David Copperfield, with eBook

Overview

David Copperfield is the quintessential novel by England's most beloved novelist. Based in part on Dickens's own life, it is the story of a young man's journey from an unhappy and impoverished childhood to the discovery of his vocation as a successful novelist. Among its gloriously vivid cast of characters, he encounters his tyrannical stepfather, Mr. Murdstone; his formidable aunt, Betsey Trotwood; the eternally humble yet treacherous Uriah Heep; the frivolous, enchanting Dora; and one of literature's great ...

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Overview

David Copperfield is the quintessential novel by England's most beloved novelist. Based in part on Dickens's own life, it is the story of a young man's journey from an unhappy and impoverished childhood to the discovery of his vocation as a successful novelist. Among its gloriously vivid cast of characters, he encounters his tyrannical stepfather, Mr. Murdstone; his formidable aunt, Betsey Trotwood; the eternally humble yet treacherous Uriah Heep; the frivolous, enchanting Dora; and one of literature's great comic creations, the magnificently impecunious Mr. Micawber-a character resembling Dickens's own father. In David Copperfield-the novel he described as his "favorite child"-Dickens drew revealingly on his own experiences to create one of his most exuberant and enduringly popular works, filled with tragedy and comedy in equal measure.

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Editorial Reviews

From the Publisher
"The most perfect of all the Dickens novels."—Virginia Woolf
VOYA - Jan Chapman
Ah, poor Charles Dickens! He was the Steven King of his day and his books are now considered the most onerous of required reading assignments. Barrons's Graphic Classics series, in an attempt to present Dickens' immortal classics David Copperfield and Great Expectations to new readers, has given us an illustrated, bare-bones version of the plot of both these works. The question is—what's the point? Gone from these stripped versions are the larger-than-life, vivid characters; the compelling moral and social questions; and the brilliantly complex plot that kept a generation of readers on tenterhooks waiting for the next installment of the serialized novels. That is bad enough, but the illustrations, although competent, are generically bland and fail to portray the liveliness of the characters. The unforgettable Uriah Heep in David Copperfield, for example, is now just a colorless villain. Each title does, however, include useful information on the life of Dickens and a literary history of each title. Re-workings of classic works of literature can be very successful if rendered in a unique and distinctive way. Witness the work of Gareth Hinds, who has re-interpreted Shakespeare's The Merchant of Venice (Candlewick, 2008/VOYA June 2008) or Will Eisner, author of a rendition of Cervantes' Don Quixote (NBM, 2003)—to name just two. Even if teen readers are not inspired to tackle the original classics, these works exist on their own literary merit. It is doubtful that any reader who picks up either one of these Dickens' illustrated titles will be inspired to go further. Which brings us back to the original question—what's the point? (Graphic Classics) Reviewer: Jan Chapman
School Library Journal
Gr 8 Up—Great Expectations is the better told of these two classics, but breaking down a 500-page work of literary fiction into 48 pages of graphic text is a much simpler task than retelling the nearly 1000 pages of David Copperfield in the same amount of space, and Morley relies heavily on captions, rather than dialogue, to summarize Copperfield's complicated life story. She does, however, do an able job of summarizing the major plot points, and this could make a big difference for struggling readers. In both books, Gelev's artwork fits the time period, with detailed costumes, houses, and other background scenery. The neutral tones suit Dickens's dank world, and Miss Havisham's ramshackle home and crumbling wedding feast are drawn as readers might picture them. It is doubtful, though, that they would return to these books as particular favorites. They are more useful as classroom resources for readers struggling with Dickens's prose than for a general graphic-novel readership.—Sarah Knutson, American Canyon Middle School, CA
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Product Details

  • ISBN-13: 9781400111749
  • Publisher: Tantor Media, Inc.
  • Publication date: 4/1/2009
  • Series: Tantor Unabridged Classics Series
  • Format: CD
  • Edition description: Unabridged,Unabridged CD
  • Product dimensions: 6.50 (w) x 5.50 (h) x 2.30 (d)

