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            "chars": "<p dir=\"ltr\"><em>LD.XIV</em></p>\n<p> </p>\n<p dir=\"ltr\">The left-hand memoranda for No. XIV are notably brief compared to the previous two numbers, perhaps indicating Dickens’s level of confidence about the number. This is consistent with his comments to William Macready on December 13, 1856: “Calm amidst the wrack, your aged friend glides away on the Dorrit stream, forgetting the uproar for a stretch of hours” (Letters 8.238). Describing his walks, rehearsals for a performance of “The Frozen Deep” at Tavistock House, and his editorial work, he then returns to describing his work on the novel as “calmly float[ing] upon the Dorrit waters.” While there is little indication in his correspondence as to when Dickens was at work on this number, by December 6 he was suggesting improvements to Browne’s sketches for the illustrations.</p>\n<p><br />The ink for this Note is fairly consistent, with the exception of two distinct layers on the left. All chapters for this number have missing titles in the manuscript and are added in Dickens’s hand in the proofs, as had been the case for two of the chapters from the previous number (chapters 9 and 10, LD.XIII.R3 and LD.XIII.R8). We might conclude from this evidence, and from the relative brevity of the notes, that much of what we see here is retrospective summary, were it not for the use of certain imperative instructions, particularly in the chapter notes for 13 and 14, suggesting the possibility of prospective intention: “Foreshadow…” (LD.XIV.R12), “Delicately trace out…” (LD.XIV.R15).</p>"
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            "chars": "<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><em><span style=\"font-size: 12pt; font-family: Calibri, sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">BH.XVI.L1</span></em></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><strong><span style=\"font-size: 12pt; font-family: Calibri, sans-serif; color: #000000; background-color: transparent; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">Esther and Allan? Yes. Carry on gently.<br /><br /></span></strong></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 12pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">Caddy's illness in chapter 50 provides the opportunity for Woodcourt's re-entrance, as Jarndyce inquires about Caddy's doctor and suggests Woodcourt become her regular attendant. This takes Esther \"by surprise\" and \"For a moment, all that [she] had had in her mind in connexion with Mr Woodcourt seemed to come back and confuse [her]\" (BH 770). This connection is \"carr[ied] on gently\" in the chapter by way of Esther's misinterpretation of Ada's reserve. Esther notices a \"change in my dear girl\" and comes to \"fee[l] sure that Ada suppressed this something from me, lest it should make me unhappy too\" (BH 774-775). Esther goes on: \"It came into my head that she was a little grieved–for me–by what I had told her about Bleak House\" [i.e, her engagement to Jarndyce]. The change in Ada is a result of her undisclosed marriage to Richard (revealed in chapter 51), and so Esther's original assumption that Ada feels unhappy for her might be seen as Esther (in the presence of Woodcourt) expressing her own uncertainty about her engagement to Jarndyce (despite her protestations: \"How I persuaded myself that this was likely, I don't know. I had no idea that there was any selfish reference in doing so. I was not grieved for myself: I was quite contented and quite happy. Still, that Ada might be thinking–for me, though I had abandoned all such thoughts–of what once was, but was not all changed, seemed so easy to believe, that I believed it\"). The subtle changes to the chapter's final phrase (see opposing page) help highlight that the distance between Esther and Ada is not simply the product of a \"shadow on\" Ada that results from her \"suppress[ing]\" something from Esther, but rather a \"shade between\" the two women that results from them both suppressing something. Esther acknowledges this more explicitly (if still obliquely) at the conclusion of chapter 51 following Jarndyce's remark about Bleak House \"thinning fast\": \"I was sorry presently that this was all we said about that. I was rather disappointed. I feared I might not quite have been all I had meant to be, since the letter and the answer\" (BH 791).</span></p>\n<p> </p>",
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Uriah became a fictional model for the \"strange absorbing selfishness\" and \"spiritual egotism and vanity, real or assumed,\" that he felt was the \"first result\" of separate confinement on the minds of prisoners (99). 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            "chars": "<p dir=\"ltr\"><em>LD.XVI</em></p>\n<p> </p>\n<p dir=\"ltr\">Dickens makes heavy use of the chapter notes for No. XVI, writing in a cramped hand, especially for chapter 19, to sketch out elements of each chapter. The Note likely features a combination of prospective and retrospective content. The left-hand questions and answers indicate at least two temporal layers as Dickens considers what to include after Mr. Dorrit’s death in the number’s opening chapter. The right-hand notes include a mixture of imperative directions (e.g. “Open on…” “Pave on to…” “Then shew…” “Get Doyce away…”) and descriptive verbs (“Dies” “Clennam lands”); the prevalence of the former, especially in the final instruction to “Throw the interest back to the first chapter [and] Run the ends of the book together,” suggests some preparatory use. We know that the right-hand chapter notes were written no later than Dickens’s decision to divide the middle chapter into two parts, separating Miss Wade’s story into its own chapter; he returned to the Note to add this instruction: “Change this to two chapters, getting the Self-Tormentor Narrative by itself.” For more on the decision to make this change and its impact on the number, see LD.XVI.R13. A comparison between the Notes for this number and the previous one (XV), both of which involved a division of two chapters into one, indicates the range of preparatory and retroactive uses of the Notes to this novel (see Critical Introduction). </p>\n<p> </p>\n<p dir=\"ltr\">This number ends Mr Dorrit’s story with his death; finally takes up Tattycoram and Miss Wade; and returns us to memories from the beginning of the book via Cavalletto’s recognition of Blandois’s identity. In his final direction to “run” the ends of the book together,” and in his decision to send Doyce away, we can see Dickens preparing for the novel’s conclusion. </p>\n<p> </p>\n<p dir=\"ltr\">Dickens struggled to write this number, presumably expending the most energy on Miss Wade’s story. On January 28, he complained to Macready that he had “knitted brows now turning into cordage over Little Dorrit” (Letters 8.270), and in what was possibly early February he wrote at length to Forster about reworking that narrative (see LD.XVI.R13). He was likely at work on the final chapter of the number around February 5 when he wrote to Bradbury & Evans about his discovery of the Blandois/Rigaud error in the previous number, since it was at this point that he began to make the correction in the manuscript (see LD.XVI.L4 for more on when he noticed this error). </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.XI</em></p>\n<p> </p>\n<p dir=\"ltr\">The ink colors for this number suggest a series of layers. On the left, Dickens evidently settled on the subject of his opening chapter fairly early, since the first three “Yes” responses are in a darker ink, perhaps the same layer as the questions themselves. A dark ink is also used to lay out <em>three</em> chapters on the right, indicating that Dickens originally had no intention of a fourth (unsurprising given that this first number needed to be shorter to accommodate the title page, see LD.XI.R1). He likely made the decision to incorporate the fourth chapter as he was planning the number, realizing the importance of including the letter he had mentioned in his left-hand memoranda so as to reactivate the Little Dorrit-Clennam storyline in this opening installment of Book II. </p>\n<p> </p>\n<p dir=\"ltr\">On the right side the chapter content notes, including titles for all chapters (with the possible exception of “On the Road”) and the number header for the added chapter 4, appear to comprise one layer in an ink that appears to be the same as that used to answer the remaining questions on the right (from “Venice?” LD.XI.L4). Dickens evidently made decisions about what to incorporate from his left-hand memoranda as he was sketching out the chapter contents on the right. </p>\n<p> </p>\n<p dir=\"ltr\">It is likely that these were, at least to some extent, prospective planning notes, since it was only after he finished writing the third chapter that Dickens made the decision, added retroactively in boxed notes (LD.XI.R8 and LD.XI.R14), to transpose chapters 2 and 3. The final temporal layer thus comprises the addition of boxed notes about the transposition, along with the description of the “Mrs General” chapter and the final note about chapter 4 (LD.XI.R16 and LD.XI.R18).</p>\n<p> </p>\n<p dir=\"ltr\">The titling of all three chapters in the manuscript adds some evidence for the supposition that much of this Note was prospective, since it appears that Dickens created initial pages for chapters 2-4 before writing their contents. These chapters are headed and titled in the manuscript at the same time (a rare practice; he often returned to add titles later, as evidenced by the aborted beginnings to both chapters 1 and 2 of this number) in ink that does not match that of the text below. </p>\n<p> </p>\n<p dir=\"ltr\">Perhaps because his memories of his 1853 travels were so clear, Dickens offers little detail in his descriptions of Switzerland and Italy in the notes for this number, referring only to place names and reserving the Note for directions about the characters’ relationships and emotional states. </p>\n<p> </p>\n<p dir=\"ltr\">Although Dickens’s letters offer little evidence about when he was working on No. XI, Slater dates the composition of this number to August 1856 (409). </p>"
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            "chars": "<p><em>LD.VIII.L1</em></p>\n<p><strong>Clennam and Pet?  Yes [...|</strong></p>\n<p> </p>\n<p>The ink colors establish four, or possibly five, layers to the left-hand memoranda, one comprising the first three questions in fine black ink; one featuring “Tattycoram?” and “Miss Wade?” in a slightly thicker black; one with the unanswered “Merdle?” in blue; one with answers to the first three questions, and the deletion of the “r” in Gowan, in thick blue ink; and a possible fifth featuring the final two “Yes” responses in thinner blue. </p>\n<p> </p>\n<p>Sucksmith notes that the misspelling of “Gowan” as “Gowran” likely dates the writing of the initial questions to January or February as he was beginning to compose No. V, since at that stage he made the decision to spell Gowan without an ‘r’ (LD.V.R13, Sucksmith xxviii). If this is the case, Dickens likely jotted down some initial memoranda on the left side of the Notes for Nos V-VIII at that early stage; in the case of this number, the questions included at this early stage were likely just the first three, which are similar in ink to the questions on the left of No. V. Dickens was evidently thinking across numbers at the point of drafting No. V; he sets himself up to treat the same subjects in this No. that he did at that earlier stage in No. V. However, the presence of multiple layers indicates that he likely returned to these memoranda numerous times, despite their brevity.</p>\n<p> </p>\n<p>Dickens decides to include all characters in this list except “Sprightly Young Barnacle.” He finds it unnecessary to include Barnacle specifically, since Circumlocution now pervades corrupt Society, which he can represent via Mrs. Gowan and her entourage of Barnacles and Stiltstalkings in chapter 26.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.Mems2.R12</em></p>\n<p dir=\"ltr\"><strong>She had written numerous appeals to Mrs Clennam [...]</strong></p>\n<p> </p>\n<p dir=\"ltr\">Dickens makes a change to what may have been his original plan here to have Mrs. Clennam mention her receipt of these appeals. Instead, Flintwinch describes intercepting the letters: “When Arthur’s mother had been under the care of him and his wife, she had been always writing, incessantly writing,–mostly letters of confession to you, and Prayers for forgiveness. My brother had handed, from time to time, lots of these sheets to me. I thought I might as well keep them to myself as have them swallowed up alive too; so I kept them in a box, looking over them when I felt in the humour” (LD 761). </p>\n<p> </p>\n<p dir=\"ltr\">In the manuscript, “letters of confession to you” was originally written as “letters appealing to you,” suggesting that as late as the proof stage, Dickens shifts the focus of the mother’s letters from desperation to penitence. </p>\n<p> </p>\n<p dir=\"ltr\">No mention is made in the novel of Arthur’s mother imploring to see her son, though it is suggested that “the absence of Arthur was a daily agony to his mother” (LD 755). Similarly, there is no mention of a “story” left to be read beyond the “appeals” (turned into “confessions”). Space constraints would not allow for the inclusion of the mother’s story, and the erasure of her story via Little Dorrit’s destruction of the letters becomes a pivotal act in the novel’s conclusion.  </p>\n<p> </p>\n<p dir=\"ltr\">Garrett Stewart considers this note in “Dickens and the Narratography of Closure,” reading it as a “brief telegraphic reminder” that “is more than the novel itself makes good on” (521):</p>\n<p> </p>\n<p dir=\"ltr\">“The mother’s craving for a visit with her child is replaced by a capitulation to guilt, confession, and a plea for forgiveness. It’s just as unlikely as it sounds, this sense of penance rather than victimhood–and just as briefly dispatched amid the other strained and improbable turns of the denouement. This missing mother’s story itself goes missing, left in the dust by the momentum of the requisite marriage plot” (521-522). </p>\n<p> </p>\n<p dir=\"ltr\">For Stewart, we see here “a flash of notebook inspiration potent enough to justify the contortions of the denouement,” but Dickens “later scrambled to smooth over that claim with an ameliorative vision of continuity rather than of rupture and return” (528). To consider the narrative work of this note, for Stewart, is to be “listening in” on the “final exertions of the prose, transacted at the far margins of plot.” </p>",
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She kisses it.</span></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 12pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">‘It’s the dull one,’ says Sir Leicester. ‘But I feel that, Mrs. Rouncewell.’</span></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 12pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">It is too dark to see him; she thinks, however, that he puts his other hand before his eyes.</span></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 12pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">‘Where is your son, George? 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            "chars": "<p><em>LD.I</em></p>\n<p> </p>\n<p><span style=\"font-size: 11pt; font-family: Arial,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">Dickens began writing <em>Little Dorrit</em> in early May 1855, and the first number would be published on December 1. As he began writing, he found himself in a state of frustration and restlessness (see Critical Introduction). His original title for the novel, \"Nobody’s Fault,\" remained in place as he wrote the first three installments; he returned later to amend this title in the Working Notes and in the manuscript, presumably around the time he began working on Number IV and made the title change. “Nobody’s Fault” was a title Dickens had tested out in his <em>Memoranda</em> book under a list of “General Titles” (6). The first page of the manuscript lacks a title, as do the surviving proofs for Numbers I-III. While he had evidently settled on “Nobody’s Fault” early in the process, since he described it to Angela Burdett-Coutts in early May as a “capital name,” his indecision about this title is uncharacteristic (May 8, 7: 613). “Nobody’s Fault” perhaps indicates Dickens’s original intention for the novel, summarized in LD.II.L3, to focus on a “man who comfortably charges everything on Providence.” Butt and Tillotson suggest, though, that “the title could hardly have persisted through the writing of so many chapters if it was to be fulfilled only by this vanished character” (224). The original title also suggests Dickens’s interest in using this novel as a critique of the political establishment, a theme that appears frequently in his letters from this period. The corrected proofs for Number I have the new title added in Dickens’s hand: first, just “Little Dorrit,” which is crossed out and replaced in a darker ink with “Little Dorrit In Two Books. Book The First - Poverty.”</span></p>\n<p> </p>\n<p><span style=\"font-size: 11pt; font-family: Arial,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">This first page of Working Notes shows evidence of being written in advance of and alongside the manuscript. See, for instance, evidence of his concurrent testing out of titles and character names in LD.I.R8, LD.I.R20, and LD.I.R21. Still unsure of his direction in this new novel, Dickens made heavy use of the Notes for the opening numbers. </span></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"> </p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 11pt; font-family: Arial,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">The Working Notes for Number I are not bound with the novel manuscript in the Victoria & Albert Museum’s National Art Library, but are instead bound with Forster 48.E.1 (page 149) along with several letters, prefaces, and playbills. This may be because this page of notes was removed for reproduction by Forster in his <em>Life of Charles Dickens.</em> </span></p>",
