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• W61992078 abstract "Twice during his novelistic career Dickens attempted to speak in voice of a woman--extensively, in first-person narrative of Esther Summerson in Bleak House, and, controversially, in first-person confession by Miss Wade in Little Dorrit in a chapter entitled, History of a Self-Tormentor. In what follows I will argue that to these two examples of Dickensian self-portraits in women's clothing one might add an earlier example, namely, that of Mrs. Gamp in Martin Chuzzlewit. While Dickens never speaks in first person through voice of Mrs. Gamp, as he does with both Esther and Miss Wade, he has nevertheless produced in this portrait of an elderly, alcoholic nurse-midwife an alter ego, an emanation of his own creative self. And he has done so despite fact that, in theory, he disapproves of Mrs. Gamp. With Mrs. Gamp, Dickens has painted a portrait of artist as a character creating a character. Dickens presents this self-portrait in a number of ways, most obviously through his propensity for doubling. He was certainly not only nineteenth-century author who was fascinated with theme of doppelganger, or double, and this literary trope can be found in many of notable works of period, from Poe's William Wilson, to Dostoevsky's Double, to Stevenson's Dr Jekyll and Mr Hyde, among numerous others. Most critical accounts of double, such as Lawrence Kohlberg's 1963 study of doubles in Dostoevsky emphasize psychological dimensions of concept--that double sets up a relationship between self and its projected image, or between self and other, that image of double is a form of splitting of individual into two antithetical or complementary parts. (1) The double seems to address duality of human nature, at same time as it comforts reader with reassurances of sameness. Doubles can represent personality at war with itself, or personality in harmony, its two sides co-existing as yin and yang of an integrated whole. The popularity of doppelganger theme in nineteenth century is usually traced to Romantic movement. By turning their attention to inner life of man--by emphasizing emotion, sensation, imagination--the Romantics suggested that human personality is multiple and various. (2) Victorian ideology also favored this kind of dialectical thinking, stressing as it did divide between private life and public domain, between biological and social roles of women and men, as expressed in phrases like the opposite sex and the better half, which gained wide currency at this time. (3) Thus was double turned into reflection of a perceived reality. Dickens was no less fascinated by doppelganger theme than his contemporaries, reverting to it frequently in his fiction, witness Cheeryble brothers in Nicholas Nickleby or Sidney Carton and Charles Darnay in A Tale of Two Cities. In fact, there are instances of doubling in almost every one of his fictions. In Dickens: Doubles: Twain: Twins, Susan Gillman and Robert Patten have suggested that Dickens inherited two conventions of doubleness. In first pairs of characters act out moral polarities. These kinds of doubles, say Gillman and Patten, Dickens would have found in Bible (from Cain and Abel to prodigal son), through medieval and renaissance literature, to Hogarth and Fielding. The second model, which Dickens employs extensively at beginning of his career derives from picaresque tradition: knight and squire, innocence and worldliness, youth and age, Don Quixote and Sancho Panza (Mr. Pickwick and Sam Weller). (Gillman and Patten 442). But I would suggest that usual psychological and literary explanations for nineteenth-century fascination with doubles are, when applied to Dickens's presentation of Mrs. Gamp, a little too simple. It is true, as Steven Marcus has remarked, that Dickens had a tendency to think dialectically (232). …" @default.
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• W61992078 date "2009-03-01" @default.
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• W61992078 title "Mrs. Gamp, Mrs. Harris and Mr. Dickens: Creativity and the Self Split in Two" @default.
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