Tag Archives: Charles Dickens

by Alexandria | 5 February 2020 · 11:17 am

A Tale of Two Cities, by Charles Dickens

A Tale of Two Cities: Spoiler-Free Synopsis

In Paris, about a decade before the French Revolution, a traumatized and physically broken Dr. Manette is released from the Bastille after being unjustly imprisoned for eighteen years. He is reunited with his daughter, Lucie, who was born in France but grew up in England believing she was an orphan. While taking her father back to England to live with her, Lucie meets the young French émigré Charles Darnay.

In London, Darnay, who has rejected his aristocratic family’s heritage and changed his name, is arrested and put on trial for his life, accused of being a spy. One of the attorneys defending him, Sydney Carton, who is brilliant but cynical and disreputable, so physically resembles Darnay that it is remarked upon in court. Darnay and Carton become friends, and both men fall deeply in love with Lucie Manette. Lucie comes to love both men in return, but she cares for Carton maternally rather than as a potential spouse.

After the French Revolution breaks out and the Reign of Terror begins, a former family servant begs Darnay for help. After returning to France, Darnay is arrested, imprisoned, and sentenced to death despite his rejection of his family’s abusive exploitation of peasants. One of the most vengeful revolutionaries, Madame Defarge, who hates all French noblemen and who also knows the reason for Dr. Manette’s 18-year imprisonment, is insistent that Darnay be executed. Further, Madame Defarge plans to denounce both Dr. Manette and Lucie as “traitors” so that they will also be executed.

Can Carton, spurred by his love of Lucie and his friendship with Darnay, save them all from the guillotine?

Dickens at his desk, 1858. Photo by Watkins.

Author Charles Dickens

Dickens’ father John, who constantly lived beyond his means, was confined in Marshalsea, a debtors’ prison, and 12-year-old Charles, a voracious reader who was enjoying a private school education, was forced to quit school and go to work. At that time, there were no Child Labor laws nor even laws limiting any adult’s working hours. Dickens worked 10 hours a day at a blacking factory while paying for his own keep at a boarding house. Dickens later wrote (to his 1892 biographer) that he “wondered how I could have been so easily cast away at such an age.” After his father received funds upon his own mother’s death and was released from debtors’ prison, Charles’ mother wanted him to remain at work, and Dickens later wrote of this: “I never afterwards forgot, I never shall forget, I never can forget.”

This early family grief, overwhelming adult responsibility at the age of 12, dreadful factory experience, and being forced to work to help support his mother and siblings because of his father’s profligate living were repeatedly portrayed in Dickens’ literary work. His grim portrayals of crime, poverty, and unjust but all-powerful social institutions deftly revealed some of the horrors of life for the working class in Victorian England.

1859 cover of A Tale of Two Cities. Photo © Christie’s Auction House

Critical Reception of A Tale of Two Cities

Beginning with the famous lines, “It was the best of times, it was the worst of times,” A Tale of Two Cities is Dickens’ best-known historical novel, about the period before and after the French Revolution. Many writers, like Tolstoy and George Orwell, praise Dickens’ writing as well as his social commentary, but some writers, such as Virginia Woolf and Henry James, bemoan the “lack of psychological depth and loose writing” in Dickens’ novels. Contemporaneous lawyer, judge, and critic James Fitzjames Stephen called the novel a “dish of puppy pie and stewed cat which is not disguised by the cooking.” Author Jorge Louis Borges quipped that Dickens was so much a British resident that, despite its title, A Tale of Two Cities, Dickens’ novel is really only about one city: London.

Despite the wide-ranging critical reactions, A Tale of Two Cities is considered the bestselling novel of all time, with an estimated 200 million copies sold worldwide. The novel has been adapted for film, television, stage, musicals, radio, and opera. The book was the acknowledged inspiration for the screenplay of the 2012 Batman story The Dark Knight Rises.

A Tale of Two Cities has become a classic, not only because of its complex characters but because the novel deals honestly and critically with social issues, especially those arising during times of great political upheaval and change.

Free Public Domain Versions of A Tale of Two Cities

A Tale of Two Cities is available in its entirety free online because it is in the public domain (the work was not originally copyrighted, the registered copyright has expired, or the author has been dead for more than 100 years; like the Bible and the works of Shakespeare, the book is considered to belong to the public). Since it is not possible to copyright a work already in the public domain, some publishers provide a short author BIO, an Introduction, or footnotes to the work; publishers can then copyright that particular edition of the public domain work.

Gutenberg, Standard Ebooks, WikiSource, and the University of Adelaide (where you can search by author or title) are all dedicated to keeping public domain books completely free of charge and available to all readers: you can search these sites by author or title of the book.

You can read A Tale of Two Cities online or download a copy from the following sites:

• Standard Ebooks provides a quality edited version with an artwork cover, available in ePub, Kindle, Nook, Kobo, and Sony editions. Detailed instructions for which version to download and how to put the book on your portable e-reader are included.

