Oliver Twist

Collins Classics

History of Collins

In 1819, Millworker William Collins from Glasgow, Scotland, set up a company for printing and publishing pamphlets, sermons, hymn books and prayer books. That company was Collins and was to mark the birth of HarperCollins Publishers as we know it today. The long tradition of Collins dictionary publishing can be traced back to the first dictionary William published in 1824, Greek and English Lexicon. Indeed, from 1840 onwards, he began to produce illustrated dictionaries and even obtained a licence to print and publish the Bible.

Soon after, William published the first Collins novel, Ready Reckoner, however it was the time of the Long Depression, where harvests were poor, prices were high, potato crops had failed and violence was erupting in Europe. As a result, many factories across the country were forced to close down and William chose to retire in 1846, partly due to the hardships he was facing.

Aged 30, William’s son, William II took over the business. A keen humanitarian with a warm heart and a generous spirit, William II was truly ‘Victorian’ in his outlook. He introduced new, up-to-date steam presses and published affordable editions of Shakespeare’s works and Pilgrim’s Progress, making them available to the masses for the first time. A new demand for educational books meant that success came with the publication of travel books, scientific books, encyclopaedias and dictionaries. This demand to be educated led to the later publication of atlases and Collins also held the monopoly on scripture writing at the time.

In the 1860s Collins began to expand and diversify and the idea of ‘books for the millions’ was developed. Affordable editions of classical literature were published and in 1903 Collins introduced 10 titles in their Collins Handy Illustrated Pocket Novels. These proved so popular that a few years later this had increased to an output of 50 volumes, selling nearly half a million in their year of publication. In the same year, The Everyman’s Library was also instituted, with the idea of publishing an affordable library of the most important classical works, biographies, religious and philosophical treatments, plays, poems, travel and adventure. This series eclipsed all competition at the time and the introduction of paperback books in the 1950s helped to open that market and marked a high point in the industry.

HarperCollins is and has always been a champion of the classics and the current Collins Classics series follows in this tradition – publishing classical literature that is affordable and available to all. Beautifully packaged, highly collectible and intended to be reread and enjoyed at every opportunity.

Life & Times
About the Author

Charles Dickens was born in Portsmouth, England, but had moved to Kent and then to London by the time he was ten years of age. Not long afterwards, his father was arrested and sent to debtors prison for spending beyond his means. This marked a transition in Dickens’ early life from one of carefree childhood to one filled with relative uncertainty. Above all, Dickens began to ferment ideas of social injustice and a need for social reform in pre-Victorian Britain. These ideas would become the staple of his literary cannon.

He was first published in 1833 at the age of twenty-one. By the time of his death, in 1870, he had completed nineteen (and a half) novels. His final work, The Mystery of Edwin Drood, was only half completed. All of Dickens novels were first published in serialized form, which was the orthodox method in his day.

While other writers tended to complete their books first and then divide them into chapters for serialization, Dickens preferred to write his chapters as and when required. This lent itself to his success, because it meant that his prose was naturally tailored to the format of monthly instalments. Rather than having hiatuses randomly placed in the overall storyline, according to page counts, Dickens was able to deliberately leave the reader wanting more. In essence he had invented the concept of the literary cliff-hanger. Combined with his enhanced characterizations and fabulist allegory this made for a compelling read, so Dickens became the single most popular author in Victorian Britain.

By his forties, Dickens had taken to touring and giving animated readings of his books to captive audiences, who delighted in his ability to bring his characters to life. This was an extension of the storytelling craft he had learnt as a parent, as he had ten children with his wife Catherine, whom he married in 1836.

As well as being a humanistic novelist, Dickens was also a humanitarian in real life. For example, he gave his support to the abolition of slavery in the USA and helped to establish a home of the redemption for ‘fallen’ women in England, which meant those women who had resorted to crime and prostitution to find their way in life, but had ended up in debtors’ prisons, common prisons or workhouses.

A hostel named Urania Cottage was established in London, where these women were given a second chance. They were clothed and fed, provided with education and taught the skills to be able to find domestic employment.

Needless to say, Dickens rubbed shoulders with many extreme characters due to his work with the ‘fallen’ in society. Due to his celebrity, he also met many people at the other end of the spectrum, so there was no shortage of people upon whom to base his fictitious characters.