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            "chars": "<p dir=\"ltr\"><em>LD.IV.L7</em></p>\n<p dir=\"ltr\"><strong>How he stands towards Dorrit? [...]</strong></p>\n<p><span id=\"docs-internal-guid-6ff4aaab-7fff-fc21-51ae-389c720f75ff\"> </span></p>\n<p dir=\"ltr\">Although Dickens decides that he will “hardly” indicate how Clennam “stands toward [Little] Dorrit,” this number will in fact center on Clennam’s growing interest in Amy. This is the first number in which Dickens consistently uses “Little Dorrit” to refer to Amy, despite the fact that the Note uses just “Dorrit,” which may (along with the blue ink) suggest that these memoranda were written before composition began. What is perhaps most significant about the left-hand memoranda for this Note is their lack of attention to Little Dorrit herself, especially given her significance in this number with the novel’s new title and the shift to her perspective in the final chapter. Indeed, no mention is made in these memoranda of Little Dorrit’s night on the streets, the central event of No. IV. Perhaps, then, Dickens shifted his focus to Little Dorrit only after he had written these questions, perhaps even as he wrote this number.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.IX</em></p>\n<p> </p>\n<p dir=\"ltr\">No. IX, the penultimate number in Book I, focused on preparation for the end of Book I and certain events in Book II; we see numerous forward-looking references in these notes that work to “Prepare” and “Suspend it all” (see LD.IX.R2, LD.IX.R16, LD.IX.R18). The number deepens the mystery at Mrs. Clennam’s; explores the family dignity and shame of the Dorrits; depicts Little Dorrit’s heartbreak; and ends with the almost-revelation of Pancks’s discovery. Dickens heads the Note in black, suggesting that he prepared the page ahead of time, but the rest of the note is in various blue inks. </p>\n<p> </p>\n<p dir=\"ltr\">The Note contains what appears to be a larger proportion of prospective than retrospective notes, but generates some confusion as to temporality which may offer evidence of nearly contemporaneous work on Note and manuscript (see, for instance, LD.IX.R1 and LD.IX.R19). The ink colors on the left are fairly consistent; we can identify only two distinct temporal layers (questions and answers), though there may be more. On the right there are two layers–chapter 32 is in a darker ink than the opening two chapters–though there is some indication of another layer in the notes for chapter 30 (see LD.IX.R1). </p>\n<p><br />By the time he began composing this penultimate number of Book I, Dickens felt more confident about his work. “Now to work again–to work!” he wrote to Forster in a letter Forster implicitly dates in mid-June. “The story lies before me, I hope, strong and clear. Not to be easily told; but nothing of that sort is to be easily done that I know of” (Forster 2.155). By early July he had written at least through chapter 31, since he wrote to Hablot Knight Browne on July 2 with a request for an illustration for that number (“as characteristic as ever you please, by little dear, but quiet” [8.141]), and he would be at work on No. X by July 9.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.V.R12</em></p>\n<p dir=\"ltr\"><strong>So flows the quiet river [...]</strong></p>\n<p> </p>\n<p dir=\"ltr\">This long note corresponds to two passages in the chapter, one at the very end (“Year after year so much allowance for the drifting of the ferry-boat, so many miles an hour the flowing of the stream, here the rushes, there the lilies, nothing uncertain or unquiet” [LD 194]), which is itself an echo of an earlier passage: “Within view was the peaceful river and the ferry-boat, to moralise to all the inmates saying: Young or old, passionate or tranquil, chafing or content, you, thus runs the current always. Let the heart swell into what discord it will, thus plays the rippling water on the prow of the ferry-boat ever the same tune. Year after year, so much allowance for the drifting of the boat, so many miles an hour the flowing of the stream, here the rushes, there the lilies, nothing uncertain or unquiet, upon this road that steadily runs away; while you, upon your flowing road of time, are so capricious and distracted” (187). </p>\n<p> </p>\n<p dir=\"ltr\">In this language Dickens also draws upon an entry in his book of <em>Memoranda</em>: “The ferryman on a peaceful river. Who lives, who dies, who does well, who does ill, who changes, who grows old–the river runs six hours up, and six hours down, the current sets off that point, the same allowance must be made for the drifting of the boat, the same tune is played by the rippling water against the prow” (10-11). Dickens marks this entry as “Done in Dorrit.” </p>\n<p> </p>\n<p dir=\"ltr\">Two references in this quotation will also appear in later numbers as part of a recurring motif relating the river to Clennam’s unrequited love. At the close of No. VI (chapter 22), Dickens repeats the same language: “so many miles an hour the peaceful flowing of the stream, here the rushes, there the lilies, nothing uncertain or unquiet” (LD 257). </p>\n<p> </p>\n<p dir=\"ltr\">The reference to the “Eternal seas” in this note appears not at the end of <em>this</em> chapter, but at the end of chapter 28 (No. VIII), bookending the series of “Nobody” chapters focused on Clennam’s love for Pet (“Nobody’s Disappearance”). In that scene, Clennam launches Pet’s roses down the river: “While the flowers… floated away upon the river; and thus do greater things that once were in our breasts, and near our hearts, flow from us to the eternal seas” (LD 330). Dickens perhaps returned to the Note for this number when he was writing a parallel closing scene and made use of the language he had already generated (see LD.VIII.R15). </p>"
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            "chars": "<p id=\"docs-internal-guid-6760f9ac-7fff-52ae-c0fc-0845a5ec842f\" dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><em><span style=\"font-size: 11pt; font-family: Arial, sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">HT.V-VI<br /><br /></span></em></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 11pt; font-family: Arial,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">Unlike the rest of the Working Notes for <em>Hard Times</em>–where the appearance of the ink is relatively uniform, making it difficult to clearly identify different layers–on this final Note the writing on the left-hand side is distinctly lighter than that on the right-hand side (with the exception of the “No” in reply to the query about Stephen’s wife). Dickens retreated to Boulogne around the 17th of June for the family’s “customary summer and early autumn retreat from London” (Slater 376) and to focus on completion of the novel; it is possible that initial planning for this final “double” number began prior to, or in the process of this temporary relocation. </span></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 11pt; font-family: Arial,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">Regardless, Dickens seemed to have found composition of this final ‘number’ challenging. On the 22nd of June, he wrote a long letter to Burdett Coutts, largely describing his travel to and lodgings at Boulogne, but ending with this short comment: “This is my first effort (No, my second) in penmanship of any kind, since I have been here. I suppose I shall get to work tomorrow, but at present I seem never to have done anything in the way of Authorship” (Letters 7. 361). In a similar letter to W.H. Wills on the same day, Dickens humorously quipped: “Of the wonderful inventions and contrivances with which a certain Inimitable Creature has made the most of it, I will say nothing until you have an opportunity of inspecting the same. At present I will only observe that I have written exactly 72 words of Hard Times since I have been here” (Letters 7.361).</span></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 11pt; font-family: Arial,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">On July 9th (a Sunday), Dickens wrote to Wills to return the proofs for the issue of <em>Household Words</em> that would appear on the 22nd and contained the first installment of this ‘number’ (chapters 29 & 30). He was clearly strained at this point, commenting that he was “addled by Hard Times,” but also looking forward to completing composition in the coming week or two: “I hope to be done, about Wednesday or Thursday Week. Am very much in need of rest. Head very hot. Sometimes nervous” (Letters 7.365-66). A few days later on the 12th, he echoed these sentiments in writing to Wilkie Collins; he opens the letter by saying he is “Bobbing up, Corkwise, from a sea of Hard Times,” but proceeds to make plans for delivering the final chapters by the 19th and then returning to France: “The interval I propose to pass in a career of amiable dissipation and unbounded license in the metropolis” (Letters 7.366). </span></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 11pt; font-family: Arial,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">Space once again was an issue, and as the leading memorandum on the left-hand side indicates, Dickens had decided to give himself license by expanding the weekly installments for this final ‘number’ “to 10 of my sides each–about.” Even this, though, proved a challenge, and he conceded to Wills as he worked on the final installment: “I doubt if there will not be too much of Hard Times, to admit of the conclusion all going in together. There will probably be either 14 or 15 sides of my writing” (Letters 7.368). The final installment, published in Household Words on the 12th of August, ran to 18 printed columns, rather than the 10-12 for most of the rest of the novel (as editors of Dickens’s letters note, weekly installments 18 & 19 both ran to 14 columns, Letters 7.368fn3) (see <em>HT.V-VI.R15</em> below). Dickens wrote to Wills on the 17th “happy to say that I have finished Hard Times this morning” (Letters 7.371) and returned to London the following day, only to find it “intensely disagreeable”–“Very hot, close, suffocating, and oppressive” (Letters 7.372).</span></p>\n<p><br /><br /></p>\n<p> </p>",
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            "chars": "<p dir=\"ltr\"><em>LD.XIX-XX</em></p>\n<p> </p>\n<p dir=\"ltr\">Dickens finished Little Dorrit on May 9, 1857, writing to Wilkie Collins two days later (on a Monday): “Thank God, I have finished. On Saturday last, I wrote the two little words of three letters each” (Letters 8.322). He would make reference to those “two little words” a few days earlier when, on May 3, he told Joseph Paxton “I am finishing my book–a task to which it is essential to devote much time and care… I really can not make a gap in the march to those two words ‘The End’, which now absorbs me” (Letters 8.320). </p>\n<p> </p>\n<p dir=\"ltr\">The Notes for this number necessarily play a different role than those for previous numbers, since, as Herring notes, he “would no longer have any real need to refer to them later” (62). These proactive planning notes allowed Dickens to track the items “to be done” and to indicate which “characters” needed to be “take[n] up” and “disposed of.” This echoes language that he used in an April 11 letter to describe his work finishing the novel: “bringing a pretty large field of characters up to the winning-post, and spurring away with might and main” (Letters 8.313). On the left, Dickens titled the page as a list of characters and actions related to those characters “to be done.” </p>\n<p> </p>\n<p dir=\"ltr\">Although he had originally laid out the right-hand page with six chapter headings, Dickens’s long opening chapter would encompass the whole of the Mrs. Clennam revelations, thus necessitating a change of plan as he laid out the remaining chapter contents (see LD.XIX-XX.L13 and LD.XIX-XX.R19). He had already created his two pages of “Mems to work the story round,” but he still made thorough use of these two pages to track what still needed to be accomplished, with a particular focus on the left on the 18 characters (including couples and those he rejects) he considered for inclusion.  </p>\n<p> </p>\n<p dir=\"ltr\">Chapter notes are filled with imperative verbs (tell, finish, leave, set, take up, shew, reserve) as well as descriptive phrases in a mixture of tenses (up and out, Mrs Clennam rushes, House falls, Rigaud Smashed, Pancks does it, papers… produced, Mr. Meagles off, They will go, etc.). Alongside quotations that relate to, but do not directly reproduce, speech in the novel, this page of Notes is also significant for its use of phrases describing the nuances of Dickens’s narrative tactics, including “Tell the whole story, working it out as much as possible through Mrs Clennam herself, so as to present her character very strongly,” “Set the darkness and vengeance against the New Testament,” “reserve carefully till now,” and “Very quiet conclusion.” </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.XV</em></p>\n<p> </p>\n<p dir=\"ltr\">The Notes for No. XV are unusual in their clear evidence of retroactive use of the right-hand page. After writing up to at least the opening of the number’s final chapter, and quite possibly the number in its entirety, Dickens reassessed his initial plan for three chapters, deciding to subdivide his middle chapter into two. He inserted the chapter division with a small interlinear chapter number and title in the manuscript between two paragraphs. Dickens’s decision was likely determined by multiple factors, most notably the sheer length and complexity of this middle chapter as originally composed (which ran to 11.5 manuscript pages). The division of the chapter allowed him to separate Mr. Dorrit’s meeting with Mr. Merdle about financial matters from Flora’s visit and his subsequent call upon Mrs. Clennam. The new chapter 17, with its rather contrived visit by Mr. Dorrit to Mrs. Clennam in search of information about Blandois, was made necessary by the need for this number to return to the Clennam-Flintwinch-Blandois/Rigaud storyline, setting up Arthur Clennam’s visit to Calais in search of information about Blandois in the next number (chapter 20). </p>\n<p dir=\"ltr\"><br />That the right-hand chapter notes were made with a clear four-chapter division indicates their retroactive composition. The language of these notes is consistent with retroactive summary; they describe rather than prescribe narrative work. A notable exception to this descriptive work is the word “Done” inserted between chapters 16 and 17, which likely refers to the work of subdividing these chapters, and possibly indicates Dickens's use of the Note after composition to work through the nature of this division (for more on this chapter division, see LD.XV.R9). </p>\n<p> </p>\n<p dir=\"ltr\">The left-hand notes indicate this number’s focus on Mr. Dorrit, whose visit to England is the subject of all four chapters. The opening memoranda is a statement of this purpose rather than a question (LD.XV.L1); the questions that follow are accepted or rejected as far as they are useful to the implementation of this first stated intention to “Tone on to his dying in next No.”</p>\n<p> </p>\n<p dir=\"ltr\">It appears that Dickens relied little on the Notes when initially composing this number, as evidenced both by his need to retroactively subdivide the chapters and by his reference to Rigaud as “Blandois” on the left, but his mistaken use of “Rigaud” in the manuscript, proofs, and initial printing of the number, a mistake that necessitated a printed Errata slip in the next number (see LD.XV.L4). </p>\n<p> </p>\n<p dir=\"ltr\">Dickens was likely working on this number during December 1856 and perhaps into early January 1857 as he was immersed in preparations for a production of “The Frozen Deep” at Tavistock House (January 7), since by late January he had “knitted brows” over what was likely the next number (Letters 8.270). He would be well into No. XVI by the beginning of February when he noticed the Rigaud/Blandois error.</p>"
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            "chars": "<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><em><span style=\"font-size: 11pt; font-family: Arial, sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">HT.III<br /><br /></span></em></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 11pt; font-family: Arial,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">The third monthly ‘number’ of <em>Hard Times</em> finally sees the introduction of James Harthouse (see <em>HT.III.L2</em>), as well as the novel’s most explicit engagement with the social relations between “men and masters” (the title later added to chapter 21). Based upon the prior ‘numbers’ and Dickens’s general pattern of composing about a month in advance of publication, most of this ‘number’ was likely composed in late April and the early parts of May (see HT.II). Dickens’s letters that survive from this period are largely silent on the novel. In a comparatively brief letter on May 4th to W.H. Wills that mainly concerns <em>Household Words</em> business, Dickens writes under the heading “I.” (referring to himself), “Growling in a general way,” and signs the letter “In haste” (Letters 7.328). </span></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 11pt; font-family: Arial,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">It is during this period that Dickens begins correspondence with Elizabeth Gaskell around the publication of <em>North and South</em> in Household Words, which was to begin its serial run following the completion of <em>Hard Times</em>. His letter to her in which he confirms that “[he] has no intention of striking” in the novel is dated April 21st (Letters 7.320). That letter continues: “The monstrous claims at domination made by a certain class of manufacturers, and the extent to which the way is made easy for working men to slide down into discontent under such hands, are within my scheme; but I am not going to strike.” See the Critical Introduction for more on <em>Hard Times</em> as an industrial novel.</span></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 11pt; font-family: Arial,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">Weekly No. 9 appeared in <em>Household Words</em> issue no. 218, dated Saturday, May 27, 1854, with the subsequent installments appearing the following three weeks (June 3rd, 10th, and 17th).</span></p>",
