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Bleak House

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Book Summary

Charles Dickens Biography

About Bleak House

Summary, Analysis, and Original Text by Chapter

Chapter 1: In Chancery
Chapter 2: In Fashion
Chapter 3: A Process
Chapter 4: Telescopic Philanthropy
Chapter 5: A Morning Adventure
Chapter 6: Quite at Home
Chapter 7: The Ghost's Walk
Chapter 8: Covering a Multitude of Sins
Chapter 9: Signs and Tokens
Chapters 10–11: The Law Writer & Our Dead Brother
Chapter 12: On the Watch
Chapter 13: Esther's Narrative
Chapter 14: Deportment
Chapter 15: Bell Yard
Chapter 16: Tom-all-Alone's
Chapter 17: Esther's Narrative
Chapter 18: Lady Dedlock
Chapter 19: Moving On
Chapters 20–21: A New Lodger & The Smallweed Family
Chapter 22: Mr. Bucket
Chapter 23: Esther's Narrative
Chapter 24: An Appeal Case
Chapter 25: Mrs. Snagsby Sees It All
Chapter 26: Sharpshooters
Chapter 27: More Old Soldiers Than One
Chapter 28: The Ironmaster
Chapter 29: The Young Man
Chapter 30: Esther's Narrative
Chapter 31: Nurse and Patient
Chapter 32: The Appointed Time
Chapter 33: Interlopers
Chapter 34: A Turn of the Screw
Chapter 35: Esther's Narrative
Chapter 36: Chesney Wold
Chapter 37: Jarndyce and Jarndyce
Chapter 38: A Struggle
Chapter 39: Attorney and Client
Chapter 40: National and Domestic
Chapter 41: In Mr. Tulkinghorn's Room
Chapter 42: In Mr. Tulkinghorn's Chambers
Chapter 43: Esther's Narrative
Chapter 44: The Letter and the Answer
Chapter 45: In Trust
Chapter 46: Stop Him!
Chapter 47: Jo's Will
Chapter 48: Closing In
Chapter 49: Dutiful Friendship
Chapter 50: Esther's Narrative
Chapter 51: Enlightened
Chapter 52: Obstinacy
Chapters 53–54: The Track & Springing a Mine
Chapter 55: Flight
Chapter 56: Pursuit
Chapter 57: Esther's Narrative
Chapter 58: A Wintry Day and Night
Chapter 59: Esther's Narrative
Chapter 60: Perspective
Chapter 61: A Discovery
Chapter 62: Another Discovery
Chapter 63: Steel and Iron
Chapter 64: Esther's Narrative
Chapters 65–66: Beginning in the World & Down in Lincolnshire
Chapter 67: The Close of Esther's Narrative

Character List

Character Analysis

Lady Dedlock
Esther Summerson
John Jarndyce
Mr. Tulkinghorn
Richard Carstone
Ada Clare
Sir Leicester Dedlock

Critical Essays

Characterization in Bleak House
Theme of Bleak House
Technique and Style in Bleak House
Plot of Bleak House
Setting of Bleak House
The Fog
Symbolism in Bleak House

Study and Homework Help

Quiz
Essay Questions

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About Bleak House

Bleak House is a long novel. This does not mean that Dickens style is wordy or that the book could be abridged without losing the effects that Dickens wanted to achieve. None of Dickens' contemporaries thought that the book was too long. In fact, short novels were unusual in the Victorian era (1837-1901). The tempo of life was slower then. Most men, whether in cities or on the farms, lived close to their work: There was no daily massive rush of commuters. Most women were in the home all day and, as a rule, had more than enough time to do what needed to be done; this fact in itself kept the pace of domestic life slower than anything familiar to us today. People seldom traveled and, if they did, rarely did they go very far.

By today's standards, life was quiet in Dickens' era. Railways existed, but cars, trucks, planes, radio, movies, and television didn't exist. Most shops and places of public entertainment closed early. No crackling neon signs put any "buzz" in the night. At night, one could read or play cards — provided one could afford to burn the oil or candles; it was cheaper and easier to be inactive from sundown to sunup. On Sundays, everything was closed but the church doors and the park gates. Far fewer people were tyrannized by the deadlines that today's technology has made the rule of the workplace.

As a result of this slower pace of life, Victorian people generally had what contemporary psychologists call a "low threshold" — meaning that in order to feel pleasantly stimulated, they didn't require loud, gaudy, psychedelic, fast-moving, or ever-changing stimuli. Young people had, as always, their problems, but one of them was not a tendency to "burn out" early. In Victorian England, patience and easygoing ways were far more common than nerves and distractedness.

What this meant for literature is that proportionately more people had more time for reading, and, at the same time, they were psychologically well prepared for the art of reading. Reading is a quiet, completely unsensational activity, and it demands a certain patience. Time and patience are what the past, including the Victorian days, is all about.


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