In 1865 Dickens was involved in a rail crash at Staplehurst, Kent, in which ten people died and many more were injured. Dickens was not hurt but his efforts to help the injured and dying left him with post traumatic stress disorder for the remaining five years of his life.

On that fateful day he had been travelling with his lover, Ellen Ternan. Dickens had separated from his wife in 1858 when Catherine found out about his affair with the younger woman, who was eighteen years his junior. He managed to keep Ellen a secret from society by never appearing in public with her and keeping her hidden in houses rented under false names. He knew very well that Victorian society would not have held a favourable view of his domestic arrangements. His infidelity would have caused an absolute scandal, especially as he was viewed as a highly virtuous and moralistic man. Falling in love with another was simply not acceptable behaviour, especially as Queen Victoria had remained steadfastly loyal to the memory of her beloved Prince Albert since his demise in 1861 and would continue to do so until her own death in 1901.

Dickens died of a stroke exactly five years following the rail crash at the age of fifty-eight years old. He wished to be buried in a modest and private manner, but his funeral was a rather grand affair at Westminster Abbey.

The Victorian Era

The work of Charles Dickens is rather unusual in that it has become something of a social document of the Victorian era in Britain. That is because his books are a primary point of reference to anyone wondering about what it was like to have lived at that time. Consequently, Dickens’ imagined Victorian world is largely perceived by many as a real world, filled with exaggerated characters in extreme circumstances. The result is an odd set of paradoxes. For example, the Victorians are generally understood to have been austere and pious in the extreme, but the truth is that they lived in a highly progressive society where people were pushing the boundaries of behaviour and questioning the role of religion.

Dickens’ version of Victorian society came from his requirement for idiosyncratic characters to make his stories work more effectively in evoking emotional responses in the reader. It is fair to assume that they were based on the personalities of people he had met, so there was an element of truth, but Dickens’ boiled them down to amplify the traits he was most interested in and remove the traits superfluous to literary requirements. In effect, Dickens’ Victorian world is a cartoon, where the more mundane, mediocre and prosaic details serve only as a neutral backdrop, while the colourful characters are allowed to distract the attention.

It can be no coincidence that Dickens himself was an accomplished performer. He was the William Shakespeare of the Victorian age, both writing and taking to the stage as a storyteller. This makes it easy to understand why his characters had such pronounced identities, because Dickens would mentally assume different roles whilst story telling, both on paper and when treading the boards.

As any parent or teacher will attest, it is quite necessary to exaggerate characters with gestures and voices while story telling to capture the imagination of the audience and leave no confusion about who is who. This is exactly what Dickens was doing, so that his version of the Victorian world became one of overblown polarity: villains and do-gooders, the devout and the morally fallen, the wealthy and the poor, the beautiful and the ugly, the selfish and the selfless. Those who fall ‘somewhere between’ truly are the silent majority in Dickensian Britain.

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Table of Contents

Cover Page

Title Page

History of Collins

Life & Times

CHAPTER 1 Treats of the place where Oliver Twist was born, and of the circumstances attending his birth

CHAPTER 2 Treats of Oliver Twist’s growth, education, and board

CHAPTER 3 Relates how Oliver Twist was very near getting a place, which would not have been a sinecure

CHAPTER 4 Oliver, being offered another place, makes his first entry into public life

CHAPTER 5 Oliver mingles with new associates. Going to a funeral for the first time, he forms an unfavourable notion of his master’s business

CHAPTER 6 Oliver, being goaded by the taunts of Noah, rouses into action, and rather astonishes him

CHAPTER 7 Oliver continues refractory

CHAPTER 8 Oliver walks to London. He encounters on the road a strange sort of young gentleman

CHAPTER 9 Containing further particulars concerning the pleasant old gentleman, and his hopeful pupils

CHAPTER 10 Oliver becomes better acquainted with the characters of his new associates; and purchases experience at a high price. Being a short, but very important chapter, in this history

CHAPTER 11 Treats of Mr. Fang the police magistrate; and furnishes a slight specimen of his mode of administering justice

CHAPTER 12 In which Oliver is taken better care of than he ever was before. And in which the narrative reverts to the merry old gentleman and his youthful friends

CHAPTER 13 Some new acquaintances are introduced to the intelligent reader, connected with whom various pleasant matters are related, appertaining to this history

CHAPTER 14 Comprising further particulars of Oliver’s stay at Mr. Brownlow’s, with the remarkable prediction which one Mr. Grimwig uttered concerning him, when he went out on an errand