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            "chars": "<p dir=\"ltr\"><em>LD.XVII</em></p>\n<p> </p>\n<p dir=\"ltr\">There are multiple temporal layers evident on both the left and right sides of the Working Note for No. XVII, which is densely filled, reflecting the extensive amount of material that is included in these four chapters. On the left, questions and answers are written with different inks/nibs. On the right, chapter titles and the chapter numbers for chapters 24, 25, and 26, along with the chapter title for number 23, appear lighter than the content notes; the ink used for the chapter header “chapter XXIII” is also quite dark. There is relative consistency to the ink for the chapter content notes, with the exception of what may be a change in chapter 24 when Dickens reaches the note “Take up Amy…” (see LD.XVII.R8). Given the cramped nature of the content notes, which often run down beside the headers for subsequent chapters, it is unlikely that Dickens entered these titles after sketching out the contents. The titles for chapters 23-25, at least, appear to have been added to the manuscript after composition, given their cramped hand and/or ink differences. This manuscript evidence, along with descriptive language in the chapter notes, suggests retroactive use of the page to summarize work already completed. However, Dickens’s use of some future-directed imperatives (Pave the way, Take up, Gradually work it up), and his extensive use of the chapter notes to sketch out the material for each chapter, might complicate this temporality. </p>\n<p> </p>\n<p dir=\"ltr\">The imperatives in this number could be interpreted as descriptions of, rather than instructions for, the careful preparatory work performed by the installment as Dickens neared the end of the novel, work which required what Herring refers to as “narrative economy” (53). On February 28, 1857, as he was likely working on this number, Dickens explained to Macready that he was “transcendently busy, drawing up the arteries of Little Dorrit. Very hard work, but deeply interesting to me” (Letters 8.290). With the phrase “drawing up the arteries,” Dickens echoes the somatic language he had employed previously in the Notes (e.g. “anatomise” LD.XII.R9, “dissect” in LD.XVI.L7) to describe his authorship of this novel. The “arteries” drawn up in this number are Merdle’s collapse, Clennam’s ruin, and preparation for the revelation of Mrs. Clennam’s secrets. On the left, Dickens considers the various vessels that might connect to these arteries. Slater suggests that the language of Dickens’s letter (“drawing up the arteries”) indicates that he may have been working also on the left-hand memoranda for No. XVIII and the “Mems: for working the story round” (LD_Mems1 and LD_Mems2) at this point, too. </p>\n<p> </p>\n<p dir=\"ltr\">Dickens likely finished the number in early March. He anticipated this much when he told Burdett-Coutts that he was unable to work on another task until the 6th or 7th of March because “I am obliged to work at Little Dorrit” (Letters 8.287). On March 4 he reported to William Howitt: “I am very hard at work finishing a long story; and at such times wildnesses come over me, and I go off unexpectedly into strange places and write in inaccessible fastnesses” (8.295). By March 6 he was approving the illustrations for the number (8.297). </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.VIII.R3</em></p>\n<p dir=\"ltr\"><strong>Dissection of Clennam’s feelings [...]</strong></p>\n<p><span id=\"docs-internal-guid-d046b619-7fff-aaa4-508c-36833fc2f163\"><br />This is just one example of a long chapter note characteristic of those in this number and the next describing characters’ emotional states (see, for instance, LD.VIII.R14 and LD.IX.R15). That the note contains descriptive phrases (the noun form of “dissect” and the descriptive “resolves”) rather than imperative future-oriented directions may lead us to read this as a retroactive notation, but the length of the phrase, with its sense of working through an idea, may indicate proactive planning. The novel will “dissect… Clennam’s feelings” via his conversation with Doyce (LD 300). </span></p>"
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            "chars": "<p dir=\"ltr\"><em>LD.VIII</em></p>\n<p> </p>\n<p dir=\"ltr\">This Note, with its mixture of ink colors and weights, indicates a number of temporal layers and uses of the page. Dickens likely began the left-hand questions as early as the beginning of 1856 as he was drafting No. V, since he spells “Gowan” as “Gowran” here (LD.VIII.L1), as in No. VII on the left, but has settled on Gowan in the Notes and manuscript to No. V. There are multiple layers present on the left (see LD.VIII.L1) and in the chapter notes, for which the contents of the notes for chapters 26 and 27 appear similar, but chapters 28 and chapter 29 are separate layers. Dickens evidently planned on four chapters to this number early in the process, since he lays out the evenly spaced chapter headings in black ink without correction. </p>\n<p> </p>\n<p dir=\"ltr\">There is evidence of both proactive and retroactive use of this Note. The titles for chapters 28 and 29 are added to the Note in their corrected forms after some editing in the manuscript (see LD.VIII.R12 and LD.VIII.R16), whereas Dickens appears to have settled on the first two chapter titles before beginning their composition. The use of imperative instructions and extended phrases to describe characters’ emotional states in these chapter notes may indicate that he used the notes for proactive planning.</p>\n<p> </p>\n<p dir=\"ltr\">Herring speculates that Dickens had “confident control of his story” at this point, citing as evidence that he “had no need even to query in his memoranda several important items in the four chapters” (37). However, Dickens’s letters tell a different story. On April 22 he complained to Wilkie Collins that “[t]he first blank page of Little Dorrit No. 8 now eyes me on this desk with a pressing curiosity” but decides not to work on it (Letters 8.96). He will complain to both Wills and Mark Lemon on April 27 of how the chaos of the family packing up to leave Paris (Slater 406) made writing a challenge: “I can’t work in the midst of the unsettled domesticity” (Letters 8.99). It wasn’t until returning to Tavistock House after a stay in Dover, where he enjoyed long walks but little writing, that he would get back to composition. First, he requested Bradbury & Evans send him “No. 6” and “a pull of No. 7,” presumably so that he could re-read his work and get himself into a frame of mind to write (8.107). On May 5 he admitted to his wife that he had “not begun ‘Little Dorrit’ No. 8, yet” (8.108); it wouldn’t be until May 9, in a letter to Georgiana Hogarth, that he would claim to be making progress: “I am ‘going’ to work furiously. Am only just beginning after all!” (8.115). </p>\n<p> </p>\n<p dir=\"ltr\">After all this delay, and after a review of Nos. VI and VII, Dickens may have made more use of the right-hand chapter notes for proactive planning during his “furious” work session, rather than extending his left-hand memoranda. </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.XVIII</em></p>\n<p> </p>\n<p dir=\"ltr\">Dickens likely began writing the left-hand memoranda for No. XVIII as he was working on the previous number, since certain questions here indicate some work already completed in No. XVII (see LD.XVIII.L1 and LD.XVIII.L2). The right-hand chapter notes are almost certainly added retroactively after composition, since Dickens only settled on the chapter titles included here in the proofs (see LD.XVIII.R1 and LD.XVIII.R5). There is little variation in the ink color and weight for these content notes (with the exception of one faded note for chapter 29, see LD.XVIII.R18). As the novel neared completion, Dickens was focused on preparation for the end, using these chapter notes to record what he had completed in order to prepare for the final double number. The language of these chapter notes includes long descriptive phrases (e.g. LD.XVIII.R2 and LD.XVIII.R7) and four references to a “scene,” as if Dickens is recalling a distinct sequence of action involving a place or combination of characters or indicating how one scene functions as a “companion” to another in the future. The only two imperative phrases act not as instructions but to describe the action of the narrative (e.g. “Prepare finally, for the last scene at the old house”). </p>\n<p> </p>\n<p dir=\"ltr\">Sucksmith estimates that the greater part of this number was written during March 1857. On March 4 Dickens had written to William Howitt: “I am very hard at work finishing a long story” (Letters 8.295). By April 3, he was telling Hans Christian Anderson: “Little Dorrit at present engages me closely. I hope to finish her story by about the end of this month” (8.307).</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.I.R22</em></p>\n<p dir=\"ltr\"><strong>Old Sweetheart available</strong></p>\n<p> </p>\n<p dir=\"ltr\">The “Old Sweetheart” is Flora Pancks, whom Dickens will introduce in No. IV as a fictionalized version of his own experience with his former sweetheart, Maria Beadnell (now Mrs. Henry Winter) (for more on Dickens and Maria Beadnell, see LD.IV.L5 and Critical Introduction).</p>\n<p> </p>\n<p dir=\"ltr\">It is in this chapter that we first learn of Little Dorrit, though only in passing as a “girl… almost hidden in the dark corner” in Mrs. Clennam’s room. Little Dorrit is not mentioned in the Notes for this number. It is in the same breath that Affery mentions Little Dorrit’s name that she also mentions this “old sweetheart”: “Oh! She? Little Dorrit? <em>She’s</em> nothing; she’s a wim of–hers.” It was a peculiarity of Affery Flintwinch that she never spoke of Mrs. Clennam by name. “But there’s another sort of girls than that about. Have you forgot your own sweetheart? Long and long ago, I’ll be bound”... “Here’s news for you, then. She’s well to do now, and a widow. And if you like to have her, why you can” (LD 40). The mention of “Little Dorrit” here was added in proof, first as “Dorrit” and then, later, as “Little Dorrit”; it does not appear in the manuscript.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.VI.R17</em></p>\n<p dir=\"ltr\"><strong>The Physician and Mr Merdle’s mysterious complaint […]</strong></p>\n<p> </p>\n<p dir=\"ltr\">In this note we get a glimpse of Dickens’s future intention for Merdle, which he described in a letter to Forster in late March, shortly after finishing this number in words that echo this note: “I had the general idea of the Society business before the Sadleir affair, but I shaped Mr. Merdle himself out of that precious rascality…Mr. Merdle’s complaint, which you will find in the end to be fraud and forgery, came into my mind as the last drop in the silver cream-jug on Hampstead-Heath” (Forster 2.183). The similarity in this language to a letter written after the chapter’s composition may suggest that the note is retroactive. </p>\n<p> </p>\n<p dir=\"ltr\">Dickens refers here to John Sadlier, the infamous Irisih politician and financier who committed suicide on Hampstead Heath in mid-February after the failure of his speculations, which involved forged shares in the Royal Swedish Railway Company and an overdraft on the Tipperary Bank. Dickens makes explicit reference in his preface to this inspiration for his “extravagant conception” of Mr. Merdle (LD lix). Given that there is no mention of Mr. Merdle in the left-hand memoranda, it may be the case that Dickens decided to include this storyline only while he was in the process of composing the number.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.I.R24</em></p>\n<p dir=\"ltr\"><strong>Add Chapter IV </strong></p>\n<p dir=\"ltr\">Mrs Flintwinch has a dream</p>\n<p> </p>\n<p dir=\"ltr\">Given its position on the page, its lighter ink, and evidence from the novel manuscript, this note is clearly a different temporal layer, added at a later date after composition of the chapter. </p>\n<p> </p>\n<p dir=\"ltr\">Dickens added this chapter at some point during or after his composition of No. II. The chapter numbers for No. II in both the Notes and the manuscript continue as if chapter 4 is the opening chapter number of the second installment; it is not until No. III that Dickens corrects his chapter numbers to account for the addition of this fourth chapter to No. I. On August 19, Dickens complained to Forster: “I am in the second number, and last night and this morning had half a mind to begin again, and work in what I have done, afterwards” (Forster 2.182). Given that the verso of the chapter’s first manuscript page contains a page upon which he began to re-write the novel’s opening (it reads “Chapter I: Mist”), it is likely that Dickens used this piece of paper first with the intention of beginning again, as he indicated to Forster, before deciding instead to add this final chapter to the number. Perhaps this sense of indecision explains why Dickens’s pagination of the three manuscript leaves is incorrect (the middle page is inserted after the chapter’s ending). </p>\n<p> </p>\n<p dir=\"ltr\">Indeed, Dickens experienced much hesitation throughout his composition and incorporation of this short (2.5 manuscript pages) chapter. As he began writing, he changed his mind about the identity of the dreamer, initially identifying Flintwinch himself (words crossed out include “Jeremiah” and five male pronouns, all emended as Dickens began writing). By the second paragraph, DIckens had changed his mind and made Affery the dreamer. He changed the title from “Mr Flintwinch’s dream” to “Mrs Flintwinch has a dream.” </p>\n<p> </p>\n<p dir=\"ltr\">At the proof stage, Dickens evidently considered another change. As chapter IV begins in proof, the first section (about a third of a page) is crossed out, but then a “stet” is added in the margins and the proof continues. Later, Dickens considered moving the chapter entirely. As he wrote No. III and made the decision to split the novel into two books (Poverty and Wealth), Dickens considered briefly the idea of moving this whole chapter to No. IV in order to make room in No. I for a title page. He wrote to Bradbury & Evans on October 29: “I can get the space out of No. I, by taking away the last short chapter and putting it into No. IV, where it will come as well” (Letters 7.729). This is perhaps why the proof for chapter IV has the first section (about a third of a page) crossed out, with a “stet” added in the margins to indicate a change of mind. As Herring points out, “Fortunately, this [movement of the chapter] was not necessary because such a change would intertwine the fates of Clennam and Little Dorrit far too late in the novel.v  In addition, the secret alluded to in chapter iv provides the backbone for much of the story and had to be suggested early” (30). Notably, there are two extant corrected proofs for chapter IV. Perhaps, as Sucksmith suggests, this is because Dickens marked up a second version of the proofs for this chapter when he considered moving it to Number IV (xxii). </p>\n<p> </p>\n<p dir=\"ltr\">Brattin will use the hasty addition of this chapter, and Dickens aborted decision to relocate it, as evidence for his claim that “Dickens was clutching for a plot, and that he did <em>not</em> plan it out in advance” (113). Brattin points out that nowhere in the manuscript or the Notes does Dickens indicate what is inside the box that Ephraim takes from the house: “It seems all too likely that he had not even determined the contents of it for himself at the time of original serial publication” (113). </p>"
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            "chars": "<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><em><span style=\"font-size: 11pt; font-family: Arial, sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">HT.V-VI.R6</span></em></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><strong><span style=\"font-size: 11pt; font-family: Arial, sans-serif; color: #000000; background-color: transparent; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">The great effect.<br /><br /></span></strong></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 11pt; font-family: Arial,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">Given its placement, this note seems to be a general header for this weekly installment comprising chapters 33 and 34, and seems to refer primarily to his handling of Stephen’s discovery and death. As this was to be the penultimate installment in the novel’s serial run, clearly Dickens was conscious of managing the novel’s key narrative elements as it moved toward its conclusion. The focus on Stephen’s absence, emphasized at the start and end of chapter 33 (and carried over from the prior installment–all documented here on the Working Note), is clearly managed with “great effect.” The same applies as well to Stephen’s melodramatic discovery and sentimentalized death-scene in chapter 34. The revelation of “Mrs Pegler [as] Bounderby’s mother” is also a scene of characteristic Dickensian “effect,” similar to scenes like the exposure of Mr. Pecksniff in <em>Martin Chuzzlewit</em> and the “smash[ing]” of Uriah Heep in <em>David Copperfield</em> (see DC_WN_17).</span></p>",
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            "chars": "<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><em><span style=\"font-size: 11pt; font-family: Calibri, sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">DC.III.R2</span></em></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><strong><span style=\"font-size: 11pt; font-family: Calibri, sans-serif; color: #000000; background-color: transparent; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">Steerforth’s character.<br /><br /></span></strong></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 11pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">The development of \"Steerforth's character\" is a central preoccupation of the novel's third number. His orchestration of Mr. Mell’s dismissal brings Steerforth’s carelessness, intimated in No. II, into greater focus (see DC_WN_02: \"Spending his money\"). The juxtaposition of Steerforth's treatment of Mr. Mell with the \"Visit from Mr Peggotty\" (side-by-side in both the Working Note and the chapter itself) works to increase the critical distance between the reader and young David. Despite his conflicted feelings, David cannot explicitly articulate the contradictions in Steerforth's treatment of the \"beggar\" Mell and his reception of David's own working-class visitors (DC 107). </span><strong id=\"docs-internal-guid-0c2913c6-7fff-aee0-f8cb-726127849e6a\" style=\"font-weight: normal;\"></strong></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 11pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">The meeting between Steerforth, Mr. Peggotty, and Ham lays the groundwork for his seduction of Little Em’ly later in the novel. The decision to have Mr. Peggotty visit David rather than [Clara] Peggotty (indicated by the deletion of “Peggotty” here in the Working Note) allows Steerforth's invitation to Yarmouth to be extended, furnishing Dickens with the opportunity to bring Steerforth and Emily together in No. VII. </span></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 11pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">The care Dickens took with the establishment of Steerforth's character is evident in his prominence on the Working Note, and is also demonstrated by his revisions to the manuscript. While Steerforth's pointed question to David in chapter 6 (\"You haven't got a sister, have you?\" [DC 90]) and his careless treatment of others suggest him as a potential seducer for Em'ly (a tragedy David opaquely refers to in chapter 3, see <em>DC.I.R6</em>), Dickens removed several sentences that present this possibility too explicitly.  At the end of chapter 6, after Steerforth asks whether David has a sister, Dickens deleted part of a particularly suggestive sentence in proof that was to end the number: \"There was no shadowy picture of [Steerforth's] footsteps, in the garden that I dreamed of—the garden that I picked up shells and pebbles in, with little Em’ly, all night” (Clarendon 76.n2). Additionally, in chapter seven, Dickens softens an allusion in proof to Steerforth's future transgression when David describes Steerforth’s approval of him:  \"so precious to me that I look back on these trifles, now [that I know all], with an aching heart\" (Clarendon 80.n5). The work Dickens does in Nos. III and IV to manage the older David's narrative voice allows for a maintenance of tension whilst avoiding a precipitate revelation of what is to come.</span></p>",
