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Micah Fomichev
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Bbc Literary Companion Class 8 LINK



Our team of DAV class 8 English subject have carefully crafted the solutions to provide DAV Class 8 students the perfect way to frame solutions to the complex questions in the examinations. We are here to offer you the most comprehensive and reliable DAV Solutions for Class 8 English literature.




bbc literary companion class 8



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In 1822 John Dickens was recalled to London and the family squeezed itself into a smaller house at 16 Bayham Street in the very lower-middle-class suburb of Camden Town. This was a great shock to the young Dickens, who now began hearing much about his father's increasing financial problems. The abrupt termination of his schooling distressed him greatly. Money was found to send Fanny to the Royal Academy of Music but Dickens was left, as he once told his friend and biographer John Forster, to brood bitterly on 'all [he] had lost in losing Chatham' and to yearn 'to [be] taught something anywhere!' (Forster, 9). But he began also to be fascinated by the great world of London, transferring to it 'all the dreaminess and all the romance with which he had invested Chatham' and deriving intense pleasure from being taken for walks in the city, especially anywhere near the slum area of Seven Dials which invariably inspired him with 'wild visions of prodigies of wickedness, want and beggary!' (ibid., 11). Forster characterizes the boy's response to Seven Dials as 'a profound attraction of repulsion', a phrase that goes very much to the heart of the later Dickens's attitude towards grim, squalid, or horrific subjects. John's financial situation continuing to deteriorate, and a rather desperate attempt of Elizabeth's to establish a school for young ladies having failed utterly, he was committed to the Marshalsea debtors' prison on 20 February 1824 and was soon joined there by Elizabeth and the younger children. Employment had been found for Dickens by a family friend at Warren's blacking factory at Hungerford Stairs just off the Strand. There he pasted labels on blacking bottles for 6s. a week, lodging first in Little College Street with a Mrs Roylance (on whom he modelled Mrs Pipchin in Dombey and Son) and later in Lant Street, Borough, closer to the prison. The deep personal and social outrage, and sense of parental betrayal, that Dickens experienced at the time was a profound grief that he never entirely outgrew, and an intense pity (also intense admiration) for his younger self was to be a mainspring of his fiction from Oliver Twist to Little Dorrit. In the fragmentary autobiography he wrote in the 1840s, and which Forster incorporated into his biography, he wrote:


As if responding to a cue, Maria Beadnell, now stout Mrs Henry Winter and unseen by Dickens for at least ten years, chose this moment to get in touch with him again. Her letter affected him very powerfully, releasing a flood of passionate nostalgia for the great love of what he called his 'hobbledehoyhood'. He wrote her a series of ardent letters protesting, 'Believe me, you cannot more tenderly remember our old days and our old friends than I do', and responding to some suggestion from her with 'All that you propose, I accept with my whole heart. Whom can you ever trust if it be not your old lover!' (Letters, 7.533, 544). When they actually met, however, Dickens, who had arranged matters so that they should be alone together, was immediately and totally disabused of his wildly romantic idea that the Maria of their 'old days', long cherished so fondly in his imagination, was now to be restored to him, and he quickly retreated into the forms of ordinary social acquaintance. Dickens the artist proceeded to make glorious, if somewhat cruel, novelistic capital out of this serio-comic episode by using the hapless Mrs Winter as a model for the character of the hilariously effusive Flora Finching, the hero's old flame in Little Dorrit. For Dickens the man, however, the experience must surely have served to intensify his desolating sense of having always, in his emotional life, missed out on something very major, that now yearned-for 'one friendship and companionship' that he felt he had never made (obviously a friendship with a woman, one that combined a sexual charge with intellectual and temperamental compatibility).


At his death Dickens was regarded by the great mass of his contemporaries not simply as a great writer but also as a great and good man, a champion of the poor and downtrodden, who had striven hard throughout his whole career for greater social justice and a better, kinder world. It was this perception of him as much as relish for his literary art that inspired the founding of the international Dickens Fellowship in 1902, intended, according to its stated aims and objects, to 'knit together in a common bond of friendship lovers of the great master of humour and pathos, Charles Dickens', to spread the love of humanity ('the keynote of all his work'), to campaign against those 'social evils' which would most have concerned him, and to help preserve buildings and objects associated with him. This organization still flourishes today and still engages in charitable work, though it now approximates more closely to a conventional literary society. It has over forty autonomous branches throughout the English-speaking world (with, currently, others in France, Holland, and Japan), it elects the majority of the board of trustees governing the Charles Dickens Museum, 48 Doughty Street, London (which it saved from threatened demolition in 1923 and opened to the public two years later), and since 1905 it has published a journal called The Dickensian, devoted to the study and discussion of all aspects of Dickens's life, work, and reputation and the monitoring of his public image. 350c69d7ab


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