CHAPTER 15 Showing how very fond of Oliver Twist, the merry old Jew and Miss Nancy were

CHAPTER 16 Relates what became of Oliver Twist, after he had been claimed by Nancy

CHAPTER 17 Oliver’s destiny continuing unpropitious, brings a great man to London to injure his reputation

CHAPTER 18 How Oliver passed his time in the improving society of his reputable friends

CHAPTER 19 In which a notable plan is discussed and determined on

CHAPTER 20 Wherein Oliver is delivered over to Mr. William Sikes

CHAPTER 21 The Expedition

CHAPTER 22 The Burglary

CHAPTER 23 Which contains the substance of a pleasant conversation between Mr. Bumble and a lady; and shows that even a beadle may be susceptible on some points

CHAPTER 24 Treats of a very poor subject. But it is a short one, and may be found of importance in this history

CHAPTER 25 Wherein this history reverts to Mr. Fagin and company

CHAPTER 26 In which a mysterious character appears upon the scene; and many things, inseparable from this history, are done and performed

CHAPTER 27 Atones for the unpoliteness of a former chapter; which deserted a lady, most unceremoniously

CHAPTER 28 Looks after Oliver, and proceeds with his adventures

CHAPTER 29 Has an introductory account of the inmates of the house, to which Oliver resorted

CHAPTER 30 Relates what Oliver’s new visitors thought of him

CHAPTER 31 Involves a critical position

CHAPTER 32 Of the happy life Oliver began to lead with his kind friends

CHAPTER 33 Wherein the happiness of Oliver and his friends, experiences a sudden check

CHAPTER 34 Contains some introductory particulars relative to a young gentleman who now arrives upon the scene; and a new adventure which happened to Oliver

CHAPTER 35 Containing the unsatisfactory result of Oliver’s adventure; and a conversation of some importance between Harry Maylie and Rose

CHAPTER 36 Is a very short one, and may appear of no great importance in its place, but it should be read notwithstanding, as a sequel to the last, and a key to one that will follow when its time arrives

CHAPTER 37 In which the reader may perceive a contrast, not uncommon in matrimonial cases

CHAPTER 38 Containing an account of what passed between Mr. and Mrs. Bumble, and Mr. Monks, at their nocturnal interview

CHAPTER 39 Introduces some respectable characters with whom the reader is already acquainted, and shows how Monks and the Jew laid their worthy heads together

CHAPTER 40 A strange interview, which is a sequel to the last chapter

CHAPTER 41 Containing fresh discoveries, and showing that surprises, like misfortunes, seldom come alone

CHAPTER 42 An old acquaintance of Oliver’s, exhibiting decided marks of genius, becomes a public character in the metropolis

CHAPTER 43 Wherein is shown how the Artful Dodger got into trouble

CHAPTER 44 The time arrives for Nancy to redeem her pledge to Rose Maylie. She fails

CHAPTER 45 Noah Claypole is employed by Fagin on a secret mission

CHAPTER 46 The appointment kept

CHAPTER 47 Fatal consequences

CHAPTER 48 The flight of Sikes

CHAPTER 49 Monks and Mr. Brownlow at length meet. Thir conversation, and the intelligence that interrupts it

CHAPTER 50 The pursuit and escape

CHAPTER 51 Affording an explanation of more mysteries than one, and comprehending a proposal of marriage with no word of settlement or pin-money

CHAPTER 52 Fagin’s last night alive

CHAPTER 53 And last

CLASSIC LITERATURE: WORDS AND PHRASES

Copyright

About the Publisher

CHAPTER 1 Treats of the place where Oliver Twist was born, and of the circumstances attending his birth

Among other public buildings in a certain town, which for many reasons it will be prudent to refrain from mentioning, and to which I will assign no fictitious name, there is one anciently common to most towns, great or small: to wit, a workhouse; and in this workhouse was born; on a day and date which I need not trouble myself to repeat, inasmuch as it can be of no possible consequence to the reader, in this stage of the business at all events; the item of mortality whose name is prefixed to the head of this chapter.

For a long time after it was ushered into this world of sorrow and trouble, by the parish surgeon, it remained a matter of considerable doubt whether the child would survive to bear any name at all; in which case it is somewhat more than probable that these memoirs would never have appeared; or, if they had, that being comprised within a couple of pages, they would have possessed the inestimable merit of being the most concise and faithful specimen of biography, extant in the literature of any age or country.