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She lived so retired, that I heard of it by mere accident.'\"</span></p>\n<p><strong style=\"font-weight: normal;\"> </strong></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 12pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">While Lady Dedlock's knowledge of her sister's death might raise questions about how she could remain ignorant of Esther's existence, the mention of her death and \"retired\" life might make the correspondence to Esther's circumstances too obvious.</span></p>\n<p> </p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 12pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">Similarly, when Esther first sees Lady Dedlock in this chapter, she ponders whether her \"face accidentally resemble[d] my godmother's\" (BH 292). 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The possibility of what is called spontaneous combustion has been denied since the death of Mr. Krook; and my good friend Mr. Lewes (quite mistaken, as he soon found, in supposing the thing to have been abandoned by all authorities) published some ingenious letters to me at the time when that event was chronicled, arguing that spontaneous combustion could not possibly be. I have no need to observe that I do not wilfully or negligently mislead my readers and that before I wrote that description I took pains to investigate the subject. There are about thirty cases on record, of which the most famous, that of the Countess Cornelia de Baudi Cesenate, was minutely investigated and described by Giuseppe Bianchini, a prebendary of Verona, otherwise distinguished in letters, who published an account of it at Verona in 1731, which he afterwards republished at Rome. The appearances, beyond all rational doubt, observed in that case are the appearances observed in Mr. Krook's case. 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I’ll speak to him.’</span></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 12pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">The trooper retires, and Mrs. Rouncewell takes her chair at the bedside.</span></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 12pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">‘Sir Leicester.’</span></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 12pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">‘That’s Mrs. Rouncewell?’</span></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 12pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">‘Surely, yes, Sir Leicester.’</span></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 12pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">‘I was afraid you had left me.’</span></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 12pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">His hand is lying close beside her. She kisses it.</span></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 12pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">‘It’s the dull one,’ says Sir Leicester. ‘But I feel that, Mrs. Rouncewell.’</span></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 12pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">It is too dark to see him; she thinks, however, that he puts his other hand before his eyes.</span></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 12pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">‘Where is your son, George? 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I want only you and him; I would rather have no one else to-night.’</span></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 12pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">‘He hoped he might be of some use and he is not gone, Sir Leicester.’</span></p>\n<p> </p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 12pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">‘I thank him!’”</span></p>\n<p><span style=\"font-size: 12pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\"> </span></p>",
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            "chars": "<p dir=\"ltr\"><em>LD.I.R7</em></p>\n<p dir=\"ltr\"><strong>Jailer’s child [...]</strong></p>\n<p> </p>\n<p dir=\"ltr\">The child’s innocence is emphasized multiple times in this chapter, and her willingness to engage with Jon Baptist but her fear of Rigaud signals the differences between their characters. This verse is part of the “child’s game” she plays with Cavaletto, singing the song to him as she leaves and expecting his response. The song was a popular French children’s tune. In the novel, Dickens chooses to write the verse in English rather than the (slightly inaccurate) French he has in his notes:</p>\n<p> </p>\n<p dir=\"ltr\">“Who passes by this road so late?</p>\n<p dir=\"ltr\">Compagnon de la Majolaine!</p>\n<p dir=\"ltr\">Who passes by this road so late?</p>\n<p dir=\"ltr\">Always gay!” (8)</p>\n<p> </p>\n<p dir=\"ltr\">This is the first of many times we see an uncomfortable juxtaposition between childish play and the darkness of imprisonment. See Mark Hennelly for more on the significance of Dickens’s use of this song and the “perverse play world” of the novel it indicates (190). Using the Working Notes as his evidence, Hennelly argues that Dickens “did intend the song and game as a kind of narrative ‘tag’ or ‘refrain,’ a coda teasing the reader as much with its unsung as with its sung relevance” (198). </p>\n<p> </p>\n<p dir=\"ltr\">That Dickens includes a significant portion of the song’s lyric in this note indicates its centrality to the narrative. The song will reappear three times in Book II. It will be the means by which Cavalletto will identify Rigaud/Blandois when he overhears Arthur singing the song to himself in No. XVI, having heard it from Rigaud himself in No. XIII (see LD.XVI.R16). Rigaud will sing it for the final time in No. XVIII, using it to demonstrate his continued power over Cavalletto (LD.XVIII.R11).</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.V</em></p>\n<p> </p>\n<p dir=\"ltr\">The notes Dickens kept for Number V appear to be largely prospective, written before Dickens drafted the chapter; they contain a number of imperative verbs, and the longer notes do not always correspond directly to a phrase or idea as it is executed in the number, whereas retrospective notes were often more exact in their correspondence. In a letter to Forster on February 20, 1856, while he was working on the manuscript for this number, Dickens referred to his process of accepting and rejecting ideas as he does on the left side of the Note: “As I accept and reject ideas for <em>Little Dorrit</em>.” (Letters 8.33). </p>\n<p> </p>\n<p dir=\"ltr\">While there are temporal layers in this Note, including the questions and answers on the left and the additions of names (e.g. “Young John” in LD.V.R20), for the most part there appears to be more consistency of pen nib and ink on this page than there is in the Note for No. IV. The pen nib used for this Note is also significantly finer than that used for the previous Note. Given the layout of the chapters on the right, as well as the absence on the left of memoranda pertaining to chapter 18, it is possible that Dickens decided to add the final chapter after he had started composing the installment (see LD.V.R18). It was while Dickens worked on this number that he began to think ahead to the next three installments, adding memoranda to the left side of the Notes for numbers VI through VIII (see LD.VIII.L1 and headnote annotations LD.VII and LD.VIII). </p>\n<p> </p>\n<p dir=\"ltr\">Dickens wrote No. V while he was in France, beginning in January 1856. On January 10 he told Angela Burdett-Coutts that he was “just sitting down to” a number” (Letters 8.15), and two days earlier he had told Mary Boyle that he was “setting to work again, and my horrible restlessness immediately assails me. It belongs to such times” (8.15). To Wilkie Collins on 19 January he complained that he had to sit for his portrait for four hours “with No. 5 upon my soul” (8.29), a complaint he reiterated to Forster (8.33). He planned to finish the number early in February and bring it with him to London (8.17, 8.28, and 8.31). </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.III.L2</em></p>\n<p dir=\"ltr\"><strong>Public Office? [...]</strong></p>\n<p> </p>\n<p dir=\"ltr\">It is perhaps in his enthusiastic decision (as indicated by the emphatic underlining of “Yes”) to incorporate the Circumlocution Office in this number that Dickens is able to translate the inaction implied by his original title (\"Nobody’s Fault\") into an element of the plot, thus allowing him to let go of this title. </p>\n<p> </p>\n<p dir=\"ltr\">Dickens establishes the ludicrousness of referring to Mews Street, Grosvenor Square, as an “aristocratic part of town” by describing the “hideous little street”  filled with “small airless houses” that nevertheless “went at enormous rents on account of their being abject hanger-on to a fashionable situation; and whenever one of these fearful little coops was to be let (which seldom happened, for they were in great request), the house agent advertised it as a gentlemanly residence in the most aristocratic part of town” (LD 105). The differentiation between the “public office” and the private residence in Grosvenor Square is likely a reference to Barnacle Junior’s differentiation of “public” from “private business” in chapter 10. </p>\n<p> </p>\n<p dir=\"ltr\">Stone interprets what we have rendered as a non-textual marking underneath the “Q” of “Quarter” as “of.” It is difficult to make this out with certainty.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.III.R8</em></p>\n<p dir=\"ltr\"><strong>How not to do it.</strong></p>\n<p><span id=\"docs-internal-guid-2652dac9-7fff-47e8-2ad2-f35d6efac80a\"> </span></p>\n<p dir=\"ltr\">This phrase, reminiscent of Thomas Carlyle’s “Donothingism,” appears repeatedly throughout this chapter: “Whatever was required to be done, the Circumlocution Office was beforehand with all the public departments in the art of perceiving–HOW NOT TO DO IT” (LD 100). It is the first time Dickens expressly takes up the theme he had originally suggested as central in his novel via his original title, the repeated phrase suggesting the general abdication of responsibility by those in charge. In his portrayal of the Circumlocution Office, Dickens vented his frustration with political power. On October 4, 1855, Dickens wrote to Macready: “In No. 3 of my new book I have been blowing off a little of indignant steam which would otherwise blow me up, and with God’s leave I shall walk in the same all the days of my life; but I have no present political faith or hope–not a grain” (Letters 7.716). This letter echoes one he sent to Forster a few days earlier: “I really am serious in thinking… that representative government is become altogether a failure with us, that the English gentilities and subserviences render the people unfit for it, and that the whole thing has broken down since that great seventeenth-century time, and has no hope in it.” (7.713). For more on Dickens’s engagement with contemporary issues in this novel, see Critical Introduction.</p>"
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While Dickens gathered more sources to bolster its plausibility through the coroner’s inquest in the following installment, Lewes published two more rebuttals in February, and he and Dickens continued to debate the matter in a private exchange of letters (see the Introduction to The Working Notes for </span><span style=\"font-size: 12pt; font-family: Calibri, sans-serif; background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;\"><em>Bleak House</em></span><span style=\"font-size: 12pt; font-family: Calibri, sans-serif; background-color: transparent; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;\">). <br /><br />Dickens revisited the issue and maintained his position in the novel’s Preface (written in August 1853 at the conclusion of the novel’s serial run): “</span><span style=\"font-size: 12pt; font-family: Calibri, sans-serif; background-color: #fdfdfd; font-variant-numeric: normal; font-variant-east-asian: normal; vertical-align: baseline; white-space: pre-wrap;\">There is only one other point on which I offer a word of remark. The possibility of what is called spontaneous combustion has been denied since the death of Mr. Krook; and my good friend Mr. Lewes (quite mistaken, as he soon found, in supposing the thing to have been abandoned by all authorities) published some ingenious letters to me at the time when that event was chronicled, arguing that spontaneous combustion could not possibly be. I have no need to observe that I do not wilfully or negligently mislead my readers and that before I wrote that description I took pains to investigate the subject. There are about thirty cases on record, of which the most famous, that of the Countess Cornelia de Baudi Cesenate, was minutely investigated and described by Giuseppe Bianchini, a prebendary of Verona, otherwise distinguished in letters, who published an account of it at Verona in 1731, which he afterwards republished at Rome. The appearances, beyond all rational doubt, observed in that case are the appearances observed in Mr. Krook's case. 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            "chars": "<p dir=\"ltr\"><em>LD.IV.R7</em></p>\n<p dir=\"ltr\"><strong>Unwieldy ship and Steam Tug – Panx – Pancks.</strong></p>\n<p> </p>\n<p dir=\"ltr\">In Pancks, Dickens draws on his book of Memoranda again, in which the very opening note reads: “The unwieldy ship, taken in tow by the snorting little steam tug” followed by (in a darker ink): “(Done in Casby and Panks)” (the latter may read “Pancks,” but the hand is unclear; it is rendered without the C in Kaplan’s transcriptions of the memoranda) (1). The name “Pancks” also appears in the list of names in this Memoranda book, followed by a check mark (3v). In the manuscript, the first mention of Pancks appears as Panx, but is crossed out and replaced with Pancks. This supralinear correction is repeated throughout chapter 13 of the manuscript. It isn’t until Pancks returns in chapter 23 (No. VII) that Dickens writes Pancks without correction. It is not clear whether “Pancks” was added to this Note contemporaneously with “Panx” or whether it is a later addition, but again we see Dickens using his notes to test out names (for other examples, see LD.I.R5; LD.II.R17). </p>\n<p> </p>\n<p dir=\"ltr\">Dickens will repeatedly describe Pancks and Mr. Casby as the “unwieldy ship” and “steam-tug” (LD 142). </p>"
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She lived so retired, that I heard of it by mere accident.'\"</span></p>\n<p><strong style=\"font-weight: normal;\"> </strong></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 12pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">While Lady Dedlock's knowledge of her sister's death might raise questions about how she could remain ignorant of Esther's existence, the mention of her death and \"retired\" life might make the correspondence to Esther's circumstances too obvious.</span></p>\n<p> </p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 12pt; font-family: Calibri,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">Similarly, when Esther first sees Lady Dedlock in this chapter, she ponders whether her \"face accidentally resemble[d] my godmother's\" (BH 292). 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            "chars": "<p dir=\"ltr\"><em>LD.XIX-XX.L1</em></p>\n<p dir=\"ltr\"><strong>Mems: To be done</strong></p>\n<p><span id=\"docs-internal-guid-9966f9f0-7fff-de77-2fec-44f4f4c2b00f\"> </span></p>\n<p dir=\"ltr\">In an unusual move, Dickens titles the left side of the page with the specific heading “To be done.” In his Working Notes for <em>Dombey and Son</em>, Dickens sometimes titled the left page “Mems” or “General Mems,” abandoning the practice except for three instances in the <em>Bleak House</em> Notes (III, VII, IX) and an instance in the <em>Hard Times</em> Notes specific to “quantity” calculations (HT.Mems.L2). Here, though, he explicitly frames the following list as a catalog of items for completion. Despite having sketched out his retrospective and prospective Mems on the previous two pages, he still needs to account for a range of characters.</p>",
