- Paperback: 448 pages
- Publisher: Barnes & Noble Classics; Reprint. edition (July 25, 2004)
- Language: English
- ISBN-10: 1593081383
- ISBN-13: 978-1593081386
- Product Dimensions: 5.2 x 1.1 x 8 inches
- Shipping Weight: 13.1 ounces (View shipping rates and policies)
- Average Customer Review: 11,619 customer reviews
- Amazon Best Sellers Rank: #196,263 in Books (See Top 100 in Books)
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A Tale of Two Cities (Barnes & Noble Classics) Reprint. Edition
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About the Author
Excerpt. © Reprinted by permission. All rights reserved.
When Dickens expressed to A. H. Layard his fear of revolution in Britain in 1855, he only echoed many dozens of commentators over the preceding six decades, who wondered why mob violence could not simply cross the English Channel and turn the streets of London into a bloodbath of class retribution. The textbook historian's answer points to the bloodless coup of 1688, the so-called Glorious Revolution, which saw the tyrant James II forced into exile, and William and Mary inaugurate a form of managerial rule in Britain, a constitutional, "mixed" monarchy where many absolute powers of the Crown were ceded to Parliament. With the consolidation of that legislative body, however unrepresentative, Britain's nobility insured itself against the apocalyptic disaster that was to befall their French counterparts. The divergent tale of the two cities thus begins in 1688.
But as a novelist, Dickens, who loved Paris and traveled there often, offers more intuitive, closely observed reasons for the untranslatable quality of that city's Revolution. In an 1856 article for his weekly magazine, Household Words, he calls Paris "the Moon," and describes a culture of spectacle implicitly alien to his London readers. On the grand Parisian boulevards, Dickens watches the upper classes put on "a mighty show." Later, he takes coffee and a cigar at one of Paris's ubiquitous cafés, and participates in a kind of collective voyeurism unfamiliar to the English capital:The place from which the shop front has been taken makes a gay proscenium; as I sit and smoke, the street becomes a stage, with an endless procession of lively actors crossing and re-crossing. Women with children, carts and coaches, men on horseback, soldiers, water-carriers with their pails, family groups, more soldiers, lounging exquisites, more family groups (coming past, flushed, a little late for the play). . . . We are all amused, sitting seeing the traffic in the street, and the traffic in the street is in its turn amused by seeing us ("Railway Dreaming," pp. 373-374). Paris is a society of spectacle, a glamorous outdoor "stage" where citizens are both actors and audience. Later in the article, however, Dickens describes a more sinister aspect of this culture of display when he is jostled by the crowds at the Paris morgue, whose "bodies lie on inclined planes within a great glass window, as though Holbein should represent Death, in his grim Dance, keeping a shop, and displaying his goods like a Regent Street or boulevard linen-draper" (p. 375). Dickens is unnerved here, as he was at Horsemonger Lane, by a society that places no restraints on visibility, even to preserve the solemnity of the dead.
It is a short step in Dickens's imagination from the peep-show atmosphere of the Paris morgue in 1856 to the ritual slaughter in the Place de la Révolution during Robespierre's "Reign of Terror" of 1793-1794. A Tale of Two Cities shows the dark side of urban theatricality, that a public appetite for glamorous "show" can rapidly degenerate into an insatiable hunger for "scenes of horror and demoralization." The essentially theatrical quality of Parisian social life produces a theatrical Revolution. At the revolutionary "trials" at the Hall of Examination, Madame Defarge, we are told, "clapped her hands as at a play." There is something uniquely Parisian, too, in the spectacle of the liberation of the Bastille (with only seven prisoners inside) and in the rituals of the Terror itself, as the tumbrils roll daily to the guillotine watched by knitting ladies, who take up seats in their favored spots each morning as if at a sideshow or circus. As Dickens describes it, even the victims of the Terror cannot escape the theatrical atmosphere of the proceedings. Among the condemned, "there are some so heedful of their looks that they cast upon the multitude such glances as they have seen in theatres, and in pictures." Contrast this with Charles Darnay, who, on trial for his life earlier in the novel, disdains "the play at the Old Bailey": He "neither flinched from the situation, nor assumed any theatrical air in it." Our hero disappoints us on occasion, but here, by resisting being converted into a spectacle, he defends the most important social principle of the novel: the dignity of the private citizen in the face of the howling mob.
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It is basically a story of a young orphan boy, named Pip, coming of age in the mid- 19th century. It is a life full of characters both good, bad and in between. The main thrust though is how theses characters all affect young Pip's beliefs; fears and... great expectations. As he grows he finds that many are not what he originally thought them to be. However, they are what they are. The story is about how Pip learns to deal with them and life's twist and turns.
It is really a good book. I was surprised how much I enjoyed it. It is tough to read in a few spots but you can still get the context and keep the story moving along. I highly recommend this book, but you will have to decide if you are old enough to appreciate it. Just don't wait too long...
I was provided a free copy of this audiobook in exchange for my unbiased review. Many thanks for this opportunity!
Charles Dickens is my second favorite author of Victorian fiction after my favorite author of all, George Eliot. I have never read a Dickens novel that I did not complete enjoy. As stated these novels were written for mass appeal and consumption in Victorian England. Charles Dickens published these novels in serial form in periodicals. He would attempt to assess the reception of his work with his readers and thus the novel may be revised before the next installment.
In general, Charles Dickens has a wry and ironic sense of humor. I find hm extremely humorous. His writing is, at times, sentimental, but again, I enjoy it, in doses. I always read Charles Dickens novels while simultaneously listening to a professional audiobook narration and did so with "Olivier Twist" and always find the professional narration adds to my reading experience.
I have read this novel twice. I must confess that the first time, I was oblivious to what may be viewed by today's standards as anti Semitic connotations. There is a character who is a criminal who is seemingly endlessly referred to as a "Jew". He seems to lack redeeming virtues. I do not believe in censorship of historical works. But be prepared to encounter these references.
In summary, Victorian Fiction will not appeal to every modern reader. However I find it very entertaining and works by Charles Dickens are an excellent example of it. Thank You...