Although I am not disposed to maintain that the being born in a workhouse, is in itself the most fortunate and enviable circumstance that can possibly befall a human being, I do mean to say that in this particular instance, it was the best thing for Oliver Twist that could by possibility have occurred. The fact is, that there was considerable difficulty in inducing Oliver to take upon himself the office of respiration,—a troublesome practice, but one which custom has rendered necessary to our easy existence; and for some time he lay gasping on a little flock mattress, rather unequally poised between this world and the next: the balance being decidedly in favour of the latter. Now, if, during this brief period, Oliver had been surrounded by careful grandmothers, anxious aunts, experienced nurses, and doctors of profound wisdom, he would most inevitably and indubitably have been killed in no time. There being nobody by, however, but a pauper old woman, who was rendered rather misty by an unwonted allowance of beer; and a parish surgeon who did such matters by contract; Oliver and Nature fought out the point between them. The result was, that, after a few struggles, Oliver breathed, sneezed, and proceeded to advertise to the inmates of the workhouse the fact of a new burden having been imposed upon the parish, by setting up as loud a cry as could reasonably have been expected from a male infant who had not been possessed of that very useful appendage, a voice, for a much longer space of time than three minutes and a quarter.

As Oliver gave this first proof of the free and proper action of his lungs, the patchwork coverlet which was carelessly flung over the iron bedstead, rustled; the pale face of a young woman was raised feebly from the pillow; and a faint voice imperfectly articulated the words, ‘Let me see the child, and die.’

The surgeon had been sitting with his face turned towards the fire: giving the palms of his hands a warm and a rub alternately. As the young woman spoke, he rose, and advancing to the bed’s head, said, with more kindness than might have been expected of him:

‘Oh, you must not talk about dying yet.’

‘Lor bless her dear heart, no!’ interposed the nurse, hastily depositing in her pocket a green glass bottle, the contents of which she had been tasting in a corner with evident satisfaction. ‘Lor bless her dear heart, when she has lived as long as I have, sir, and had thirteen children of her own, and all on ’em dead except two, and them in the wurkus with me, she’ll know better than to take on in that way, bless her dear heart! Think what it is to be a mother, there’s a dear young lamb, do.’

Apparently this consolatory perspective of a mother’s prospects failed in producing its due effect. The patient shook her head, and stretched out her hand towards the child.

The surgeon deposited it in her arms. She imprinted her cold white lips passionately on its forehead; passed her hands over her face; gazed wildly round; shuddered; fell back—and died. They chafed her breast, hands, and temples; but the blood had stopped for ever. They talked of hope and comfort. They had been strangers too long.

‘It’s all over, Mrs. Thingummy!’ said the surgeon at last.

‘Ah, poor dear, so it is!’ said the nurse, picking up the cork of the green bottle, which had fallen out on the pillow, as she stooped to take up the child. ‘Poor dear!’

‘You needn’t mind sending up to me, if the child cries, nurse,’ said the surgeon, putting on his gloves with great deliberation. ‘It’s very likely it will be troublesome. Give it a little gruel if it is.’ He put on his hat, and, pausing by the bed-side on his way to the door, added, ‘She was a good-looking girl, too; where did she come from?’

‘She was brought here last night,’ replied the old woman, ‘by the overseer’s order. She was found lying in the street. She had walked some distance, for her shoes were worn to pieces; but where she came from, or where she was going to, nobody knows.’

The surgeon leaned over the body, and raised the left hand. ‘The old story,’ he said, shaking his head: ‘no wedding-ring, I see. Ah! Good night!’

The medical gentleman walked away to dinner; and the nurse, having once more applied herself to the green bottle, sat down on a low chair before the fire, and proceeded to dress the infant.

What an excellent example of the power of dress, young Oliver Twist was! Wrapped in the blanket which had hitherto formed his only covering, he might have been the child of a nobleman or a beggar; it would have been hard for the haughtiest stranger to have assigned him his proper station in society. But now that he was enveloped in the old calico robes which had grown yellow in the same service, he was badged and ticketed, and fell into his place at once—a parish child—the orphan of a workhouse—the humble, half-starved drudge—to be cuffed and buffeted through the world—despised by all, and pitied by none.

Oliver cried lustily. If he could have known that he was an orphan, left to the tender mercies of churchwardens and overseers, perhaps he would have cried the louder.