Meet the Author

Charles Dickens

Charles Dickens was born on February 7, 1812, in Portsmouth, England, where his father was a naval pay clerk. When he was five, the family moved to Chatham, near Rochester, another port town. He received some education at a small private school but this was curtailed when his father's fortunes declined.When Dickens was ten, the family moved to Camden Town, and this proved the beginning of a long, difficult period. When he had just turned twelve, Dickens was sent to work for a manufacturer of boot blacking, where for the better part of a year he labored for ten hours a day, an unhappy experience that instilled him with a sense of having been abandoned by his family. Around the same time Dickens's father was jailed for debt in the Marshalsea Prison, where he remained for fourteen weeks. After some additional schooling, Dickens worked as a clerk in a law office and taught himself shorthand; this qualified him to begin working in 1831 as a reporter in the House of Commons, where he became known for the speed with which he took down speeches.By 1833 Dickens was publishing humorous sketches of London life in the Monthly Magazine, which were collected in book form as Sketches by "Boz". These were followed by the publication in installments of the comic adventures that became The Posthumous Papers of the Pickwick Club, whose unprecedented popularity made the twenty-five-year-old author a national figure. In 1836 he married Catherine Hogarth, who would bear him ten children over a period of fifteen years. Dickens's energies enabled him to lead an active family and social life, including an indulgence in elaborate amateur theatricals, while maintaining a literary productiveness of astonishing proportions. He characteristically wrote his novels for serial publication and was himself the editor of many of the periodicals in which they appeared, including Bentley's Miscellany, the Daily News, Household Words, and All the Year Round. Among his close associates were his future biographer John Forster and the younger Wilkie Collins, with whom he collaborated on fictional and dramatic works. In rapid succession he published Oliver Twist, Nicholas Nickleby, The Old Curiosity Shop, and Barnaby Rudge, sometimes working on several novels simultaneously.Dickens's celebrity led to a tour of the United States in 1842. There he met Henry Wadsworth Longfellow, Washington Irving, William Cullen Bryant, and other literary figures, and was received with an enthusiasm that was dimmed somewhat by the criticisms Dickens expressed in his American Notes and in the American chapters of Martin Chuzzlewit. The appearance of A Christmas Carol in 1843 sealed his position as the most widely popular writer of his time; it became an annual tradition for him to write a story for the season, of which the most memorable were The Chimes and The Cricket on the Hearth. He continued to produce novels at only a slightly diminished rate, publishing Dombey and Son in 1848 and David Copperfield in 1850.From this point on, his novels tended to be more elaborately constructed and harsher and less buoyant in tone than his earlier works. These late novels include Bleak House, Hard Times, Little Dorrit, A Tale of Two Cities, and Great Expectations. Our Mutual Friend, published in 1865, was his last completed novel and perhaps the most somber and savage of them all. Dickens had separated from his wife in 1858-he had become involved a year earlier with a young actress named Ellen Ternan-and the ensuing scandal had alienated him from many of his former associates and admirers. He was weakened by years of overwork and by a near-fatal railroad disaster during the writing of Our Mutual Friend. Nevertheless, he embarked on a series of public readings, including a return visit to America in 1867, which further eroded his health. A final work, The Mystery of Edwin Drood, a crime novel much influenced by Wilkie Collins, was left unfinished upon his death on June 9,1870, at the age of 58. Simon Vance, a former BBC Radio presenter and newsreader, is a full-time actor who has appeared on both stage and television. He has recorded over four hundred audiobooks and has earned over twenty Earphones Awards from AudioFile magazine, including one for his narration of Scaramouche by Rafael Sabatini. A twelve-time Audie finalist, Simon has won Audie Awards for The King's Speech by Mark Logue and Peter Conradi, The Life and Adventures of Nicholas Nickleby by Charles Dickens, Great Expectations by Charles Dickens, and Market Forces by Richard K. Morgan. Winner of the 2008 Booklist Voice of Choice Award, Simon has also been named an AudioFile Golden Voice as well as an AudioFile Best Voice of 2009.

Biography

Born on February 7, 1812, Charles Dickens was the second of eight children in a family burdened with financial troubles. Despite difficult early years, he became the most successful British writer of the Victorian age.

In 1824, young Charles was withdrawn from school and forced to work at a boot-blacking factory when his improvident father, accompanied by his mother and siblings, was sentenced to three months in a debtor's prison. Once they were released, Charles attended a private school for three years. The young man then became a solicitor's clerk, mastered shorthand, and before long was employed as a Parliamentary reporter. When he was in his early twenties, Dickens began to publish stories and sketches of London life in a variety of periodicals.

