Stage Piracy in Victorian Britain: Bleak House Adaptations

Pirating novels for the stage was a staple of the Victorian theatre. There were many theatrical piracies of Bleak House in the second half of the period, but they all share a common feature: pirates had to decide how to reshape the narrative for audience consumption since the whole of this sprawling novel was impossible to stage. Thus fidelity to the original text was out of the question. This essay examines two Bleak House adaptations, an early and largely forgotten version and a later version that gained a global reputation. It considers the range of challenges pirates faced when adapting Bleak House as well as how the narrative is adapted to audience expectations across time and genre in the late Victorian period so that, out of the novel’s multivocality, Jo emerges as the centre of the story.

Encountering Charles Dickens: The Lawyer’s Muse

This article explores the themes of the practical impact of law in society, the life of the law, and the character of the lawyer (in both senses of the term), as reflected in the works of Charles Dickens. I argue that, in creating memorable scenes and images of the life of the law, Charles Dickens is indeed the lawyer’s muse. Dickens – who had worked as a junior clerk in Gray’s Inn and a court reporter early in his career – outpaces other well-known writers of “legal thrillers” when it comes to assimilating the life of the law into his literary works. The centrepiece in this regard is an extended study and analysis of Bleak House. The novel is shaped throughout by a challenged and long-running estate case in Chancery Court, and it is largely about the impact of controversy on the many lawyers involved in the case. It has all the earmarks of a true “law and literature” text - a terrible running joke about chancery practice, serious professional responsibility issues, and a murdered lawyer. Keywords: Charles Dickens; Law and Literature; the Life of the Law.

Population Thinking and Narrative Networks: Dickens, Joyce, and The Wire

Recent approaches to literary character treat fictional population as a defining element of narrative form but continue to read novels at the level of individual characters. This essay uses the tools of narrative network analysis to bridge the gap between microlevel readings and the interpretation of the novel’s character-system as a population. Network analyses of three highly populous works—Charles Dickens’s Bleak House, James Joyce’s Ulysses, and David Simon’s HBO series The Wire—yield measures of social density and character centrality that show how Joyce adapted a Dickensian network plot that emerged amid the population explosion of nineteenth-century Britain to an Irish context marked by demographic decline. This adaptation of Dickens’s plot structure prepared it for a similar use in The Wire. Both Joyce and Simon use a large fictional network to periodically decenter their protagonists and undermine the typological assumptions of much realist fiction. The essay suggests that, rather than read these developments as evidence of a formal rupture between modernism and realism, we view Bleak House, Ulysses, and The Wire as playing a role in an understudied tradition of “population thinking” in the novel.

Investigating style and narrative techniques in Dickens’ Bleak House

Dickens could never get rid of his everlasting catching style even though the very novel has been said to be one of his maturities. The style is there with more repetition and mock. The latter is not obvious to readers; it is dramatically welded to the circumstances, bizarre, rare but not alien to commoners of the very epoch. One of the most stunning texts and range of words, wordiness and elements within contexts alluding, saying but revealing the hidden, forbidden and the taboo, is the introduction of his novel A Tale of the Two Cities. In the following excerpts taken from Bleak House, the introduction is dense and irregularly shaped in English: the very language of his and her majesty. Wherein the question poses itself and raises the discrepancies among form and content; a dichotomy that ought to be considered in conducting the investigation of style and stylistics upon the forthcoming texts. Keywords: Dickens, stylistics, narrative, techniques, Bleak House.

Investigating style and narrative techniques in Dickens’ Bleak House

Dickens could never get rid of his everlasting catching style even though the very novel has been said to be one of his maturities. The style is there with more repetition and mock. The latter is not obvious to readers; it is dramatically welded to the circumstances, bizarre, rare but not alien to commoners of the very epoch. One of the most stunning texts and range of words, wordiness and elements within contexts alluding, saying but revealing the hidden, forbidden and the taboo, is the introduction of his novel A Tale of the Two Cities. In the following excerpts taken from Bleak House, the introduction is dense and irregularly shaped in English: the very language of his and her majesty. Wherein the question poses itself and raises the discrepancies among form and content; a dichotomy that ought to be considered in conducting the investigation of style and stylistics upon the forthcoming texts. Keywords: Dickens, stylistics, narrative, techniques, Bleak House.

Dickens’s National Novel

Bleak House is a novel saturated with figures of unsettlement, in which characters uprooted by their social conditions operate within a plot animated by unsettlement, in an affective world dominated by feelings of pity and sympathy for those who have been displaced. Thresholds recur in the novel as privileged sites of heightened emotion. The novel’s preoccupation with unsettlement is best understood in the context of mid-century bourgeois aspirations to reimagine the nation as a place in which all citizens might enjoy freedom of movement. In framing this vision, Dickens draws on two contemporary discourses, one drawn from emigration, especially Caroline Chisholm’s popular ‘family emigration’ schemes; the other from public discussions about the law of settlement in the context of the New Poor Law. The latter were attempts to regulate where the poor could live, in the context of the bureaucratic reorganization of national geography that occurred at this time. Throughout, however, the novel displays profound ambivalence about Britain’s engagement with the wider world, expressed most clearly through its antagonism to overseas philanthropy, which it sees as a misdirection of national feeling. The novel’s vision of the nation, underpinned by its commitment to mobility and an ideology of freedom of movement within, but not beyond, the nation, produces its particular formal features and thematic emphases on mobility and movement, and its preoccupation with thresholds—doorsteps, entrances, and finally national borders—as places at which political decisions about inclusion and exclusion are made.