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• W876409302 abstract "At one point in his recent and very fine book Robert Douglas-Fairhurst chides for his indifference to wellbeing of poor. is referring to letter that wrote to his wife Catherine on 13 October 1853, which makes it clear that he favored kind of centrally planned, efficient, and rapid changes that were modernizing in 1850s. Paris is ... wonderfully improving, writes: Thousands of houses must have been pulled down for construction of an immense street now making from dirty end of Rue de Tivoli, past Palais Royal, away beyond Hotel de Ville. It will be finest thing in Europe. The quays by riverside are Macadamized and as clean as Regent Street. Indeed, general in essential articles of what is to be seen and what is to be smelt, is highly remarkable. (Letters 7: 163) Douglas-Fairhurst remarks wryly, Dickens seems to have ironic tone he had adopted only few years earlier, in Dombey and Son, when describing the wholesale destruction wrought by railways 'mighty course of and improvement', not to mention his pointed observation that development of New Oxford Street ... had also ruthlessly swept away slums where many of most deprived Londoners lived (169-70). It is, of course, unlikely that would have forgotten anything of this importance or that he would have adopted such radically dissimilar positions so suddenly and without any obvious logic. All of which raises question: what was Dickens's attitude toward metropolitan improvements, particularly those associated with early years of railway? First, we need to question common assumption that Dickens's comments in Dombey about mighty course of and improvement, and of railway more generally, are necessarily ironic. (1). It is revealing that used close variant of cliche civilisation and improvement about year earlier in prospectus to The Daily News. Here, the Principles of Progress and Improvement, phrase used without irony, are said to constitute major rationale for paper (qtd. in Grant 2. 81). It is also important to recognize that, at several different points in Dombey, preemptively argues against those who would attack or belittle railway. So, narrator observes, As Mr. Dombey looks out of his carriage window, it is never in his thoughts that monster who has brought him there [to Birmingham] has let light of day in on these things: not made or caused them (299; ch. 20). In similar way, and as others have pointed out, narrator explicitly reminds us that we are seeing things from Dombey's gloomy and death-haunted perspective, and not author's: He found likeness to his misfortune everywhere. There was remorseless triumph going on about him, and it galled and stung him in his pride and jealousy, whatever form it took: though most of all when it divided with him love and memory of his lost boy (299). also feels called upon to correct mistaken impressions of residents of Staggs's Gardens themselves, who regard their home as sacred grove not to be withered by railroads; and so confident were they generally of its long outliving any such ridiculous inventions, that master-chimney-sweeper at corner ... had publicly declared that on occasion of Railroad opening ... two of his boys should ascend flues of his dwelling, with instructions to hail with derisive jeers from chimney pots. (69; ch. 6) The residents of Staggs's gardens are wrong of course. This was never a sacred grove, nor is invention ridiculous, nor is there any failure in offing. The scorn heaped upon railway, and its destruction of town, is misplaced, as is evident in chapter 15. Here, we learn that palaces have replaced old rotten summer-houses and that tiers of warehouses, crammed with rich goods and costly merchandise now cover the miserable waste ground, where refuse-matter had been heaped of yore. …" @default.
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• W876409302 date "2014-12-01" @default.
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• W876409302 title "Dickens, the Metropolis and the Railway: Displacement or Progress?" @default.
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