It was the publication of Pickwick Papers (1836-1837) that catapulted the twenty-five-year-old author to national renown. Dickens wrote with unequaled speed and often worked on several novels at a time, publishing them first in monthly installments and then as books. His early novels Oliver Twist (1837-1838), Nicholas Nickleby (1838-1839), The Old Curiosity Shop (1840-1841), and A Christmas Carol (1843) solidified his enormous, ongoing popularity. As Dickens matured, his social criticism became increasingly biting, his humor dark, and his view of poverty darker still. David Copperfield (1849-1850), Bleak House (1852-1853), Hard Times (1854), A Tale of Two Cities (1859), Great Expectations (1860-1861), and Our Mutual Friend (1864-1865) are the great works of his masterful and prolific period.

In 1858 Dickens's twenty-three-year marriage to Catherine Hogarth dissolved when he fell in love with Ellen Ternan, a young actress. The last years of his life were filled with intense activity: writing, managing amateur theatricals, and undertaking several reading tours that reinforced the public's favorable view of his work but took an enormous toll on his health. Working feverishly to the last, Dickens collapsed and died on June 8, 1870, leaving The Mystery of Edwin Drood uncompleted.

Author biography from the Barnes & Noble Classics edition of David Copperfield.

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    1. Also Known As:
      Charles John Huffam Dickens (full name) "Boz" (pen name)
    1. Date of Birth:
      February 7, 1812
    2. Place of Birth:
      Portsmouth, England
    1. Date of Death:
      June 18, 1870
    2. Place of Death:
      Gad's Hill, Kent, England

Read an Excerpt

Chapter One


I Am Born

Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show. To begin my life with the beginning of my life, I record that I was born (as I have been informed and believe) on a Friday, at twelve o'clock at night. It was remarked that the clock began to strike, and I began to cry, simultaneously.

In consideration of the day and hour of my birth, it was declared by the nurse, and by some sage women in the neighbourhood who had taken a lively interest in me several months before there was any possibility of our becoming personally acquainted, first, that I was destined to be unlucky in life; and secondly, that I was privileged to see ghosts and spirits; both these gifts inevitably attaching, as they believed, to all unlucky infants of either gender, born towards the small hours on a Friday night.

I need say nothing here on the first head, because nothing can show better than my history whether that prediction was verified or falsified by the result. On the second branch of the question, I will only remark, that unless I ran through that part of my inheritance while I was still a baby, I have not come into it yet. But I do not at all complain of having been kept out of this property; and if anybody else should be in the present enjoyment of it, he is heartily welcome to keep it.

I was born with a caul, which was advertised for sale, in the newspapers, at the low price of fifteen guineas. Whether sea-going people were short of money about that time, or were short of faith and preferred cork jackets, I don't know; all I know is, that there was but one solitary bidding, and that was from an attorney connected with the bill-broking business, who offered two pounds in cash, and the balance in sherry, but declined to be guaranteed from drowning on any higher bargain. Consequently the advertisement was withdrawn at a dead loss–for as to sherry, my poor dear mother's own sherry was in the market then–and ten years afterwards the caul was put up in a raffle down in our part of the country, to fifty members at half a crown a head, the winner to spend five shillings. I was present myself, and I remember to have felt quite uncomfortable and confused, at a part of myself being disposed of in that way. The caul was won, I recollect, by an old lady with a hand-basket, who, very reluctantly, produced from it the stipulated five shillings, all in halfpence, and twopence halfpenny short–as it took an immense time and a great waste of arithmetic, to endeavour without any effect to prove to her. It is a fact which will be long remembered as remarkable down there, that she was never drowned, but died triumphantly in bed, at ninety-two. I have understood that it was, to the last, her proudest boast, that she never had been on the water in her life, except upon a bridge; and that over her tea (to which she was extremely partial) she, to the last, expressed her indignation at the impiety of mariners and others, who had the presumption to go 'meandering' about the world. It was in vain to represent to her that some conveniences, tea perhaps included, resulted from this objectionable practice. She always returned, with greater emphasis and with an instinctive knowledge of the strength of her objection, 'Let us have no meandering.'

Not to meander myself, at present, I will go back to my birth.