• The University of Adelaide provides a short biography of Dickens and has the complete book available to download, read online, or as ePub and Kindle books.

• Gutenberg.org provides HTML version (which can be read online) as well as PDF, plain text, ePub, and Kindle versions, all of which can be downloaded.

• WikiSource provides the 1898 edition, also called the Gadshill Edition, with the original illustrations, available 0nline, for any device, while Wikipedia’s Tale of Two Cities has several of the book’s original illustrations along with the plot summary and character list.

• Amazon currently has a free Kindle ebook, but before clicking Buy, make sure the price is still $0.00 as Amazon, which is not a non-profit organization, has a tendency to charge for any public domain books that are being frequently downloaded.

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• Photo of Charles Dickens at desk, 1858, by Watkins. Photo @ Wikipedia

• Cover of 1859 edition of A Tale of Two Cities, published by Chapman & Hall.
Photo © Christie’s Auction House; Reproduction of Photo @ Wikipedia

Walking Around in Someone Else’s Skin: The Classic Film, To Kill A Mockingbird

#NoSpoilers

Usually considered to have originated with Horace Walpole’s novel The Castle of Otranto (1764), which was subtitled “A Gothic Story,” Gothic fiction is literature that attempts to combine elements of romance, mystery, and horror — without becoming either too fantastic or too realistic. Initially featuring decaying castles, curses, ghosts or other supernatural creatures and events, madness, murder, and “oft-fainting heroines,” Gothic fiction was hugely popular entertainment.

About a generation after Walpole, Ann Radcliffe introduced the brooding Gothic villain in her novel A Sicilian Romance: a tempestuous, moody, sometimes secretive, and extremely passionate male who usually encounters a heroine that completely upsets his life. Later this type of “villain” would be called the Romantic era’s “Byronic hero.” Radcliffe also introduced more independent heroines to Gothic fiction with her bestselling The Mysteries of Udolpho. Though Radcliffe’s heroines are still pretty helpless and faint far more than anyone I’ve ever encountered, they inspired “gothic feminism” which critics claim the author herself expressed as “female power through pretended and staged weakness.” Further, Radcliffe changed the infant genre of Gothic fiction by introducing the “explained supernatural,” where all the apparently supernatural events, from ghosts and moving furniture to strange knocks and cries in the dark, turn out, eventually, to have perfectly reasonable, natural explanations.

Gothic fiction and its various, evolving components spread into the literature of the Romantic era, appearing in the poetry of Keats, Shelley, Coleridge, Byron, and Poe. In the Victorian era, Gothic elements were more prominent in fiction, and are found in the work Charles Dickens (A Christmas Carol), Bram Stoker (Dracula), Robert Louis Stevenson (Dr. Jekyll and Mr. Hyde), Oscar Wilde (The Picture of Dorian Gray), Mary Shelley (Frankenstein), Emily Brontë (Wuthering Heights), and Charlotte Brontë (Jane Eyre).

Many of these Victorian authors added strong moral elements to their Gothic fiction, producing novels that questioned everything from man’s relationship with newly developing technologies and medical advances to man’s responsibility for feeding and educating the poor. Gothic literature became more than entertainment to pass the long hours of a dark and rainy night: it explored the meaning of life, morality, social responsibility, and man’s relationship to the Divine.

As Gothic fiction spread to authors in America, especially in the South, it became a sub-genre called Southern Gothic. Authors like Faulkner, Caldwell, McCullers, O’Connor, Capote, and Percy examined family relationships, sexuality, poverty, race, and the Southern myths of an idyllic antebellum past. Southern Gothic is filled with

deeply flawed, disturbing, or eccentric characters… ambivalent gender roles, decayed or derelict settings, grotesque situations, and other sinister events relating to or stemming from poverty, alienation, crime, or violence.

With its particular focus on the South’s history of slavery, Southern Gothic became a vehicle for fierce social critique.

Harper Lee’s Pulitzer Prize-winning novel To Kill a Mockingbird is a classic of both American fiction and Southern Gothic. A coming-of-age story set in the fictional “tired old town” of Maycomb, Alabama from 1933-1936, during the Great Depression, the novel examines everything from family relationships and mental health to societal responsibilities, poverty, violence, and crime. The 1962 film version, adapted from the novel by Horton Foote, eliminated some of the novel’s childhood adventures to concentrate on the aspects of its storyline that make To Kill a Mockingbird so important to American literature and film: the ugly and intractable racism between whites and blacks, a bigotry and intolerance that still exists over most of the country.

Mary Badham as Scout (forefront) with author Harper Lee, To Kill A Mockingbird ©

The film’s (unseen) narrator looks back on her six-year-old self and on the events that changed her from an innocent to a more mature child. In 1933, Scout (Mary Badham) and her brother Jem (Phillip Alford) live in Maycomb, Alabama with their widowed father Atticus (Gregory Peck).

