrits fortune changes by the end of the first book. It is interesting to see how the family responds to the change. William Dorrit and his two eldest children are quick to forget everyone who has helped them--including Little Dorrit. Their years at the Marshalsea are a humiliating reminder that they choose to forget. Yet, they don't forget, particularly Mr. Dorrit--who easily takes offense of anyone he feels "knows his secret". In fact, this causes him to be angry with his favorite child Amy, for she is a living reminder of the Marshalsea, particularly as she doesn't adapt to their new life. What is interesting about William Dorrit and his two eldest children are that despite their ideas about their gentility, they are naturally attracted to the criminal element--and you suspect that this habit is probably responsible for their past troubles as well as future ones.

Amy Dorrit (or Little Dorrit) finds the new changes in her life uncomfortable, despite some of the wonderful advantages she now has. Her father refuses to allow her to take care of him, saying it isn't fit for a lady--and yet this causes their close relationship to become distant. Amy's retiring nature is ill fit for the constant society parties she is expected to attend. Most of all, she has a hard time being indoctrinated to the ideas a lady must have.

The hero of the story is Arthur Clennam. He believes his father had wronged someone and never made amends, and this troubled the man to his dying day. His stern mother, though, is unhelpful in providing any information. Arthur becomes convinced that his mother is hiding something. Her servant and business partner is equally unhelpful in supplying answers, but his suspicions are confirmed by the man's wife, Mistress Affery. On the surface, Affery just seems like a silly, timid woman. Yet, she notices much in her "dreams". Arthur becomes distressed when his mother seems to be doing business with a man he doesn't trust, and he is determined to find out what his mother is hiding.

Through his mother, though, he meets Little Dorrit--who strikes his interest. He desires to help her, and it is through him that the Dorrit family's fortunes do change.

The Meagles make up the third story line. The kindly parents are distressed when their daughter falls in love with an idle, untalented artist named Henry Gowan. They have taken her abroad several times to make her forget him, but this has failed. The artist is related to a powerhouse family called the Barnacles, which hold posts in most government positions. The Circumlocution Office--a baffling institution that seems to exist solely to prevent progress--is under their control. Though the Barnacles find Henry Gowan to be a failure and don't mind having the Meagles pay his debts, they still retain a suspicion of the family that they entrapped him with their temptress daughter.

The Meagles also took in another child from an orphanage, whom they called Tattycoram. Tattycoram is a passionate girl...too passionate as far as the Meagles are concerned, and at risk for getting into trouble. The mysterious Miss Wade takes an interest in the girl, and yet the Meagles worry about her hidden agenda in doing so.

Then there is Mr. Pancks, a seemingly hard man that collects rents for Mr. Casby--who is known as the Patriarch for his benevolence. Yet, as the story progresses, we begin to notice that Mr. Pancks is not as hard-hearted as he seems...and the Patriarch doesn't deserve his reputation for kindness.

The two story lines that are bewildering at first--at least in trying to figure out what they have to do with the story--are the stories about Rigaud Blandois and the Merdle family. The story starts out in Marseilles with Rigaud. He considers himself a gentleman, though he is a prisoner in for murder. Though he drops off in the book, seeming to never be heard from again, he plays an important role in unraveling the mysteries later.

The Merdle family is another great power which the Barnacles eventually merge with. Everyone respects Mr. Merdle, who is extremely rich--though nobody knows what he exactly does. He is a socially awkward man that came from nowhere who just seems to have the Midas touch in whatever he does. Mrs. Merdle is considered to be a beautiful woman of good breeding and fashion.

Like most of Dickens' books, social issues are addressed. This book was considered unusual in that it detailed life in a debtor's prison, which often wasn't touched upon. It is also a look into human nature, and many of the problems that are addressed in the book can find examples of even today. What is truly fascinating though, is to see how all these characters--some rich and powerful, some the lowliest dreds of society--are entwined.

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Preface To The 1857 Edition
I have been occupied with this story, during many working hours of two years. I must have been very ill employed, if I could not leave its merits and demerits as a whole, to express themselves on its being read as a whole. But, as it is not unreasonable to suppose that I may have held its threads with a more continuous attention than anyone else can have given them during its desultory publication, it is not unreasonable to ask that the weaving may be looked at in its completed state, and with the pattern finished. If I might offer any apology for so exaggerated a fiction as the Barnacles and the Circumlocution Office, I would seek it in the common experience of an Englishman, without presuming to mention the unimportant fact of my having done that violence to good manners, in the days of a Russian war, and of a Court of Inquiry at Chelsea. If I might make so bold as to defend that extravagant conception, Mr Merdle, I would hint that it originated after the Railroad-share epoch, in the times of a certain Irish bank, and of one or two other equally laudable enterprises. If I were to plead anything in mitigation of the preposterous fancy that a bad design will sometimes claim to be a good and an expressly religious design, it would be the curious coincidence that it has been brought to its climax in these pages, in the days of the public examination of late Directors of a Royal British Bank. But, I submit myself to suffer judgment to go by default on all these counts, if need be, and to accept the assurance (on good authority) that nothing like them was ever known in this land. Some of my readers may have an interest in being informed whether or no any portions of the Marshalsea Prison are yet standing. I did not know, myself, until the sixth of this present month, when I went to look. I found the outer front courtyard, often mentioned here, metamorphosed into a butter shop; and I then almost gave up every brick of the jail for lost. Wandering, however, down a certain adjacent 'Angel Court, leading to Bermondsey', I came to 'Marshalsea Place:' the houses in which I recognised, not only as the great block of the former prison, but as preserving the rooms that arose in my mind's-eye when I became Little Dorrit's biographer. The smallest boy I ever conversed with, carrying the largest baby I ever saw, offered a supernaturally intelligent explanation of the locality in its old uses, and was very nearly correct. How this young Newton (for such I judge him to be) came by his information, I don't know; he was a quarter of a century too young to know anything about it of himself. I pointed to the window of the room where Little Dorrit was born, and where her father lived so long, and asked him what was the name of the lodger who tenanted that apartment at present? He said, 'Tom Pythick.' I asked him who was Tom Pythick? and he said, 'Joe Pythick's uncle.' A little further on, I found the older and smaller wall, which used to enclose the pent-up inner prison where nobody was put, except for ceremony. But, whosoever goes into Marshalsea Place, turning out of Angel Court, leading to Bermondsey, will find his feet on the very paving-stones of the extinct Marshalsea jail; will see its narrow yard to the right and to the left, very little altered if at all, except that the walls were lowered when the place got free; will look upon rooms in which the debtors lived; and will stand among the crowding ghosts of many miserable years. In the Preface to Bleak House I remarked that I had never had so many readers. In the Preface to its next successor, Little Dorrit, I have still to repeat the same words. Deeply sensible of the affection and confidence that have grown up between us, I add to this Preface, as I added to that, May we meet again! London May 1857

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