I was born at Blunderstone, in Suffolk, or 'thereby,' as they say in Scotland. I was a posthumous child. My father's eyes had closed upon the light of this world six months, when mine opened on it. There is something strange to me, even now, in the reflection that he never saw me; and something stranger yet in the shadowy remembrance that I have of my first childish associations with his white gravestone in the churchyard, and of the indefinable compassion I used to feel for it lying out alone there in the dark night, when our little parlour was warm and bright with fire and candle, and the doors of our house were–almost cruelly, it seemed to me sometimes–bolted and locked against it.

An aunt of my father's, and consequently a great-aunt of mine, of whom I shall have more to relate by-and-by, was the principal magnate of our family. Miss Trotwood, or Miss Betsey, as my poor mother always called her, when she sufficiently overcame her dread of this formidable personage to mention her at all (which was seldom), had been married to a husband younger than herself, who was very handsome, except in the sense of the homely adage, 'handsome is, that handsome does'–for he was strongly suspected of having beaten Miss Betsey, and even of having once, on a disputed question of supplies, made some hasty but determined arrangements to throw her out of a two pair of stairs' window. These evidences of an incompatibility of temper induced Miss Betsey to pay him off, and effect a separation by mutual consent. He went to India with his capital, and there, according to a wild legend in our family, he was once seen riding on an elephant, in company with a Baboon; but I think it must have been a Baboo–or a Begum. Anyhow, from India tidings of his death reached home, within ten years. How they affected my aunt, nobody knew; for immediately upon the separation she took her maiden name again, bought a cottage in a hamlet on the sea-coast a long way off, established herself there as a single woman with one servant, and was understood to live secluded, ever afterwards, in an inflexible retirement.

My father had once been a favourite of hers, I believe; but she was mortally affronted by his marriage, on the ground that my mother was 'a wax doll.' She had never seen my mother, but she knew her to be not yet twenty. My father and Miss Betsey never met again. He was double my mother's age when he married, and of but a delicate constitution. He died a year afterwards, and, as I have said, six months before I came into the world.

This was the state of matters on the afternoon of, what I may be excused for calling, that eventful and important Friday. I can make no claim, therefore, to have known, at that time, how matters stood; or to have any remembrance, founded on the evidence of my own senses, of what follows.

My mother was sitting by the fire, but poorly in health, and very low in spirits, looking at it through her tears, and desponding heavily about herself and the fatherless little stranger, who was already welcomed by some grosses of prophetic pins in a drawer upstairs, to a world not at all excited on the subject of his arrival; my mother, I say, was sitting by the fire, that bright, windy March afternoon, very timid and sad, and very doubtful of ever coming alive out of the trial that was before her, when, lifting her eyes as she dried them, to the window opposite, she saw a strange lady coming up the garden.

My mother had a sure foreboding at the second glance, that it was Miss Betsey. The setting sun was glowing on the strange lady, over the garden fence, and she came walking up to the door with a fell rigidity of figure and composure of countenance that could have belonged to nobody else.

When she reached the house, she gave another proof of her identity. My father had often hinted that she seldom conducted herself like any ordinary Christian; and now, instead of ringing the bell, she came and looked in at that identical window, pressing the end of her nose against the glass to that extent that my poor dear mother used to say it became perfectly flat and white in a moment.

She gave my mother such a turn, that I have always been convinced I am indebted to Miss Betsey for having been born on a Friday.

My mother had left her chair in her agitation, and gone behind it in the corner. Miss Betsey, looking round the room, slowly and inquiringly, began on the other side, and carried her eyes on, like a Saracen's head in a Dutch clock, until they reached my mother. Then she made a frown and a gesture to my mother, like one who was accustomed to be obeyed, to come and open the door. My mother went.

'Mrs. David Copperfield, I think,' said Miss Betsey; the emphasis referring, perhaps, to my mother's mourning weeds, and her condition.

'Yes,' said my mother, faintly.

'Miss Trotwood,' said the visitor. 'You have heard of her, I dare say?'

My mother answered she had had that pleasure. And she had a disagreeable consciousness of not appearing to imply that it had been an overpowering pleasure.

'Now you see her,' said Miss Betsey. My mother bent her head, and begged her to walk in.

They went into the parlour my mother had come from, the fire in the best room on the other side of the passage not being lighted–not having been lighted, indeed, since my father's funeral; and when they were both seated, and Miss Betsey said nothing, my mother, after vainly trying to restrain herself, began to cry.