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            "chars": "<p dir=\"ltr\"><em>LD.VI</em></p>\n<p> </p>\n<p dir=\"ltr\">There are distinct layers to the questions and answers on the left side, which notably do not include any reference to Mr. Merdle’s complaint or to the subject of the final chapter, which was added after Dickens had sent the first three back to London for typesetting (see LD.VI.R20). Dickens was evidently not clear at this stage about the number’s direction, though he was starting to consider the centrality of the Marshalsea to the installment. As he wrote, he used the motif of the shadow to connect the chapters. </p>\n<p> </p>\n<p dir=\"ltr\">There appears to be a combination of retroactive and proactive work in this Note. While the chapter notes appear fairly consistent, two entries in chapter 20 would seem to be a separate temporal layer due to differences in ink (see LD.VI.R6 and LD.VI.R12). </p>\n<p> </p>\n<p dir=\"ltr\">Dickens wrote this number while in Paris; he completed it fairly swiftly, beginning around mid February and finishing it by March 6. To Burdett-Coutts he wrote about the difficulty of beginning the number: “Your note finds me settling myself to Little Dorrit again, and in the usual wretchedness of such settlement–which is unsettlement. Prowling about the rooms, sitting down, getting up, stirring the fire, looking out the window, tearing my hair, sitting down to write, writing nothing, writing something and tearing it up, going out, coming in, a Monster to my family, a dread Phenomonon [sic] to myself, &c &c &c” (19 February, Letters 8.60-61). On March 6 he wrote to Wills that “Little Dorrit has completed her sixth; and that wonderful man the writer thereof is in that state of weary excitement which is a part of him at such periods” (8.69). </p>\n<p> </p>\n<p dir=\"ltr\">When he was correcting the proofs for this number, Dickens realized that he had over-written it and needed to make cuts. The erasures he would make would take three sets of proofs due to a series of mistakes by the printer and Dickens’s attempts to rectify erasures he had not intended (see Sucksmith xxix).</p>"
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            "chars": "<p id=\"docs-internal-guid-462a93f9-7fff-89ae-7115-31a446e925f8\" dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><em><span style=\"font-size: 11pt; font-family: Arial, sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">HT.I.R1</span></em></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><strong><span style=\"font-size: 11pt; font-family: Arial, sans-serif; color: #000000; background-color: transparent; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">chapter I<br /><br /></span></strong></p>\n<p dir=\"ltr\" style=\"line-height: 1.38; margin-top: 0pt; margin-bottom: 0pt;\"><span style=\"font-size: 11pt; font-family: Arial,sans-serif; color: #000000; background-color: transparent; font-weight: 400; font-style: normal; font-variant: normal; text-decoration: none; vertical-align: baseline; white-space: pre-wrap;\">During the novel’s initial serial run in weekly installments, all chapters appeared without titles in <em>Household Words</em>. The novel was divided into three books (“Sowing,” “Reaping,” “Garnering”) and chapter titles were added when it was published complete in one volume at the conclusion of its serial run in August 1854. Dickens conceived this tripartite structure during composition of the second ‘number’ (see <em>HT.II.L8</em>).</span></p>\n<p> </p>",
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I suppose I shall get to work tomorrow, but at present I seem never to have done anything in the way of Authorship” (Letters 7. 361). In a similar letter to W.H. Wills on the same day, Dickens humorously quipped: “Of the wonderful inventions and contrivances with which a certain Inimitable Creature has made the most of it, I will say nothing until you have an opportunity of inspecting the same. 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            "chars": "<p dir=\"ltr\"><em>LD.I.R6</em></p>\n<p dir=\"ltr\"><strong>Monsieur [Rig] Rigaud [...] </strong></p>\n<p><span id=\"docs-internal-guid-ad5e4028-7fff-ba4e-505b-0f8874cd8ccf\"> </span></p>\n<p dir=\"ltr\">The importance of Rigauld’s introduction in this chapter is indicated by Dickens’s emphasis. Rigaud’s characteristic facial expression, significant enough to be mentioned in the notes, appears three times in the first chapter, first elaborated in reverse of the note, as follows: “When Monsieur Rigaud laughed, a change took place in his face, that was more remarkable than prepossessing. His moustache went up under his nose, and his nose came down over his moustache, in a very sinister and cruel manner” (7). … “his moustache went up, and his nose came down” (8). It will become a leitmotif for the character throughout the novel, helping the reader to identify him even as his name changes. </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.I.R7</em></p>\n<p dir=\"ltr\"><strong>Jailer’s child [...]</strong></p>\n<p> </p>\n<p dir=\"ltr\">The child’s innocence is emphasized multiple times in this chapter, and her willingness to engage with Jon Baptist but her fear of Rigaud signals the differences between their characters. This verse is part of the “child’s game” she plays with Cavaletto, singing the song to him as she leaves and expecting his response. The song was a popular French children’s tune. In the novel, Dickens chooses to write the verse in English rather than the (slightly inaccurate) French he has in his notes:</p>\n<p> </p>\n<p dir=\"ltr\">“Who passes by this road so late?</p>\n<p dir=\"ltr\">Compagnon de la Majolaine!</p>\n<p dir=\"ltr\">Who passes by this road so late?</p>\n<p dir=\"ltr\">Always gay!” (8)</p>\n<p> </p>\n<p dir=\"ltr\">This is the first of many times we see an uncomfortable juxtaposition between childish play and the darkness of imprisonment. See Mark Hennelly for more on the significance of Dickens’s use of this song and the “perverse play world” of the novel it indicates (190). Using the Working Notes as his evidence, Hennelly argues that Dickens “did intend the song and game as a kind of narrative ‘tag’ or ‘refrain,’ a coda teasing the reader as much with its unsung as with its sung relevance” (198). </p>\n<p> </p>\n<p dir=\"ltr\">That Dickens includes a significant portion of the song’s lyric in this note indicates its centrality to the narrative. The song will reappear three times in Book II. It will be the means by which Cavalletto will identify Rigaud/Blandois when he overhears Arthur singing the song to himself in No. XVI, having heard it from Rigaud himself in No. XIII (see LD.XVI.R16). Rigaud will sing it for the final time in No. XVIII, using it to demonstrate his continued power over Cavalletto (LD.XVIII.R11).</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.I.R8</em></p>\n<p dir=\"ltr\"><strong>[Baby] [Practical People.] Quarantine.</strong></p>\n<p><span id=\"docs-internal-guid-27bc0520-7fff-520d-ffb5-04d16aefdd6c\"> </span></p>\n<p dir=\"ltr\">Dickens evidently struggled to title this chapter, beginning with “[Baby.]” then “[Practical People]” then “Quarantine.” The final title will be “Fellow Travellers.” In the manuscript he has similar erasures: “[Baby]” “[Practical People]” “[Quarantine]” “[Quarantine]” “Fellow Travellers,” the latter of which may have been written at a later time, since the ink appears lighter than that of the following content. Herring notes the “gradual reduction in the role the family was to play” in the successive title ideas (25). It is unclear just when Dickens made the final decision to title the chapter “Fellow Travellers.” Quarantine as the title corresponds to the mention of Quarantine in the left-hand mems (LD.I.L4), but the final decision to title the chapter “Fellow Travellers” seems more of a piece with the thematic memorandum added on the left (LD.I.L6), which may suggest that this title was part of Dickens’s intent to try a “new means of interest” at a point after he had started to compose this number. Whereas Dickens often returns to the Notes to add a title (see, for instance, chapters 12, LD.IV.R2; 14, LD.IV.13; 16, LD.V.R6; and 19, LD.VI.R1), he does not do so here. While this discrepancy in titling suggests Dickens’s proactive use of the Notes, the fact that the manuscript and the Notes share similar titling erasures suggests that he was making active use of the Notes as he worked on this chapter. </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.I.R22</em></p>\n<p dir=\"ltr\"><strong>Old Sweetheart available</strong></p>\n<p> </p>\n<p dir=\"ltr\">The “Old Sweetheart” is Flora Pancks, whom Dickens will introduce in No. IV as a fictionalized version of his own experience with his former sweetheart, Maria Beadnell (now Mrs. Henry Winter) (for more on Dickens and Maria Beadnell, see LD.IV.L5 and Critical Introduction).</p>\n<p> </p>\n<p dir=\"ltr\">It is in this chapter that we first learn of Little Dorrit, though only in passing as a “girl… almost hidden in the dark corner” in Mrs. Clennam’s room. Little Dorrit is not mentioned in the Notes for this number. It is in the same breath that Affery mentions Little Dorrit’s name that she also mentions this “old sweetheart”: “Oh! She? Little Dorrit? <em>She’s</em> nothing; she’s a wim of–hers.” It was a peculiarity of Affery Flintwinch that she never spoke of Mrs. Clennam by name. “But there’s another sort of girls than that about. Have you forgot your own sweetheart? Long and long ago, I’ll be bound”... “Here’s news for you, then. She’s well to do now, and a widow. And if you like to have her, why you can” (LD 40). The mention of “Little Dorrit” here was added in proof, first as “Dorrit” and then, later, as “Little Dorrit”; it does not appear in the manuscript.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.I.R24</em></p>\n<p dir=\"ltr\"><strong>Add Chapter IV </strong></p>\n<p dir=\"ltr\">Mrs Flintwinch has a dream</p>\n<p> </p>\n<p dir=\"ltr\">Given its position on the page, its lighter ink, and evidence from the novel manuscript, this note is clearly a different temporal layer, added at a later date after composition of the chapter. </p>\n<p> </p>\n<p dir=\"ltr\">Dickens added this chapter at some point during or after his composition of No. II. The chapter numbers for No. II in both the Notes and the manuscript continue as if chapter 4 is the opening chapter number of the second installment; it is not until No. III that Dickens corrects his chapter numbers to account for the addition of this fourth chapter to No. I. On August 19, Dickens complained to Forster: “I am in the second number, and last night and this morning had half a mind to begin again, and work in what I have done, afterwards” (Forster 2.182). Given that the verso of the chapter’s first manuscript page contains a page upon which he began to re-write the novel’s opening (it reads “Chapter I: Mist”), it is likely that Dickens used this piece of paper first with the intention of beginning again, as he indicated to Forster, before deciding instead to add this final chapter to the number. Perhaps this sense of indecision explains why Dickens’s pagination of the three manuscript leaves is incorrect (the middle page is inserted after the chapter’s ending). </p>\n<p> </p>\n<p dir=\"ltr\">Indeed, Dickens experienced much hesitation throughout his composition and incorporation of this short (2.5 manuscript pages) chapter. As he began writing, he changed his mind about the identity of the dreamer, initially identifying Flintwinch himself (words crossed out include “Jeremiah” and five male pronouns, all emended as Dickens began writing). By the second paragraph, DIckens had changed his mind and made Affery the dreamer. He changed the title from “Mr Flintwinch’s dream” to “Mrs Flintwinch has a dream.” </p>\n<p> </p>\n<p dir=\"ltr\">At the proof stage, Dickens evidently considered another change. As chapter IV begins in proof, the first section (about a third of a page) is crossed out, but then a “stet” is added in the margins and the proof continues. Later, Dickens considered moving the chapter entirely. As he wrote No. III and made the decision to split the novel into two books (Poverty and Wealth), Dickens considered briefly the idea of moving this whole chapter to No. IV in order to make room in No. I for a title page. He wrote to Bradbury & Evans on October 29: “I can get the space out of No. I, by taking away the last short chapter and putting it into No. IV, where it will come as well” (Letters 7.729). This is perhaps why the proof for chapter IV has the first section (about a third of a page) crossed out, with a “stet” added in the margins to indicate a change of mind. As Herring points out, “Fortunately, this [movement of the chapter] was not necessary because such a change would intertwine the fates of Clennam and Little Dorrit far too late in the novel.v  In addition, the secret alluded to in chapter iv provides the backbone for much of the story and had to be suggested early” (30). Notably, there are two extant corrected proofs for chapter IV. Perhaps, as Sucksmith suggests, this is because Dickens marked up a second version of the proofs for this chapter when he considered moving it to Number IV (xxii). </p>\n<p> </p>\n<p dir=\"ltr\">Brattin will use the hasty addition of this chapter, and Dickens aborted decision to relocate it, as evidence for his claim that “Dickens was clutching for a plot, and that he did <em>not</em> plan it out in advance” (113). Brattin points out that nowhere in the manuscript or the Notes does Dickens indicate what is inside the box that Ephraim takes from the house: “It seems all too likely that he had not even determined the contents of it for himself at the time of original serial publication” (113). </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.II</em></p>\n<p dir=\"ltr\"><br />Dickens was working on Number II by the end of August and would finish by mid September. It was during his time working on this number that Dickens began to rethink his original design. He wrote to Forster on 19 August: “As to the story I am in the second number, and last night and this morning had half a mind to begin again, and work in what I have done, afterwards… It struck me that it would be a new thing to show people coming together, in a chance way, as fellow-travellers. And being in the same place, ignorant of one another, as happens in life; and to connect them afterwards, and to make the waiting for that connection a part of the interest.” Indeed, sometime during (or, more likely, after) composing No. II, Dickens would consider rewriting the first number (see LD.I.L6 and Critical Introduction) and he would add a new final chapter to No. I. The newly written chapter 4 would require him to alter the chapter numbers for this installment, though he does not return to the manuscript or the Working Notes to make these alterations. He did, however, return to correct the novel’s title in the header here, in the Notes for Numbers I and II, and in the manuscript. </p>\n<p><span id=\"docs-internal-guid-d51484b3-7fff-1023-9e52-b22b88560f85\"> </span></p>\n<p dir=\"ltr\">It was in this number that Dickens turned his attention to Little Dorrit herself. As he wrote to Lavinia Watson on 10 November, 1855: “As the second is the great start of my Little Dorrit herself, I shall bring [that number] in my pocket, in order that you may anticipate the public, in making acquaintance with that young person” (Letters 7.740). For more on Dickens’s original naming of Little Dorrit, see LD.II.L4.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.III.R2</em></p>\n<p dir=\"ltr\"><strong>Little Mother</strong></p>\n<p> </p>\n<p dir=\"ltr\">The title for this chapter is added here in what appears to be the same ink as the chapter number, a different ink to the chapter notes below. This suggests that the chapter numbers and titles were added to the Note contemporaneously, before the addition of chapter note content. However, in the manuscript, this title is squeezed in between the chapter number heading and the opening line of text. While this may have been an attempt to save space, in many instances it appears that Dickens inserted titles after beginning to write a chapter. If this is the case here, it is possible that Dickens composed these chapters before he wrote the content for each chapter note in the Working Note for this number. </p>\n<p> </p>\n<p dir=\"ltr\">The phrase “Little Mother” was perhaps Dickens’s inspiration for adding the “Little” to Dorrit’s name, since it is after this point that Dickens begins occasionally writing “Little Dorrit” in the manuscript (See LD.III.R4 and Butt & Tillotson 231). The addition of “Little” to Dorrit’s name at this point in Dickens’s composition might also have been related to Dickens’s focus, via Clennam’s observation, on her diminutive size and childlike appearance: “The little creature seemed so young in his eyes, that there were moments when he found himself thinking of her, if not speaking to her, as if she were a child” (LD 79). In the next number, in chapter 14, Little Dorrit will say to Maggy that “Little Dorrit” and “Little Mother” are “all the same”  (161).</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.III.R8</em></p>\n<p dir=\"ltr\"><strong>How not to do it.</strong></p>\n<p><span id=\"docs-internal-guid-2652dac9-7fff-47e8-2ad2-f35d6efac80a\"> </span></p>\n<p dir=\"ltr\">This phrase, reminiscent of Thomas Carlyle’s “Donothingism,” appears repeatedly throughout this chapter: “Whatever was required to be done, the Circumlocution Office was beforehand with all the public departments in the art of perceiving–HOW NOT TO DO IT” (LD 100). It is the first time Dickens expressly takes up the theme he had originally suggested as central in his novel via his original title, the repeated phrase suggesting the general abdication of responsibility by those in charge. In his portrayal of the Circumlocution Office, Dickens vented his frustration with political power. On October 4, 1855, Dickens wrote to Macready: “In No. 3 of my new book I have been blowing off a little of indignant steam which would otherwise blow me up, and with God’s leave I shall walk in the same all the days of my life; but I have no present political faith or hope–not a grain” (Letters 7.716). This letter echoes one he sent to Forster a few days earlier: “I really am serious in thinking… that representative government is become altogether a failure with us, that the English gentilities and subserviences render the people unfit for it, and that the whole thing has broken down since that great seventeenth-century time, and has no hope in it.” (7.713). For more on Dickens’s engagement with contemporary issues in this novel, see Critical Introduction.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.IV</em></p>\n<p dir=\"ltr\"><br />Dickens likely began writing No. IV in very late October/early November of 1855 during a stay in Paris, finishing at the very end of the year (see Letters 7.773). He had some frustrations working on the number, perhaps due to his travels, the pressures of the <em>Household Words</em> Christmas number, and his annoyance at having to sit for a portrait by Ary Scheffer (which he complains about in a letter to Forster in early December). He complained to Wills in late November that he was “[n]ot working very well at Little Dorrit, since I went back to her from the Xmas No.” (Letters 7.754), which is possibly a reference to his delay in finishing the number’s final chapter (see LD.IV.R12). This Note contains a mixture of prospective and retrospective elements.