The one with Little Nell…
😀 😀 😀 😀 😀
Nell Trent, a child of thirteen, lives with her doting grandfather in his shop where he ekes out an existence selling old and unusual items. Grandfather (he is never named) has lost both his beloved wife and their daughter, Nell’s mother, and Nell has become a substitute to him for their loss, though he also loves her for her own sake. He is worried about what might happen to her when he dies, so is determined to make lots of money so he can provide for her. But the method he chooses – gambling – soon becomes an addiction, and he gradually loses all his savings and ends up in debt to the evil dwarf, Daniel Quilp. Quilp turns Nell and her grandfather out of their home, and they must leave London and learn to make their way in a life of poverty. Grandfather is old and becoming senile, so young Nell must take on any jobs she can find, and beg for them both when work isn’t available. But Quilp isn’t finished with them yet…
This is the only one of Dickens’ novels that I hadn’t read before, so it was a real pleasure to get to know the cast of characters and follow Nell on her journeys. Unfortunately what happens to Little Nell is so well known (in case you don’t know, I won’t say) and a book I read a few years ago had also told me what happens to Quilp, so I didn’t get the joy of suspense over the main plotline. But, as usual with Dickens, there are so many sub-plots and digressions, the characters are so beautifully quirky, the settings are described so wonderfully and the language is a delight, so I didn’t feel I missed out on much.
(Nell dreaming angelic dreams amidst the shop’s curiosities…)
Nell starts out rather better than a lot of Dickens’ drooping heroines. She’s a girl of spirit who loves to laugh, and who affectionately teases her only friend, young Kit, her grandfather’s assistant. She does eventually turn into the usual saccharin perfect saint, though, losing much of her initial appeal as she does. But all the worry of looking after her grandfather and herself falls on her, and Dickens allows her to have enough strength and ingenuity to carry them both through some dangerous and heart-breaking moments. She’s not quite as strong as Kickass Kate Nickleby, but she’s certainly no Drippy Dora Copperfield either! I could fully understand why people got so caught up in her story when the book was originally published in serial form although, sadly, apparently the story about people storming the docks in New York when the ship carrying the last instalment arrived is apocryphal. Grandfather is a surprisingly unattractive character who really doesn’t deserve Nell’s devotion, but in him Dickens gives a great portrayal of how addiction can destroy a man’s character and life.
Book 73 of 90
The bulk of the story, however, is really about Kit, Quilp and the characters around them in London. Quilp is a sadist who delights in bullying his wife and anyone else who comes in his way. For no particular reason – Quilp doesn’t need reasons – he has taken against Kit and sets out to destroy him. But Kit is an honest, upright young boy who has the knack of winning friends who will stand by him when he needs them. When Nell leaves London with her grandfather, Kit hopes to find her one day, so he can make sure she is alright. Quilp also wants to find Nell, but for very different reasons – mostly just to be mean to her and to a young man called Dick Swiveller, who has been persuaded by Nell’s brother (oh, I forgot to mention – Nell has a ne’er-do-well brother, Fred) that he, Dick, should marry Nell, for complicated reasons. Gosh, summarising Dickens’ plots is exceptionally hard! Trust me, it all makes sense in the book! Dick is a lot of fun, constantly quoting from romantic songs of the day, and having a heart of gold under his drunken wastrel exterior.
Quilp is a great villain, without a single redeeming feature. Because he’s described as an ugly, misshapen dwarf when we first meet him, I tried to have some sympathy – to consider whether his treatment as a child may have warped his character – but honestly, he’s so vile that after a bit I couldn’t feel anything for him other than hatred and a desire to see him get his comeuppance! Sally Brass is another wonderful character. Sister to Sampson Brass, Quilp’s lawyer, she works alongside her brother and is the real force in the business. She’s mannish in her mannerisms, obnoxious, a tyrant to her little servant, and joins happily in all Quilp’s evil schemes. Sampson also goes along with Quilp, but he’s weaker than Sally and acts mostly out of fear of Quilp’s wrath.
(Quilp interrupts the ladies taking tea…)
Now, the ladies being together under these circumstances, it was extremely natural that the discourse should turn upon the propensity of mankind to tyrannise over the weaker sex, and the duty that devolved upon the weaker sex to resist that tyranny and assert their rights and dignity. It was natural for four reasons; firstly because Mrs Quilp being a young woman and notoriously under the dominion of her husband ought to be excited to rebel, secondly because Mrs Quilp’s parent was known to be laudably shrewish in her disposition and inclined to resist male authority, thirdly because each visitor wished to show for herself how superior she was in this respect to the generality of her sex, and fourthly because the company being accustomed to scandalise each other in pairs were deprived of their usual subject of conversation now that they were all assembled in close friendship, and had consequently no better employment than to attack the common enemy.
I felt there were more signs of this one’s origins as a serial than in most of his novels. It starts off with a first-person narrator, but this is dropped after a few chapters and from there on it becomes a third-person narrative. Kit starts out as a kind of simpleton comedy character, but then turns into a fine upstanding young man with plenty of intelligence as the story develops, and Dick has a similar change of character, though less marked. And there are, unusually for Dickens, one or two loose ends, particularly one around the birth of the one of the characters. There’s a great introduction by Elizabeth M. Brennan in my Oxford World’s Classics edition, which explains how these discrepancies arose from the rushed method of writing for weekly publication and the fact that Dickens hadn’t planned out the whole story when he began to write it. Brennan also tells us that Dickens cut some passages before the serialisation was published in novel form, including the birth mystery to which I referred. It doesn’t, however, explain why Dickens chose to cut that particular scene, leaving the reader to guess from a couple of hints along the way. The cut sections are given in the appendices.
(Grandfather gambling away Nell’s little hoard of money…)
However, none of these minor flaws are enough of a problem to take away from the sheer enjoyability of watching Dickens masterfully juggle humour and pathos, horror and joy, with all of his usual skill. And, oh dear, as always there’s so much I haven’t even touched on – the travelling entertainers Nell meets with on her journey, the waxworks, the Punch and Judy men, the hellish scenes of industrialised towns, Quilp’s poor mother-in-law, Kit’s family, the delightfully obstinate pony Whisker, the prison scenes, and so much more!
I’ll have to let it settle and perhaps read it at least once more to decide where it will finally sit in my league table of Dickens’ novels. Currently, it’s in the middle – not quite up there with Bleak House, Nicholas Nickleby and so on, but not down at the bottom with poor Oliver Twist either. However, a middle-rank Dickens is still vastly better than most other books written by people unfortunate enough to not be Dickens, so that means it’s great – highly recommended!