'Oh, tut, tut, tut!' said Miss Betsey, in a hurry. 'Don't do that! Come, come!'

My mother couldn't help it notwithstanding, so she cried until she had had her cry out.

'Take off your cap, child,' said Miss Betsey, 'and let me see you.'

My mother was too much afraid of her to refuse compliance with this odd request, if she had any disposition to do so. Therefore she did as she was told, and did it with such nervous hands that her hair (which was luxuriant and beautiful) fell all about her face.

'Why, bless my heart!' exclaimed Miss Betsey. 'You are a very baby!'

My mother was, no doubt, unusually youthful in appearance even for her years; she hung her head, as if it were her fault, poor thing, and said, sobbing, that indeed she was afraid she was but a childish widow, and would be but a childish mother if she lived. In a short pause which ensued, she had a fancy that she felt Miss Betsey touch her hair, and that with no ungentle hand; but, looking at her, in her timid hope, she found that lady sitting with the skirt of her dress tucked up, her hands folded on one knee, and her feet upon the fender, frowning at the fire.

'In the name of Heaven,' said Miss Betsey, suddenly, 'why Rookery?'

'Do you mean the house, ma'am?' asked my mother.

'Why Rookery?' said Miss Betsey. 'Cookery would have been more to the purpose, if you had had any practical ideas of life, either of you.'

'The name was Mr. Copperfield's choice,' returned my mother. 'When he bought the house, he liked to think that there were rooks about it.'

The evening wind made such a disturbance just now, among some tall old elm-trees at the bottom of the garden, that neither my mother nor Miss Betsey could forbear glancing that way. As the elms bent to one another, like giants who were whispering secrets, and after a few seconds of such repose, fell into a violent flurry, tossing their wild arms about, as if their late confidences were really too wicked for their peace of mind, some weather-beaten ragged old rooks'-nests burdening their higher branches, swung like wrecks upon a stormy sea.

'Where are the birds?' asked Miss Betsey.

'The–?' My mother had been thinking of something else.

'The rooks–what has become of them?' asked Miss Betsey.

'There have not been any since we have lived here,' said my mother. 'We thought–Mr. Copperfield thought–it was quite a large rookery; but the nests were very old ones, and the birds have deserted them a long while.'

'David Copperfield all over!' cried Miss Betsey. 'David Copperfield from head to foot! Calls a house a rookery when there's not a rook near it, and takes the birds on trust, because he sees the nests!'

'Mr. Copperfield,' returned my mother, 'is dead, and if you dare to speak unkindly of him to me–'

My poor dear mother, I suppose, had some momentary intention of committing an assault and battery upon my aunt, who could easily have settled her with one hand, even if my mother had been in far better training for such an encounter than she was that evening. But it passed with the action of rising from her chair; and she sat down again very meekly, and fainted.

When she came to herself, or when Miss Betsey had restored her, whichever it was, she found the latter standing at the window. The twilight was by this time shading down into darkness; and dimly as they saw each other, they could not have done that without the aid of the fire.

'Well?' said Miss Betsey, coming back to her chair, as if she had only been taking a casual look at the prospect; 'and when do you expect–'

'I am all in a tremble,' faltered my mother. 'I don't know what's the matter. I shall die, I am sure!'

'No, no, no,' said Miss Betsey. 'Have some tea.'

'Oh dear me, dear me, do you think it will do me any good?' cried my mother in a helpless manner.

'Of course it will,' said Miss Betsey. 'It's nothing but fancy. What do you call your girl?'

'I don't know that it will be a girl, yet, ma'am,' said my mother innocently.

'Bless the baby!' exclaimed Miss Betsey, unconsciously quoting the second sentiment of the pin-cushion in the drawer upstairs, but applying it to my mother instead of me, 'I don't mean that. I mean your servant.'

'Peggotty,' said my mother.

'Peggotty!' repeated Miss Betsey, with some indignation. 'Do you mean to say, child, that any human being has gone into a Christian church, and got herself named Peggotty?'

'It's her surname,' said my mother, faintly. 'Mr. Copperfield called her by it, because her Christian name was the same as mine.'