</p>\n<p> </p>\n<p dir=\"ltr\">The ink colors here and in the manuscript give us a rare clear picture of the temporality of Dickens’s composition as he began the number. The Working Note features two distinct ink colors: a light blue (for the number heading and chapter header for chapter 12 on the right and for the questions on the left) and black for the answers to questions on the left and the chapter notes on the right. Clearly, then, Dickens began the Note with blue ink and returned later, probably in more than one sitting given the prevalence of corrections, to answer his questions and add chapter notes in black. The manuscript opens in what appears to be the same blue ink used here, but half a page down we see him switch to black ink, addings some corrections to his already-composed blue half-page. The ink colors demonstrate the temporal layers of question-and-answer on the right hand side and suggest that Dickens likely composed the blue portions of this note as he was beginning to write chapter 12, before returning at a later stage to add the remaining portions of the Note (for more on this temporality, see LD.IV.R2). </p>\n<p> </p>\n<p dir=\"ltr\">No. IV marks the point at which Dickens changed the name of the novel in his Notes and in the manuscript to <em>Little Dorrit</em>; he wrote to Lavinia Watson on November 10 that he had “adopted [a title] which has a pleasanter sound in my ears, and which is equally applicable to the same story” (Letters 7.740). However, this number was not without its uncertainties. He began chapter 12 twice; the first attempt appears on the verso of his second page of the manuscript (also in blue ink but crossed out in black). </p>\n<p> </p>\n<p dir=\"ltr\">In late October, Dickens was still undecided about whether this number would include the last short chapter in No. 1 (chapter IV). He wrote to Bradbury & Evans on October 29, proposing the addition of blank pages for divisional titles for Book I. Poverty and Book II. Riches: “I can get the space out of No. 1, by taking away the last short chapter, and putting it into No. IV, where it will come as well” (Letters 7.729). Dickens changed his mind; the “Book the First: Poverty” title was instead added directly above the opening to chapter 1 (whereas Book the Second would have a full-page title in No. XI).</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.IV.L1</em></p>\n<p dir=\"ltr\"><strong>Charging everything on Providence? No</strong></p>\n<p> </p>\n<p dir=\"ltr\">This note marks the first (and last) time Dickens flatly rejects the inclusion of what had been his initial driving idea for the novel (he had a “not yet” next to the same idea in No. II, see LD.II.L3). It was after writing No. III, with its critique of systemic administrative failure in chapter 10, that Dickens abandoned his original title for the novel and his idea (communicated to Forster) for “a leading man for a story who should bring about all the mischief in it” (Forster 2.179). </p>\n<p> </p>\n<p dir=\"ltr\">In wording this question, Dickens has already abandoned the language of “the man” he used in No. II “the man who comfortably charges everything on providence” (LD.II.L3). While he is still considering the possibility of this storyline, Dickens recognizes at this point that, as Sucksmith puts it, “the notion of one man’s responsibility for all the mischief in the story clashed with his awareness that the condition of England must be blamed on a whole social, economic, and political scheme of things” (xx-xxi).</p>\n<p> </p>\n<p dir=\"ltr\">Notably, though, in writing No. III, Dickens seems to have recognized that he could translate his original idea for “Nobody’s Fault” from a story of a single protagonist who abdicates responsibility to a general sense that no one can, or will, claim responsibility for the ills of society; instead, an office like Circumlocution will obscure all human agency. In the opening chapter of Number IV, Dickens uses Plornish to gesture towards this general sense of administrative obfuscation: “Why, a man didn’t know where to turn himself, for a crumb of comfort. As to who was to blame for it, Mr. Plornish didn’t know who was to blame for it. He could tell you who suffered, but he couldn’t tell you whose fault it was. It wasn’t his place to find out, and who’d mind what he said, if he did find out” (LD 136). </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.IV.L4</em></p>\n<p dir=\"ltr\"><strong>Bleeding Heart Yard? [...]</strong></p>\n<p><span id=\"docs-internal-guid-5756f5c6-7fff-0eb6-0b0d-9be3fa325b09\"> </span></p>\n<p dir=\"ltr\">This is the first question to which Dickens’s answers yes, and the first topic he turns to in this new number, using Bleeding Heart Yard as the title for its opening chapter. Given that the opening of chapter 12 in the manuscript is in the same blue ink as these questions, it is possible that Dickens wrote these questions shortly before (perhaps even contemporaneously with) his writing of the first two paragraphs of the number, though it is notable that his answers to the questions (including the one about Bleeding Heart Yard) are in black ink, to which he would switch after he had composed an initial draft of the opening two paragraphs of the number. </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.IV.L5</em></p>\n<p dir=\"ltr\"><strong>Clennam’s old sweetheart? [...]</strong></p>\n<p> </p>\n<p dir=\"ltr\">Having mentioned the “old sweetheart” twice in the Notes (LD.I.R22 & LD.II.L2), Dickens now finds a way to work her into the novel. In Flora, Dickens drew directly from his own life. In February 1855, just a few months before he began writing this novel, Dickens began an “increasingly impassioned exchange of correspondence” with his own old sweetheart, Maria Beadnell (now Mrs. Henry Winter) (Slater 387). As Nigel Slater summarizes, when Dickens met Maria again, he “found himself confronted with a stout woman of forty-four. She had warned him that she was ‘toothless, fat, old, and ugly’ but he had simply brushed this aside. Now, after meeting her again in the flesh he wrote to her in a very different tone” (388). </p>\n<p> </p>\n<p dir=\"ltr\">Dickens translates this experience into his description of Arthur’s reaction to Flora: “Clennam’s eyes no sooner fell upon the object of his old passion, than it shivered and broke to pieces… Flora, always tall, had grown to be very broad too, and short of breath; but that was not much. Flora, whom he had left a lily, had become a peony; but that was not much. Flora, who had seemed enchanting in all she said and thought, was diffuse and silly. That was much” (LD 142-43). In the manuscript, Dickens first locates the change in Clennam, too (“when his eyes fell upon his old passion, Clennam felt for the first time in his life, how much he must have changed” [2.113]). He would delete this sentence and instead focus on the extent of Flora’s alteration, implicitly defending his own change of attitude towards Maria in exonerating Clennam: “Most men will be found sufficiently true to themselves to be true to an old idea. It is no proof of an inconstant mind, but exactly the opposite, when the idea will not bear close comparison with the reality, and the contrast is a fatal shock to it. Such was Clennam's case” (LD 142).</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.IV.R8</em></p>\n<p dir=\"ltr\"><strong>Mr F’s Aunt</strong></p>\n<p><span id=\"docs-internal-guid-09e03663-7fff-fa3a-f769-cfd8eef41766\"> </span></p>\n<p dir=\"ltr\">Dickens may have been drawing on a note from his Book of Memoranda in creating Mr. F’s Aunt, even though the item is not checked off as was his usual practice: “The bequeathed maid-servant, or friend. Left as a legacy. And a devil of a legacy too” (12). In the proofs, Dickens uses corrections to specify that the “A” in aunt should be capitalized. </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.IV.R9</em></p>\n<p dir=\"ltr\"><strong>[Chapter XIV]</strong></p>\n<p><span id=\"docs-internal-guid-0682b2c7-7fff-51f0-cff4-36bbfc46a573\"> </span></p>\n<p dir=\"ltr\">Given the layout to the right-side of this Note, it is evident that Dickens initially planned to have four chapters in this number. Possibly, as Herring suggests, Dickens intended for one of these chapters to be the relocated chapter 4 from No. 1 (see LD.I.R24). However, if Dickens erased this chapter number after writing the notes below, it is possible that he intended originally for a version of chapter 14 to focus on Clennam’s perspective and Little Dorrit’s visit, ending with her having nowhere to go, and one (planned as chapter 15) focusing on Amy’s point of view (“Little Dorrit’s Eyes”). He decided instead that the exploration of Clennam’s state of mind (LD.IV.R10) would close chapter 13 so that he could devote the whole of chapter 14 to Little Dorrit’s experience. </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.IV.R11</em></p>\n<p dir=\"ltr\"><strong>Late at Night [...]</strong></p>\n<p><span id=\"docs-internal-guid-31a296b6-7fff-8d6c-bf08-e295cbc93203\"> </span></p>\n<p dir=\"ltr\">These last notes were likely written before the chapter was finished, since they do not, in fact, belong to this chapter, but instead pertain to chapter 14. Curiously, Dickens does not cancel this material. It is possible that he changed his plan because he felt that this material needed to be part of Little Dorrit’s perspective in the next chapter.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.IV.R12</em></p>\n<p dir=\"ltr\"><strong>Chapter [XV] XIV</strong></p>\n<p> </p>\n<p dir=\"ltr\">It is likely that Dickens wrote this chapter in two stages, pausing either out of some indecision as to how to conclude the chapter or out of necessity as he worked on the Christmas number of <em>Household Words</em>. The first set of proofs (labeled Proof A by Sucksmith in the Clarendon edition) ends part way through this chapter (“on his lips again, “Little Dorrit” [LD 162) before continuing with a later set of proofs for chapter 12. This point in the manuscript occurs at the very end of a page, so Dickens may have turned a new leaf when he decided how to finish the chapter. Much of the material that would follow focuses on Little Dorrit’s night on the streets of London, an event that is also missing from the memoranda on the left, suggesting that Dickens had not yet decided on this storyline as he began drafting the Note, a point born out by the title change that indicates his ironic focus on Little Dorrit’s predicament. Sucksmith suggests that Dickens may have drawn inspiration from any number of articles on “poverty, prostitution, the fascination of the river to guilt-ridden suicides, and the streets of London by night” that would have “recently passed beneath his scrutiny”; he provides a list of such <em>Household Words</em> articles from 1851-56 (xxiv-xxv). </p>\n<p> </p>\n<p dir=\"ltr\">Given his delay in finishing the chapter and the specificity of the notes below, Dickens likely wrote the contents of this chapter note after composing the chapter in its entirety.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.IV.R13</em></p>\n<p dir=\"ltr\"><strong>Little Dorrit’s [Eyes] Party</strong></p>\n<p> </p>\n<p dir=\"ltr\">In the manuscript, Dickens does not correct the original version of this chapter title: “Little Dorrit’s Eyes.” It is not amended until the proof stage, where Dickens corrects Eyes to Party, perhaps because he finished the chapter only after its first few pages had been sent to the printers (see LD.IV.R12). Here, then, we see Dickens returning to the Working Notes at proof stage, but not to the manuscript, indicating the significance of the Notes as retroactive reference documents for the author.</p>\n<p> </p>\n<p dir=\"ltr\">Despite the title change, this chapter is focalized through Little Dorrit and begins with an explicit reference to Little Dorrit’s eyes: “This history must sometimes see with Little Dorrit’s eyes, and shall begin that course by seeing him” (LD 159). It is with this chapter that Little Dorrit shifts to the center of the novel.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.IV.R14</em></p>\n<p dir=\"ltr\"><strong>“Spare my father [...]</strong></p>\n<p><span id=\"docs-internal-guid-28bf0337-7fff-ccfa-8237-816c604cd741\"> </span></p>\n<p dir=\"ltr\">Here, given the quotation mark that opens the phrase and the likely retrospective nature of these chapter notes (see LD.IV.R12), Dickens may have been recalling phrases he had already written as Little Dorrit’s plea to Clennam: “Don’t encourage him to ask. Don’t understand him, if he does ask. Don’t give it to him. Save him and spare him that, and you will be able to think better of him… I cannot bear to think, that you of all the world should see him in his only moments of degradation!” (LD 164-65).</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.IV.R15</em></p>\n<p dir=\"ltr\"><strong>Out all night – Woman in the street.</strong></p>\n<p><span id=\"docs-internal-guid-3b026acc-7fff-527d-9fea-70deda865b89\"> </span></p>\n<p dir=\"ltr\">Dickens may have been inspired by a night walk that he would also write about in a <em>Household Words</em> article published on January 26, 1856: “A Nightly Scene in London,” and which Forster describes as taking place in early November, when he would have been working on this installment. Forster explains that Dickens had “sallied out for one of his night walks, full of thoughts of his story, one wintry rainy evening,” when he came across seven girls, like “seven heaps of rags,” outside the full Whitechapel Workhouse, drawing a crowd because of their “wretchedness” (Forster 2.131).</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.IV.R16</em></p>\n<p dir=\"ltr\"><strong>“If it really was a party now!”</strong></p>\n<p><span id=\"docs-internal-guid-f5de7aa1-7fff-f0f5-e7e7-13e7c86d592b\"> </span></p>\n<p dir=\"ltr\">Again, this quoted phrase corresponds directly to the novel, suggesting that Dickens was likely summarizing a previously-drafted passage: “‘If it really was a party!’ she thought once, as she sat there. ‘If it was light and warm and beautiful, and it was our house, and my poor dear was its master, and had never been inside these walls’” (LD 169).</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.VI.R12</em></p>\n<p dir=\"ltr\"><strong>The Shadow of the Marshalsea on whom?</strong></p>\n<p> </p>\n<p dir=\"ltr\">This note appears to be written in a different ink than those above (though it is consistent with the ink used for the first chapter note, “Family Pride,” LD.VI.R6). It may have been added later.</p>\n<p> </p>\n<p dir=\"ltr\">Each of the chapter plans for 20, 21, and 22 ends with a mention of the shadow, as does the conclusion of each of these chapters in the novel. At the close of this chapter, as Little Dorrit leaves her Uncle and Fanny and returns to the Marshalsea, Dickens turns to the shadow: “[T]he shadow of the wall was on every object. Not least, upon the figure in the old grey gown and the black velvet cap, as it turned towards her when she opened the door of the dim room. ‘Why not upon me too!’ thought Little Dorrit” (LD 240). </p>\n<p> </p>\n<p dir=\"ltr\">The question in this note may imply Dickens's uncertainty as to how the shadow will operate, though it is perhaps more likely that he is considering the extent to which the “shadow” of imprisonment impacts “every object,” including Little Dorrit. In the proofs, Dickens erases his original ending for the chapter, in which he imagines Little Dorrit as a light that dispels the shadow: “And yet the shadow of the wall seemed to pass away before the light of her coming.” Dickens made a series of erasures in the proofs to this number due to his overwriting (see headnote), but perhaps he erased this phrase because it undermined the extent to which Amy herself is trapped in the shadow of the Marshalsea. </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.VI.R17</em></p>\n<p dir=\"ltr\"><strong>The Physician and Mr Merdle’s mysterious complaint […]</strong></p>\n<p> </p>\n<p dir=\"ltr\">In this note we get a glimpse of Dickens’s future intention for Merdle, which he described in a letter to Forster in late March, shortly after finishing this number in words that echo this note: “I had the general idea of the Society business before the Sadleir affair, but I shaped Mr. Merdle himself out of that precious rascality…Mr. Merdle’s complaint, which you will find in the end to be fraud and forgery, came into my mind as the last drop in the silver cream-jug on Hampstead-Heath” (Forster 2.183). The similarity in this language to a letter written after the chapter’s composition may suggest that the note is retroactive. </p>\n<p> </p>\n<p dir=\"ltr\">Dickens refers here to John Sadlier, the infamous Irisih politician and financier who committed suicide on Hampstead Heath in mid-February after the failure of his speculations, which involved forged shares in the Royal Swedish Railway Company and an overdraft on the Tipperary Bank. Dickens makes explicit reference in his preface to this inspiration for his “extravagant conception” of Mr. Merdle (LD lix). Given that there is no mention of Mr. Merdle in the left-hand memoranda, it may be the case that Dickens decided to include this storyline only while he was in the process of composing the number.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.VI.R18</em></p>\n<p dir=\"ltr\"><strong>Young Sparkler</strong></p>\n<p><span id=\"docs-internal-guid-1efcf893-7fff-f060-f029-9872efc621d7\"> </span></p>\n<p dir=\"ltr\">Mrs. Merdle’s son from a previous marriage is introduced fairly early in the chapter despite the position of this note.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.VI.R20</em></p>\n<p dir=\"ltr\"><strong>Chapter XXII</strong></p>\n<p><span id=\"docs-internal-guid-211671d7-7fff-a802-8212-8b2d2c533065\"> </span></p>\n<p dir=\"ltr\">Dickens added this chapter to the manuscript after sending the first three to the publishers. He wrote to Bradbury & Evans on March 3 that they could send a messenger to pick up “the greater part of No. 6 of Little Dorrit” at Tavistock House, but that he would “bring the last Chapter with me when I come” back to England from Paris a week later (Letters 8.66-67). Originally, Dickens headed chapter 22 on the final manuscript page of chapter 21 (which only contained nine lines of text), but he crossed this out in order to begin on a new leaf, presumably in order to send the first three chapters back to England to give himself time to complete chapter 22 separately. Given that there is no reference to this chapter in the left-hand memoranda, it is possible that the idea for this chapter was a late one.