Transparent Minds to bind all this together and

Transparent Minds to bind all this together, and to get a character established as it were which any of the writers may maintain without difficulty, I want to suppose a certain shadow, which may go into any place. . . and be in all homes, and all nooks and corners, and be supposed to be cognisant of everything, and go everywhere, without the least difficulty Dickens, Household Words

Richard Menke, Telegraphic Realism: Victorian Fiction and other Information Systems (2007) ‘to subsume the structure of an entire society into its own information network—an ability that resonates with both the ambition and the everyday interests of realist narratives. ’

• The lecture theatre was full of idiots • Jon saw that the lecture theatre was full of idiots

focalization • the technique by which an author uses a particular character or characters as indexes of what is going on in the text

• Jon saw the room was full of idiots. He took an instant dislike to every face he saw. They were equally preposterous in their looks as in their manners. The students moved uncomfortably at the sight of the two lecturers. Graeme saw a row of angelic visages, each revealing an inner beauty to him he had previously only ever guessed at.

Free indirect speech • a kind of quotation outside of speech marks • Dorrit Cohn, Transparent Minds: Narrative Modes for Presenting Consciousness in Fiction: ‘The problem of delimiting the narrated monologue from narration generally is far more complex, since purely linguistic criteria no longer provide reliable guidelines’

• ‘No, Jon, you are quite wrong’, said Graeme, ‘I saw each of them revealing an inner beauty that I had previously only guessed at’.

Persuasion • Lady Russell's had no success at all---could not be put up with--were not to be borne. "What! Every comfort of life knocked off! Journeys, London, servants, horses, table, ---contractions and restrictions every where. To live no longer with the decencies even of a private gentleman! No, he would sooner quit Kellynch-hall at once, than remain in it on such disgraceful terms. "

• But these measures, however good in themselves, were insufficient for the real extent of the evil, the whole of which Sir Walter found himself obliged to confess to her soon afterwards. Elizabeth had nothing to propose of deeper efficacy. She felt herself ill-used and unfortunate, as did her father; and they were neither of them able to devise any means of lessening their expenses without compromising their dignity, or relinquishing their comforts in a way not to be borne.

• • • The court was paved from floor to roof with human faces. Inquisitive and eager eyes peered from every inch of space; from the rail before the dock, away into the sharpest angle of the smallest corner in the galleries, all looks were fixed upon one man - the Jew. Before him and behind, above, below, on the right and on the left - he seemed to stand surrounded by a firmament all bright with beaming eyes. He stood there, in all this glare of living light, with one hand resting on the wooden slab before him, the other held to his ear, and his head thrust forward to enable him to catch with greater distinctness every word that fell from the presiding judge, who was delivering his charge to the jury. At times he turned his eyes sharply upon them to observe the effect of the slightest feather-weight in his favour; and when the points against him were stated with terrible distinctness, looked towards his counsel in mute appeal that he would even then urge something in his behalf. Beyond these manifestations of anxiety, he stirred not hand or foot. He had scarcely moved since the trial began; and now that the judge ceased to speak, he still remained in the same strained attitude of close attention, with his gaze bent on him as though he listened still. A slight bustle in the court recalled him to himself, and looking round, he saw that the jurymen had turned together to consider of their verdict. As his eyes wandered to the gallery, he could see the people rising above each other to see his face: some hastily applying their glasses to their eyes, and others whispering their neighbours with looks expressive of abhorrence. A few there who seemed unmindful of him, and looked only to the jury in impatient wonder how they could delay, but in no one face - not even among the women, of whom there were many there - could he read the faintest sympathy with him, or any feeling but one of all-absorbing interest that he should be condemned.

Oliver Twist • • • It is the custom on the stage in all good, murderous melodramas, to present the tragic and the comic scenes in as regular alternation as the layers of red and white in a side of streaky, well-cured bacon. The hero sinks upon his straw bed, weighed down by fetters and misfortunes; and, in the next scene, his faithful but unconscious squire regales the audience with a comic song. We behold with throbbing bosoms the heroine in the grasp of a proud and ruthless baron, her virtue and her life alike in danger, drawing forth her dagger to preserve the one at the cost of the other; and, just as our expectations are wrought up to the highest pitch, a whistle is heard, and we are straightway transported to the great hall of the castle, where a grey-headed seneschal sings a funny chorus with a funnier body of vassals, who are free of all sorts of places from church vaults to palaces, and roam about in company, carolling perpetually. Such changes appear absurd; but they are by no means unnatural. The transitions in real life from well-spread boards to death-beds, and from mourning weeds to holiday garments, are not a whit less startling, only there we are busy actors instead of passive lookers-on, which makes a vast difference; the actors in the mimic life of theatre are blind to violent transitions and abrupt impulses of passion or feeling, which, presented before the eyes of mere spectators, are at once condemned as outrageous and preposterous.

M. M. Bakhtin, ‘Discourse in the Novel, ’ The Dialogic Imagination • ‘an encyclopedia of all strata and forms of literary language’. • ‘demands of the author a lively to-and-fro movement in his relationship to language, it demands a continual shifting of the distance between author and language, so that first some, then other aspects of language are thrown into relief’.

Great Expectations • Mr. Pumblechook's premises in the High-street of the market town, were of a peppercorny and farinaceous character, as the premises of a corn-chandler and seedsman should be. It appeared to me that he must be a very happy man indeed, to have so many little drawers in his shop; and I wondered when I peeped into one or two on the lower tiers, and saw the tied-up brown paper packets inside, whether the flower-seeds and bulbs ever wanted of a fine day to break out of those jails, and bloom.

David Copperfield • 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.

Great Expectations • My father's family name being Pirrip, and my christian name Philip, my infant tongue could make of both names nothing longer or more explicit than Pip. So, I called myself Pip, and came to be called Pip. • I give Pirrip as my father's family name, on the authority of his tombstone and my sister - Mrs. Joe Gargery, who married the blacksmith. As I never saw my father or my mother, and never saw any likeness of either of them (for their days were long before the days of photographs), my first fancies regarding what they were like, were unreasonably derived from their tombstones.

Great Expectations • A fearful man, all in coarse grey, with a great iron on his leg. A man with no hat, and with broken shoes, and with an old rag tied round his head. A man who had been soaked in water, and smothered in mud, and lamed by stones, and cut by flints, and stung by nettles, and torn by briars; who limped, and shivered, and glared and growled; and whose teeth chattered in his head as he seized me by the chin.

Great Expectations • I was so humiliated, hurt, spurned, offended, angry, sorry - I cannot hit upon the right name for the smart - God knows what its name was - that tears started to my eyes.

Great Expectations • Why should I loiter on my road, to compare the state of mind in which I had tried to rid myself of the stain of the prison before meeting her at the coach-office, with the state of mind in which I now reflected on the abyss between Estella in her pride and beauty, and the returned transport whom I harboured? The road would be none the smoother for it, the end would be none the better for it, he would not be helped, nor I extenuated.

Great Expectations • Pretending to read a smeary newspaper long out of date, which had nothing half so legible in its local news, as the foreign matter of coffee, pickles, fish sauces, gravy, melted butter, and wine, with which it was sprinkled all over, as if it had taken the measles in a highly irregular form, I sat at my table while he stood before the fire.

Great Expectations • Mr. Jaggers's room was lighted by a skylight only, and was a most dismal place; the skylight, eccentrically patched like a broken head, and the distorted adjoining houses looking as if they had twisted themselves to peep down at me through it.

Enlightenment? • ‘I saw the shadow of no parting from her’