'Here, Peggotty!' cried Miss Betsey, opening the parlour-door. 'Tea. Your mistress is a little unwell. Don't dawdle.'

Having issued this mandate with as much potentiality as if she had been a recognised authority in the house ever since it had been a house, and having looked out to confront the amazed Peggotty coming along the passage with a candle at the sound of a strange voice, Miss Betsey shut the door again, and sat down as before; with her feet on the fender, the skirt of her dress tucked up, and her hands folded on one knee.

'You were speaking about its being a girl,' said Miss Betsey. 'I have no doubt it will be a girl. I have a presentiment that it must be a girl. Now child, from the moment of the birth of this girl–'

'Perhaps boy,' my mother took the liberty of putting in.

'I tell you I have a presentiment that it must be a girl,' returned Miss Betsey. 'Don't contradict. From the moment of this girl's birth, child, I intend to be her friend. I intend to be her godmother, and I beg you'll call her Betsey Trotwood Copperfield. There must be no mistakes in life with this Betsey Trotwood. There must be no trifling with her affections, poor dear. She must be well brought up, and well guarded from reposing any foolish confidences where they are not deserved. I must make that my care.'

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Reading Group Guide

1. Critics have noted that David Copperfield is less a character who makes things happen, and more one who witnesses things happening. Do you agree or disagree? How might this notion relate to David's profession as a writer? Consider David Gates's claim that David's "colorlessness" makes him a convincing representation of a writer.

2. David Copperfield, the narrator, begins his story by claiming that the succeeding pages will show whether he-or somebody else-will be the hero of his own life. Discuss the ways in which the notion of the hero is invoked throughout the novel. Who do you suppose might be David's hero?

3. Discuss the role of coincidence in David Copperfield. Specifically, discuss the novel's re-introduction of characters (such as Mr. Micawber in Chapter XVII, Tommy Traddles in Chapter XXV, and Uriah Heep in Chapter LXI) who were seemingly forgotten. To what extent do you think Dickens represents the normal coincidences of everyday life? Consider John Lucas's idea that the re-introduction of characters helps measure David's growth as an individual.

4. In David Copperfield, Dickens presents several relationships that fall outside traditional categories. For instance, the relationship between Betsey Trotwood and Mr. Dick; that of David, his mother, and Peggotty; and that of Mrs. Steerforth and Rosa Dartle. Discuss the role these relationships play in the novel. How does the novel define "family"? What makes up a family? Indeed, must the members of a "family" be related by blood?

5. In William Wordsworth's poem, "My heart leaps up," Wordsworth posits, "The Child is father of the Man." Discuss this notion in relation to David Copperfield.

6. Discuss the role of female characters in David Copperfield. Compare David's relationship with such women as his mother and Peggotty, Agnes and Dora. How are they similar? Different? Historians have noted that middle-class Victorian culture relegated women to the private world of the home and imagined that women provided a moral center for the family, offsetting a husband's exposure to the amoral marketplace. In what specific ways do you think Dickens might be constrained by this idea of woman as "angel of the house"?

7. In the beginning of Chapter II, David finds "the power of observation in
numbers of very young children to be quite wonderful for its closeness and
accuracy." He then stops himself to say: "I might have a misgiving that I am 'meandering' in stopping to say this, but that it brings me to remark that I build these conclusions, in part upon my own experience of myself; and if it should appear from anything I may set down in this narrative that I was a child of close observation, or that as a man I may have a strong memory of my childhood, I undoubtedly lay claim to both of these characteristics." Discuss the significance of this passage. Why might David need to claim "a strong memory" for himself? Consider David Gates's assertion, in his Introduction to this volume, that David's lapses in memory help make his story more believable.

8. Discuss David's relationship with Steerforth. In what specific ways is Steerforth a foil for David himself?

9. David Copperfield offers, among other things, a critique of the nineteenth-century English prison system, in part through Mr. Micawber, Uriah Heep, and Mr. Creakle. What are David's attitudes to the prison he visits in Chapter LXI? Do the prisoners seem repentant to him? Compare nineteenth-century attitudes toward incarceration with contemporary ones. How is the prison David visits similar to and different from prisons today? Discuss Chapter LXI's relevance to the novel as a whole. What does Dickens accomplish by re-introducing Mr. Creakle, Uriah Heep, and Mr. Littimer?

From the Trade Paperback edition.

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