By P. Scott
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Additional info for Reality and Comic Confidence in Charles Dickens
In bringing to extreme exposition his fraught rejection of the ethos of which he has himself so long been a professional mediator, he takes his difficulty to a point of impossible recoil, of now totally inhibited return, for with the act of Eugene's battering he puts himself outside society, casts off irrevocably the codes in which he has grown up. More importantly than anything the law can do to him in consequence, he cannot now (we feel), for better as well as worse, go back to his old way of seeing the world.
Mary Axe', but these are enough for someone with wits as sharply trained and alert as hers, to pick out the important hints and develop the connections. Yet if she 'knows the tricks' (11, ii, 224) of the scavenging predatory world as many of the other good characters in this story do not, it is just because she has been given an education which has also left her more than half a little shrew. Given her father's dissipations and her own physical disabilities she has had to monitor her parent's every ruse like an unsleeping termagant, if either was to be sheltered and fed at all.
III Contrasting the first (vi, 65- 6) with the later description in Dombey 2 I 7- I 8) of a district transformed by the coming of the railway, Humphry House has remarked, and Son (xv, It is interesting to compare this reformer's admiration for what had been done with the plain delight of the earlier description of Camden Town in Chapter VI: the district had then just been rent by the first shock of the railway earthquake which produced 'a hundred thousand shapes and substances of incompleteness, wildly mingled out of their places'.