Mary Badham as Scout, Gregory Peck as Atticus Finch, and Phillip Alford as Jem, To Kill A Mockingbird ©

Together with a visiting neighbor, Dill (John Megna, modeled after Harper Lee’s lifelong friend Truman Capote, who spent summers next door to the Lees with his aunts), Scout and Jem roam around the neighborhood and create their own adventures.

John Megna as Dill, To Kill A Mockingbird ©

One of their most exciting “games” is scaring each other with stories about the never-seen Boo Radley (Robert Duvall, in his film debut),

Robert Duvall as Boo Radley, To Kill A Mockingbird ©

who lives just a few doors down and who is rumored to be a crazed, scissors-wielding psychopath, once locked up in the courthouse basement jail.

Paul Fix as Judge Taylor, To Kill A Mockingbird ©

Late one night, Judge Taylor (Paul Fix) comes over to request that Atticus serve as the appointed defense counsel for Tom Robinson (Brock Peters),

Gregory Peck as Atticus, and Brock Peters as Tom Robinson, To Kill A Mockingbird ©

a black man who has been accused of brutally beating and raping a white woman, Mayella Ewell (Collin Wilcox).

Collin Wilcox as Mayella Ewell (foreground), and Paul Fix as Judge Taylor (background), To Kill A Mockingbird ©

Atticus agrees, but despite his attempts to shield his children from the consequences of his decision to represent a black man in a racially charged crime, Scout and Jem soon become involved in the racial “war” brewing around them.

Collin Wilcox as Mayella, and James Anderson as Bob Ewell (both, foreground), To Kill A Mockingbird ©

In particular, the father of the ostensible rape victim, Bob Ewell (James Anderson) tries several times to intimidate Atticus into quitting the case. When that doesn’t work, Ewell threatens violence against Atticus and his children.

Phillip Alford as Jem, and Mary Badham as Scout, To Kill A Mockingbird ©

Though the children continue to find “gifts” in the hollow of a nearby tree, these gifts and their former adventures pale in significance to the events surrounding the crime concerning Tom Robinson and Mayella Ewell.

By the time the trial starts, most of the town is divided and angry. Though Atticus warns his children to stay away from the courthouse completely, Jem refuses to be barred from the biggest event in the county, and Scout refuses to be left behind at home if Jem and Dill are going to the courthouse.

Phillip Alford as Jem, Mary Badham as Scout, and John Megna as Dill (L-R, foreground), with William Walker as Reverend Sykes (background, wearing suit and tie) To Kill A Mockingbird ©

Without Atticus’ knowledge or permission, Scout, Jem, and Dill sit in the gallery, in the “Negro section” of the court, and watch the entire trial.

William Windom as District Attorney (L), James Anderson as Bob Ewell (center), and Paul Fix as Judge Taylor (background R), To Kill A Mockingbird ©

Judge Taylor presides as the District Attorney (William Windom, in his film debut) badgers witnesses and makes his opinions about Tom Robinson’s guilt clear. Despite the fact that viewers can have no doubt whatsoever about the jury’s eventual verdict, the courtroom scenes are intensely riveting, especially when Atticus cross-examines Mayella herself.

Though the verdict is not in question, Mayella’s father, angry at the Atticus’ not-so-subtle accusations of incest and child abuse, provokes Atticus repeatedly in an attempt to draw him into a physical confrontation. Then, he decides to provoke Atticus by going after his children.

Nominated for 8 Academy Awards, To Kill a Mockingbird won three Oscars:
Best Actor for Gregory Peck, Best Adapted Screenplay for Horton Foote, and Best Art Direction (set design, Black-and-White).

The film also won Golden Globes for Best Actor in a Drama (Gregory Peck), Best Original Score (Elmer Bernstein), and Best Film for Promoting International Understanding (to director Robert Mulligan).

When released, To Kill a Mockingbird was an overwhelming critical and popular success, earning more than 10 times its budget in 1962. To Kill a Mockingbird has gone on to become a classic, with the film listed 25th on the American Film Institute’s 100 Greatest American Movies of All Time (2007 list) [#34 on the 1998 list], and taking the top spot in AFI’s Top 10 Courtroom Dramas. Gregory Peck’s character Atticus Finch reigns as AFI’s 100 Greatest Heroes.

Everyone should see this film, though children under 12 may need to be cautioned about the subject matter and the language as this film deals openly with rape, clearly suggests incest, and uses language appropriate to the time and place of its story.

Be sure to watch the black-and-white version of To Kill a Mockingbird, not the colorized one: those who colorized it obviously completely missed the symbolism behind the story’s being filmed in black-and-white instead of in color. Available for rent ($2.99-3.99 SD/HD) from Amazon, iTunes, YouTube, GooglePlay, and Vudu.

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