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.VII.R1</em></p>\n<p dir=\"ltr\"><strong>Machinery in motion</strong></p>\n<p><span id=\"docs-internal-guid-f8fcfee7-7fff-9879-dfd6-841257d813cb\"> </span></p>\n<p dir=\"ltr\">In the manuscript, this chapter title is inserted at an angle to the right due to a lack of space, indicating its later addition to the manuscript. This suggests that Dickens composed the beginning of this chapter, at least, before writing the chapter notes.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.VII.R4</em></p>\n<p dir=\"ltr\"><strong>Pancks – Pave the way for [...]</strong></p>\n<p> </p>\n<p dir=\"ltr\">Again, Dickens uses proactive language of preparation here, referencing not only what he intends to do in this number (“pave the way”), but also how this element will prepare for “the end of book 1st.” That Dickens was planning the end of Book 1 (No. X) is evident here and in his comments to Forster written in early April as he was working on this number: “I am glad to think of being in the country with the long summer mornings as I approach number ten, where I have finally resolved to make Dorrit rich. It should be a very fine point in the story” (Forster 2.183). </p>\n<p><br />This chapter (and the number as a whole) will “pave the way” via Pancks’s information-gathering and “fortune telling”), but Pancks’s presence also connects back to the shadow motif from the previous number; he appears in the number as Clennam is musing on “his old doubts in reference to his mother and Little Dorrit”: “Mr Pancks cast his shadow through the glass upon the books and papers” (LD 268). </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.VII.R5</em></p>\n<p dir=\"ltr\"><strong>Indicate Pancks’s relations with the Patriarch</strong></p>\n<p><span id=\"docs-internal-guid-26818fe5-7fff-183e-fc0b-369cc899ae3b\"> </span></p>\n<p dir=\"ltr\">Although Pancks enters the novel as a questionable character, connected as he is with the Patriarch as a clerk and rent collector, this chapter will begin to distance Pancks from his employer; he assures Clennam that his interest in the Dorrit family is not connected to his work for Casby: “Better admit motive to be good” (LD 270). Indeed, the chapter ends with a hint of discord between Pancks and the Patriarch, when the latter accuses Pancks of “a very bad day’s work” (LD 273). This indication of relations sets up Pancks’s future public humiliation of Casby in the final double number (LD.XIX-XX.R12).</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.VII.R6</em></p>\n<p dir=\"ltr\"><strong>Fortune-Telling</strong></p>\n<p><span id=\"docs-internal-guid-56ee3823-7fff-83dd-7209-dfe95c50d9a0\"> </span></p>\n<p dir=\"ltr\">As with the previous chapter, this title is allotted plenty of space in the Notes but is inserted in the manuscript after composition of the chapter’s opening, suggesting it was added after Dickens had composed both the initial notes for the chapter and the opening of the chapter. </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.VII.R7</em></p>\n<p dir=\"ltr\"><strong>Flora and Little Dorrit together.</strong></p>\n<p><span id=\"docs-internal-guid-a75036d9-7fff-b380-6424-90d8e14aa111\"> </span></p>\n<p dir=\"ltr\">By underlining this note, Dickens implicitly connects it with the “preparation” he indicated in the previous chapter’s notes (LD.VII.R3). </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.VIII</em></p>\n<p> </p>\n<p dir=\"ltr\">This Note, with its mixture of ink colors and weights, indicates a number of temporal layers and uses of the page. Dickens likely began the left-hand questions as early as the beginning of 1856 as he was drafting No. V, since he spells “Gowan” as “Gowran” here (LD.VIII.L1), as in No. VII on the left, but has settled on Gowan in the Notes and manuscript to No. V. There are multiple layers present on the left (see LD.VIII.L1) and in the chapter notes, for which the contents of the notes for chapters 26 and 27 appear similar, but chapters 28 and chapter 29 are separate layers. Dickens evidently planned on four chapters to this number early in the process, since he lays out the evenly spaced chapter headings in black ink without correction. </p>\n<p> </p>\n<p dir=\"ltr\">There is evidence of both proactive and retroactive use of this Note. The titles for chapters 28 and 29 are added to the Note in their corrected forms after some editing in the manuscript (see LD.VIII.R12 and LD.VIII.R16), whereas Dickens appears to have settled on the first two chapter titles before beginning their composition. The use of imperative instructions and extended phrases to describe characters’ emotional states in these chapter notes may indicate that he used the notes for proactive planning.</p>\n<p> </p>\n<p dir=\"ltr\">Herring speculates that Dickens had “confident control of his story” at this point, citing as evidence that he “had no need even to query in his memoranda several important items in the four chapters” (37). However, Dickens’s letters tell a different story. On April 22 he complained to Wilkie Collins that “[t]he first blank page of Little Dorrit No. 8 now eyes me on this desk with a pressing curiosity” but decides not to work on it (Letters 8.96). He will complain to both Wills and Mark Lemon on April 27 of how the chaos of the family packing up to leave Paris (Slater 406) made writing a challenge: “I can’t work in the midst of the unsettled domesticity” (Letters 8.99). It wasn’t until returning to Tavistock House after a stay in Dover, where he enjoyed long walks but little writing, that he would get back to composition. First, he requested Bradbury & Evans send him “No. 6” and “a pull of No. 7,” presumably so that he could re-read his work and get himself into a frame of mind to write (8.107). On May 5 he admitted to his wife that he had “not begun ‘Little Dorrit’ No. 8, yet” (8.108); it wouldn’t be until May 9, in a letter to Georgiana Hogarth, that he would claim to be making progress: “I am ‘going’ to work furiously. Am only just beginning after all!” (8.115). </p>\n<p> </p>\n<p dir=\"ltr\">After all this delay, and after a review of Nos. VI and VII, Dickens may have made more use of the right-hand chapter notes for proactive planning during his “furious” work session, rather than extending his left-hand memoranda. </p>"
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            "chars": "<p><em>LD.VIII.L1</em></p>\n<p><strong>Clennam and Pet?  Yes [...|</strong></p>\n<p> </p>\n<p>The ink colors establish four, or possibly five, layers to the left-hand memoranda, one comprising the first three questions in fine black ink; one featuring “Tattycoram?” and “Miss Wade?” in a slightly thicker black; one with the unanswered “Merdle?” in blue; one with answers to the first three questions, and the deletion of the “r” in Gowan, in thick blue ink; and a possible fifth featuring the final two “Yes” responses in thinner blue. </p>\n<p> </p>\n<p>Sucksmith notes that the misspelling of “Gowan” as “Gowran” likely dates the writing of the initial questions to January or February as he was beginning to compose No. V, since at that stage he made the decision to spell Gowan without an ‘r’ (LD.V.R13, Sucksmith xxviii). If this is the case, Dickens likely jotted down some initial memoranda on the left side of the Notes for Nos V-VIII at that early stage; in the case of this number, the questions included at this early stage were likely just the first three, which are similar in ink to the questions on the left of No. V. Dickens was evidently thinking across numbers at the point of drafting No. V; he sets himself up to treat the same subjects in this No. that he did at that earlier stage in No. V. However, the presence of multiple layers indicates that he likely returned to these memoranda numerous times, despite their brevity.</p>\n<p> </p>\n<p>Dickens decides to include all characters in this list except “Sprightly Young Barnacle.” He finds it unnecessary to include Barnacle specifically, since Circumlocution now pervades corrupt Society, which he can represent via Mrs. Gowan and her entourage of Barnacles and Stiltstalkings in chapter 26.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.VIII.R14</em></p>\n<p dir=\"ltr\"><strong>Clennam on the Summer Evening [...]</strong></p>\n<p><span id=\"docs-internal-guid-cb0f523f-7fff-aec6-fa4d-ce0ae2d6f586\"> </span></p>\n<p dir=\"ltr\">“Very delicate” appears to be a proactive instruction, as part of this lengthy note about an emotional state, to treat Clennam’s feelings, and the Meagles’ recognition of those feelings, carefully in this chapter. “The dead twin daughter” becomes a means by which Mr Meagles can acknowledge his wish that Clennam, rather than Gowan, was the object of Pet’s affection: “I feel to-night, my dear fellow, as if you had loved my dead child very tenderly, and had lost her when she was like what Pet is now.’” (LD 330). </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.IX.R16</em></p>\n<p dir=\"ltr\"><strong>Prepare for the time to come – in that room, long afterwards</strong></p>\n<p><span id=\"docs-internal-guid-0d5eb389-7fff-eff3-1095-80f78123225d\"> </span></p>\n<p dir=\"ltr\">This note indicates that Dickens is already preparing for the very end of the novel at this stage. In his <em>Memoranda</em> book, he wrote the following entry: “Arthur Clennam falling into difficulty and himself imprisoned in the Marshalsea. Then Little Dorrit, out of all her wealth and changed station, comes back in her old dress, and devotes herself in the old way” (12). This was the last note in the book of Memoranda that pertained to Little Dorrit. Directly after this entry is a cutting pasted from The Times from August 25, 1856, at which point Dickens would likely have been working on No. XI. It is therefore likely that Dickens wrote this entry in his Memoranda as he was working out ideas for this number, as it is here that he begins contemplating the parallelism between this scene and a later one “long afterwards” (see  LD.XVIII.L1 for his reference to this later scene). </p>",
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            "chars": "<p dir=\"ltr\"><em>LD.XI.R17</em></p>\n<p dir=\"ltr\"><strong>A Letter from Little Dorrit.</strong></p>\n<p> </p>\n<p dir=\"ltr\">The ink for both the chapter number and title appear the same, and seem to be the same layer as the “Mrs General” title above, suggesting that they may have been added at the same time. This layer is also similar to that used for the content of the notes for the first two chapters. It is possible that Dickens made these as planning notes before deciding on the transposition of chapters 2 and 3. Evidence from his page numbering in the manuscript suggests that he made the decision to transpose these chapters as he wrote the final pages of “On the Road,” which focus on Little Dorrit’s emotional state and therefore lead naturally into this letter. </p>\n<p> </p>\n<p dir=\"ltr\">Judging by the ink in the novel manuscript, Dickens evidently added the chapter number and title for this chapter upon finishing composition of the previous chapter, but he returned later to write the letter itself. </p>\n<p><br />On the final page of the proof for this chapter, Dickens has written an instruction to the printer: “Printer – Please so to arrange the matter as to bring it down a little more on this page.” The letter wasn’t quite long enough to fill the space allotted for the number, but he did not intend to add more to what is a short, succinct chapter. Notably, he needed to include a similar instruction to the printer in the proof for the final chapter of No. XIII, also a letter from Little Dorrit to Clennam (LD.XIII.R12).</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.XV</em></p>\n<p> </p>\n<p dir=\"ltr\">The Notes for No. XV are unusual in their clear evidence of retroactive use of the right-hand page. After writing up to at least the opening of the number’s final chapter, and quite possibly the number in its entirety, Dickens reassessed his initial plan for three chapters, deciding to subdivide his middle chapter into two. He inserted the chapter division with a small interlinear chapter number and title in the manuscript between two paragraphs. Dickens’s decision was likely determined by multiple factors, most notably the sheer length and complexity of this middle chapter as originally composed (which ran to 11.5 manuscript pages). The division of the chapter allowed him to separate Mr. Dorrit’s meeting with Mr. Merdle about financial matters from Flora’s visit and his subsequent call upon Mrs. Clennam. The new chapter 17, with its rather contrived visit by Mr. Dorrit to Mrs. Clennam in search of information about Blandois, was made necessary by the need for this number to return to the Clennam-Flintwinch-Blandois/Rigaud storyline, setting up Arthur Clennam’s visit to Calais in search of information about Blandois in the next number (chapter 20). </p>\n<p dir=\"ltr\"><br />That the right-hand chapter notes were made with a clear four-chapter division indicates their retroactive composition. The language of these notes is consistent with retroactive summary; they describe rather than prescribe narrative work. A notable exception to this descriptive work is the word “Done” inserted between chapters 16 and 17, which likely refers to the work of subdividing these chapters, and possibly indicates Dickens's use of the Note after composition to work through the nature of this division (for more on this chapter division, see LD.XV.R9). </p>\n<p> </p>\n<p dir=\"ltr\">The left-hand notes indicate this number’s focus on Mr. Dorrit, whose visit to England is the subject of all four chapters. The opening memoranda is a statement of this purpose rather than a question (LD.XV.L1); the questions that follow are accepted or rejected as far as they are useful to the implementation of this first stated intention to “Tone on to his dying in next No.”</p>\n<p> </p>\n<p dir=\"ltr\">It appears that Dickens relied little on the Notes when initially composing this number, as evidenced both by his need to retroactively subdivide the chapters and by his reference to Rigaud as “Blandois” on the left, but his mistaken use of “Rigaud” in the manuscript, proofs, and initial printing of the number, a mistake that necessitated a printed Errata slip in the next number (see LD.XV.L4). </p>\n<p> </p>\n<p dir=\"ltr\">Dickens was likely working on this number during December 1856 and perhaps into early January 1857 as he was immersed in preparations for a production of “The Frozen Deep” at Tavistock House (January 7), since by late January he had “knitted brows” over what was likely the next number (Letters 8.270). He would be well into No. XVI by the beginning of February when he noticed the Rigaud/Blandois error.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.XV.R6</em></p>\n<p dir=\"ltr\"><strong>Open at the chief Butler’s</strong></p>\n<p><span id=\"docs-internal-guid-52cd3135-7fff-a28e-d3dd-20c965744f25\"> </span></p>\n<p dir=\"ltr\">Although we might read “Open” as an imperative verb, this note is likely descriptive rather than proactive, since all the right-hand notes were likely retroactive (see LD.XV headnote annotation). The chapter indeed opens with “the newly-married pair” being “received by the Chief Butler” (LD 592). The possessive Dickens employs in this note indicates this unnamed character’s condescending presence and the influence he holds over both Mr. Merdle (he described in chapter 12 as “the Avenging Spirit of this great man’s life” [540]) and Mr. Dorrit, who feels himself under the butler’s scrutiny at the end of this chapter and in the opening paragraphs of both of the following chapters (LD 598 & 608). The Chief Butler’s power over those he ostensibly serves is such that Dickens imagines him in this note as the proprietor of the house itself.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.XV.R9</em></p>\n<p dir=\"ltr\"><strong>Done</strong></p>\n<p> </p>\n<p dir=\"ltr\">Sucksmith and Herring both read “Done” as a reference to Dickens’s decision to divide what was initially one long chapter into two, separating Dickens’s visit with Mr. Merdle into chapter 16 and making the chapter focused on Flora’s visit to Mr. Dorrit and Mr. Dorrit’s subsequent call on Mrs. Clennam a separate chapter 17. Dickens made this change after he began writing the final chapter of the number, which he initially headed “chapter XVII” in the manuscript. </p>\n<p> </p>\n<p dir=\"ltr\">The presence of this word, “Done,” in the notes is interesting. Since the right side of this Working Note is laid out with four chapters, it was clearly composed after Dickens had written the chapters, perhaps during or after his composition of chapter 18. However, the word “Done” indicates completion of a task, which might suggest that Dickens used the writing of these chapter notes to help him sketch out the shape of the number as he made the decision about where to make the chapter break, “done” thereby indicating his insertion of the break in the manuscript. Dickens inserted the break after the fact between two paragraphs, and he appears to have mistakenly written “chapter XVI  Missing” instead of chapter XVII, perhaps due to some confusion about numbering (although there is an unlikely possibility that he considered reversing the chapters.)</p>\n<p><br />While “done” almost certainly refers to this practical decision, given its ambiguous spatial relationship to chapters 16 and 17 we might posit an alternative reading that links it instead to the preceding note about the coming together of Mr. Merdle and Mr. Dorrit as a realization of the initial memorandum on the left (LD.XV.L1).</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.XVI</em></p>\n<p> </p>\n<p dir=\"ltr\">Dickens makes heavy use of the chapter notes for No. XVI, writing in a cramped hand, especially for chapter 19, to sketch out elements of each chapter. The Note likely features a combination of prospective and retrospective content. The left-hand questions and answers indicate at least two temporal layers as Dickens considers what to include after Mr. Dorrit’s death in the number’s opening chapter. The right-hand notes include a mixture of imperative directions (e.g. “Open on…” “Pave on to…” “Then shew…” “Get Doyce away…”) and descriptive verbs (“Dies” “Clennam lands”); the prevalence of the former, especially in the final instruction to “Throw the interest back to the first chapter [and] Run the ends of the book together,” suggests some preparatory use. We know that the right-hand chapter notes were written no later than Dickens’s decision to divide the middle chapter into two parts, separating Miss Wade’s story into its own chapter; he returned to the Note to add this instruction: “Change this to two chapters, getting the Self-Tormentor Narrative by itself.” For more on the decision to make this change and its impact on the number, see LD.XVI.R13. A comparison between the Notes for this number and the previous one (XV), both of which involved a division of two chapters into one, indicates the range of preparatory and retroactive uses of the Notes to this novel (see Critical Introduction). </p>\n<p> </p>\n<p dir=\"ltr\">This number ends Mr Dorrit’s story with his death; finally takes up Tattycoram and Miss Wade; and returns us to memories from the beginning of the book via Cavalletto’s recognition of Blandois’s identity. In his final direction to “run” the ends of the book together,” and in his decision to send Doyce away, we can see Dickens preparing for the novel’s conclusion. </p>\n<p> </p>\n<p dir=\"ltr\">Dickens struggled to write this number, presumably expending the most energy on Miss Wade’s story. On January 28, he complained to Macready that he had “knitted brows now turning into cordage over Little Dorrit” (Letters 8.270), and in what was possibly early February he wrote at length to Forster about reworking that narrative (see LD.XVI.R13). He was likely at work on the final chapter of the number around February 5 when he wrote to Bradbury & Evans about his discovery of the Blandois/Rigaud error in the previous number, since it was at this point that he began to make the correction in the manuscript (see LD.XVI.L4 for more on when he noticed this error). </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.XVI.R13</em></p>\n<p dir=\"ltr\"><strong>change this to two chapters [...]</strong></p>\n<p> </p>\n<p dir=\"ltr\">Dickens returned to the Note to add this correction, which he has to place in the space available on the left-side of the page; his line across the page indicates its implied placement on the right (for this reason, we have labeled this as a right-side note).</p>\n<p> </p>\n<p dir=\"ltr\">Dickens originally wrote this number with three chapters, the middle one (chapter 20) combining Clennam’s visit to Miss Wade with Miss Wade’s spoken narrative of her story to Clennam. That narrative occurred before Tattycoram’s appearance and Clennam’s subsequent return to England, which concluded the chapter. Dickens was dissatisfied with the narrative strategy of “containing” Miss Wade’s story within this chapter; he discussed the matter with Forster and followed up with the following letter:</p>\n<p> </p>\n<p dir=\"ltr\">“I don’t see the practicability of making the History of a Self-Tormentor, with which I took great pains, a written narrative. But I do see the possibility… of making it a chapter by itself, which might enable me to dispense with the necessity of the turned commas. Do you think that would be better? I have no doubt that a great part of Fielding’s reason for the introduced story, and Smollett’s, also, was, that it is sometimes really impossible to present, in a full book, the idea it contains (which yet it may be on all accounts desirable to present), without supposing the reader to be possessed of almost as much romantic allowance as would put him on a level with the writer. In Miss Wade I had an idea, which I thought a new one, of making the introduced story so fit into surroundings impossible of separation from the main story, as to make the blood of the book circulate through both. But I can only suppose, from what you say, that I have not exactly succeeded in this. (Forster 2.184-85)”</p>\n<p> </p>\n<p dir=\"ltr\">Herring aptly describes Dickens’s acquiescence to Forster’s suggestion as “unfortunate”: “When Dickens divided chapter xx, he not only lost the opportunity of fully exploiting the dramatic irony of her narration but also created the rather artificial circumstance of her having written out her life expressly for Clennam’s perusal” (52). By cutting out the middle part of the chapter, Dickens was forced to conclude chapter 20 with Clennam’s departure before he (or the reader) has read her story, a change that also reduces the impact of Clennam’s brief conversation with Tattycoram and recognition of the anger between the two women (see LD.XVI.R12). As Alistair Duckworth puts it, “The chapter has a curious and somewhat awkward place in the novel,” even if it is “thematically appropriate” (110). </p>\n<p> </p>\n<p dir=\"ltr\">Although Forster misdates the letter Dickens sent him about this alteration (see Letters 8.279fn5), we can date the “change” to this number to early February based on what we know of Dickens’s identification of his error in misnaming Blandois as Rigaud as he was working on this number (February 5). </p>\n<p> </p>\n<p dir=\"ltr\">The surviving proofs are for the original version; the altered proofs have not survived.</p>",
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            "chars": "<p dir=\"ltr\"><em>LD.XVI.R15</em></p>\n<p dir=\"ltr\"><strong>Get Doyce away on his expedition</strong></p>\n<p><span id=\"docs-internal-guid-8d4bfba7-7fff-a833-f229-d92656968be1\"> </span></p>\n<p dir=\"ltr\">Dickens recognizes his need here to “Get Doyce away” so that he is able to make way for Clennam’s speculations and losses, setting up the conditions for his return to aid in Clennam’s release in the very last chapter of the novel. With this strategy, Dickens is able to “carry through” his intention to “Take Clennam and his fortunes” (see LD.XVI.L2). Herring cites this note as evidence that “Dickens was now writing with narrative economy, for Doyce’s commission would later supply the funds for Arthur’s release from the Marshalsea” (52).</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.XVI.R16</em></p>\n<p dir=\"ltr\"><strong>“Compagnon de la Majolaine”</strong></p>\n<p><span id=\"docs-internal-guid-dc48af92-7fff-f38c-a5c1-499ca2101cbc\"> </span></p>\n<p dir=\"ltr\">This chapter returns us to the use of the song in the novel’s very opening chapter, included in the Notes (see LD.I.R7), thus helping this chapter to “throw the interest back to the first chapter” as he indicates below. Dickens uses the song as a strategy to spark Cavalletto’s recognition; Arthur finds himself “unconscious of having repeated it audibly” after hearing Rigaud singing it in Book II, chapter 10 (No. XIII); Cavalletto picks up the song, leading to the recognition of Blandois’s identity. </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.XVII</em></p>\n<p> </p>\n<p dir=\"ltr\">There are multiple temporal layers evident on both the left and right sides of the Working Note for No. XVII, which is densely filled, reflecting the extensive amount of material that is included in these four chapters. On the left, questions and answers are written with different inks/nibs. On the right, chapter titles and the chapter numbers for chapters 24, 25, and 26, along with the chapter title for number 23, appear lighter than the content notes; the ink used for the chapter header “chapter XXIII” is also quite dark. There is relative consistency to the ink for the chapter content notes, with the exception of what may be a change in chapter 24 when Dickens reaches the note “Take up Amy…” (see LD.XVII.R8). Given the cramped nature of the content notes, which often run down beside the headers for subsequent chapters, it is unlikely that Dickens entered these titles after sketching out the contents. The titles for chapters 23-25, at least, appear to have been added to the manuscript after composition, given their cramped hand and/or ink differences. This manuscript evidence, along with descriptive language in the chapter notes, suggests retroactive use of the page to summarize work already completed. However, Dickens’s use of some future-directed imperatives (Pave the way, Take up, Gradually work it up), and his extensive use of the chapter notes to sketch out the material for each chapter, might complicate this temporality. </p>\n<p> </p>\n<p dir=\"ltr\">The imperatives in this number could be interpreted as descriptions of, rather than instructions for, the careful preparatory work performed by the installment as Dickens neared the end of the novel, work which required what Herring refers to as “narrative economy” (53). On February 28, 1857, as he was likely working on this number, Dickens explained to Macready that he was “transcendently busy, drawing up the arteries of Little Dorrit. Very hard work, but deeply interesting to me” (Letters 8.290). With the phrase “drawing up the arteries,” Dickens echoes the somatic language he had employed previously in the Notes (e.g. “anatomise” LD.XII.R9, “dissect” in LD.XVI.L7) to describe his authorship of this novel. The “arteries” drawn up in this number are Merdle’s collapse, Clennam’s ruin, and preparation for the revelation of Mrs. Clennam’s secrets. On the left, Dickens considers the various vessels that might connect to these arteries. Slater suggests that the language of Dickens’s letter (“drawing up the arteries”) indicates that he may have been working also on the left-hand memoranda for No. XVIII and the “Mems: for working the story round” (LD_Mems1 and LD_Mems2) at this point, too. </p>\n<p> </p>\n<p dir=\"ltr\">Dickens likely finished the number in early March. He anticipated this much when he told Burdett-Coutts that he was unable to work on another task until the 6th or 7th of March because “I am obliged to work at Little Dorrit” (Letters 8.287). On March 4 he reported to William Howitt: “I am very hard at work finishing a long story; and at such times wildnesses come over me, and I go off unexpectedly into strange places and write in inaccessible fastnesses” (8.295). By March 6 he was approving the illustrations for the number (8.297). </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.XVII.L4</em></p>\n<p dir=\"ltr\"><strong>Clennam going downward? Yes. Gone</strong></p>\n<p> </p>\n<p dir=\"ltr\">The left-hand questions for three numbers indicate that Dickens planned carefully for the gradual progression of Clennam’s downfall. In No. XIV he answers in the affirmative to “Begin Clennam’s course downward?” (LD.XIV.L3), activating this question in his chapter note: “Foreshadow Clennam’s loss, through Pancks’s persuasion” (LD.XIV.R12). In the previous number, XVI, he asks “Take Clennam and his fortunes?” and answers “Carry through” (LD.XVI.L2), deferring the “taking” of the fortunes to this number. According to Herring, the answer to the question posed in this note “suggests that Dickens had intended another picture of Clennam gradually succumbing to the fever of speculation” (54); he answers “Yes.” and then modifies the tense of “going” to “Gone.” This original intention is consistent with Dickens’s note about Merdle’s “smashed” reputation in the next number (see LD.XVIII.L2).</p>\n<p> </p>\n<p dir=\"ltr\">Notably, Dickens picks up this same language (“going downward”) in the chapter notes for the next number (XVIII) in reference not to Clennam’s financial affairs, but to his spirits: “Drooping Downward” (LD.XVIII.R6) and “Ever downward, always downward” (LD.XVIII.R14). When we first encounter Clennam in this number (XVII, chapter 26), he has his “head down on the desk” (LD 692); the “Bleeding Hearts” notice that Clennam is “pulled down by” his reverse of fortune (698). See LD.XVIII.R6 for Dickens’s use of the language of “downward” in that Note.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.XVII.R4</em></p>\n<p dir=\"ltr\"><strong>And with Affery – for the telling of her dreams</strong></p>\n<p><span id=\"docs-internal-guid-11c4aaae-7fff-3522-ba48-d2e87114d3a5\"> </span></p>\n<p dir=\"ltr\">Affery remains reluctant to disclose “her dreams” to Clennam throughout their conversation: “Don’t ask me nothing… I have been in a dream for ever so long. Go away, go away!” (LD 671). Refusing to help Arthur for fear of her husband’s retribution, she volunteers to disclose her dreams to Clennam if he is able to assert his own power over his mother and Flintwinch: “If you ever begin to get the better of them two clever ones your own self… then do you get the better of ‘em afore my face; and then do you say to me, Affery tell your dreams! Maybe, then I’ll tell ‘em!” (671). In the final number, Dickens uses the Notes to remind himself that it will not be Arthur who calls for “Affery’s dreams,” since he is unable to leave the prison: “Affery’s dreams. Pancks has to be deputed by Arthur to call for them” (LD.XIX-XX.R4).</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.XVII.R5</em></p>\n<p dir=\"ltr\"><strong>Flora & Casby</strong></p>\n<p><span id=\"docs-internal-guid-816c9892-7fff-6444-27a5-393a6bc6934c\"> </span></p>\n<p dir=\"ltr\">The box around the mention of these two characters might suggest that Dickens is placing them here as he answers his questions on the left, deciding to “carry [them] through at Mrs Clennams” (LD.XVII.L5). Casby’s role here is minor; he is seen conversing with Mrs. Clennam at the end of the chapter in a way that pairs these two unsympathetic characters. Flora’s presence supplies the means by which Arthur can speak to Affery; Arthur asks her to request a visit around the house (LD 664). Flora’s misreading of Arthur’s motivation for this request supplies some comic relief, but her role here is largely functional. See LD.XVII.L5 for more on Dickens’s incorporation of these characters.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.XVII.R6</em></p>\n<p dir=\"ltr\"><strong>Hot summer night</strong></p>\n<p><span id=\"docs-internal-guid-a9cb1383-7fff-9c7b-2629-8826b0111481\"> </span></p>\n<p dir=\"ltr\">The “hot summer Sunday evening” connects the opening of this chapter with the closing of the last. At the end of chapter 23, Arthur “took particular notice… as he afterwards had occasion to remember, of the airlessness and closeness of the house” (LD 671). In the opening of this chapter, the same hot oppressiveness characterizes the Sparkler house: “The residence… at all times stuffed and close as if it had an incurable cold in its head, was that evening particularly stifling” (673). This note and that below (“Such a long, long, Day…”) appear to be part of the same temporal layer as the chapter notes for 23 above given their similar ink and size. </p>"
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            "chars": "<p dir=\"ltr\"><em>LD.XVII.R8</em></p>\n<p dir=\"ltr\"><strong>Take up Amy, through them.</strong></p>\n<p> </p>\n<p dir=\"ltr\">Dickens’s decision to postpone the letter from Little Dorrit he had considered on the left (see LD.XVII.L7) was also a decision to keep her out of the number except as mentioned by other characters. By having Fanny mention her sister, the installment is able to “take up Amy” without devoting sustained narrative attention to her grief, and to suggest her impending arrival in London. Fanny indicates Amy’s suffering after the death of their father (“my poor little pet was devotedly attached to poor papa, and no doubt will have lamented his loss exceedingly”) and suggests that she will “need to be roused from a low tendency which I know very well to be at the bottom of her heart” (LD 677). </p>\n<p> </p>\n<p dir=\"ltr\">Although it is difficult to determine with certainty, the ink for this entry and those below appears to be darker than that used in the notes above, suggesting a new temporal layer, one fairly consistent with the chapter notes for the following chapter.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.XVII.R14</em></p>\n<p dir=\"ltr\"><strong>Merdle dead by his own hand</strong></p>\n<p><span id=\"docs-internal-guid-bc8318e1-7fff-3503-f361-fd949537b5a6\"> </span></p>\n<p dir=\"ltr\">This is a summary rather than a quotation from the text, which instead includes the lines “Mr Merdle is dead” and “Mr Merdle has destroyed himself” (LD 688). Curiously, the phrase “his own hand,” while not used in this chapter to refer to his suicide, does appear at the close of the previous chapter when Merdle shakes Fanny’s hand: “Where his own hand had shrunk to, was not made manifest” (683).</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.XVII.R16</em></p>\n<p dir=\"ltr\"><strong>Gradually work it up –</strong></p>\n<p><span id=\"docs-internal-guid-d85a2527-7fff-1c91-bcb0-434fbed7eecc\"> </span></p>\n<p dir=\"ltr\">This note either indicates Dickens’s intention or describes the narrative mechanism by which this chapter’s second half “gradually” reveals Mr. Merdle’s crimes. This gradual revelation begins with the presence of a letter from Mr. Merdle, picked up by Physician at the scene of his death and handed to Bar. The reader does not get access to the content of the letter; we only view Bar’s reaction: “There was not much in it as to quantity; but, it made a great demand on his close and continuous attention” (LD 688). The focus on Bar and Physician gives way to a consideration of the multitudes affected by Merdle’s fraud, again without specifying the nature of the crime: “If all those hundreds and thousands of beggared people who were yet asleep, could only know, as [Bar and Physician] spoke, the ruin that impended over them, what a fearful cry against one miserable soul would go up to Heaven!” (689). After a paragraph speculating on the cause of death, the focus turns to rumors about Mr. Merdle’s wealth: “appalling whispers [began] to circulate, east, west, north, and south” (690), which then get “louder and higher,” becoming a “roar” (691). The chapter culminates with the revelation of “Forgery and Robbery” in the final paragraph.</p>"
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            "chars": "<p dir=\"ltr\"><em>LD.Mems2.R15</em></p>\n<p dir=\"ltr\"><strong>What was the appeal to Mrs Clennam. Do Not Forget? [...]</strong></p>\n<p><span id=\"docs-internal-guid-7847e31b-7fff-36e1-8131-454277058aa0\"> </span></p>\n<p dir=\"ltr\">Dickens summarizes how the three fateful words will be reimagined yet again, first from a commitment between lovers, then to a reminder of sin, and finally to a demand for restitution from a dying Mr. Clennam to his wife: “He died, and sent this watch back to me, with its Do not forget. I do NOT forget, though I do not read it as he did. I read in it, that I was appointed to do these things” (LD 756). Flintwinch will add precision to Mr. Clennam’s meaning: “You know very well that the Do Not Forget, at the time when his father sent that watch to you, could only mean, the rest of the story being then all dead and over, Do Not Forget the suppression. Make restitution!” (760).</p>"
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