"Mr. Pecksniff and his Daughters" — illustration by of "Martin Chuzzlewit" Sol Eytinge, Jr. Mr. Pecksniff and his Daughters Sol Eytinge, Jr. Dickens's Martin Chuzzlewit (Diamond Edition) [Click on image to enlarge it.] Wood engraving, approximately 10 cm high by 7.5 cm wide (framed) This second full-page character study introduces the story's arch-hypocrite, Seth Pecksniff, a widower and architect living in a village not far from Salisbury. Portraiture was high on the Royal Academy scale, and Eytinge has used the academician's trick of conveying the characters of the sitters through their faces, postures, and juxtapositions, showing their close affinity but subtle personality differences. Image scan and text by Philip V. Allingham ; formatting by George P. Landow . You may use this image without prior permission for any scholarly or educational purpose as long as you (1) credit the person who scanned the image and (2) link your document to this URL in a web document or cite the Victorian Web in a print one.

in a web document or cite the Victorian Web in a print one. in a web document or cite the Victorian Web in a print one. As members of a single family, the sitters all bear considerable resemblance to one another, but Pa's favourite (as signified by his gesture of patting her on the head) is the far more comely younger sister, Mercy, whose charming, free-flowing locks the illustrator has captured most effectively. Charity is of a different physical and psychological cast entirely: plain, discontented, and somewhat morose. And between the standing Charity and the sitting Mercy is enthroned Seth Pecksniff, a portrait derived from Phiz's original Martin Chuzzlewit serial illustrations, particularly "Meekness of Mr. Pecksniff and His Chaming Daughters" (January 1843). As in Phiz's series, we should associate the number three with Pecksniff, as if he is the head of a trinity, his daughters being his complements as a three-personed deity and divine patron of the family parlour, which here is missing all those facetious details that in Phiz's original illustration represent Seth Pecksniff's egocentricity.

The passage that we should regard as connected with the family portrait is this: Mr. Pecksniff having been comforted internally, with some stiff brandy-and-water, the eldest Miss Pecksniff sat down to make the tea, which was all ready. In the meantime the youngest Miss Pecksniff brought from the kitchen a smoking dish of ham and eggs, and, setting the same before her father, took up her station on a low stool at his feet; thereby bringing her eyes on a level with the teaboard. It must not be inferred from this position of humility, that the youngest Miss Pecksniff was so young as to be, as one may say, forced to sit upon a stool, by reason of the shortness of her legs. Miss Pecksniff sat upon a stool because of her simplicity and innocence, which were very great, — very great. Miss Pecksniff sat upon a stool because she was all girlishness, and playfulness, and wildness, and kittenish buoyancy. She was the most arch and at the same time the most artless creature, was the youngest Miss Pecksniff, that you can possibly imagine. It was her great charm.

She was too fresh and guileless, and too full of child-like vivacity, was the youngest Miss Pecksniff, to wear combs in her hair, or to turn it up, or to frizzle it, or braid it. She wore it in a crop, a loosely flowing crop, which had so many rows of curls in it, that the top row was only one curl. Moderately buxom was her shape, and quite womanly too; but sometimes — yes, sometimes — she even wore a pinafore; and how charming that was! Oh! she was indeed "a gushing thing" (as a young gentleman had observed in verse, in the Poet's Corner of a provincial newspaper), was the youngest Miss Pecksniff! Mr. Pecksniff was a moral man — a grave man, a man of noble sentiments and speech — and he had had her christened Mercy. Mercy! oh, what a charming name for such a pure-souled being as the youngest Miss Pecksniff! Her sister's name was Charity. There was a good thing! Mercy and Charity!

And Charity, with her fine strong sense and her mild, yet not reproachful gravity, was so well named, and did so well set off and illustrate her sister! What a pleasant sight was that the contrast they presented; to see each loved and loving one sympathizing with, and devoted to, and leaning on, and yet correcting and counter-checking, and, as it were, antidoting, the other! To behold each damsel in her very admiration of her sister, setting up in business for herself on an entirely different principle, and announcing no connection with over-the-way, and if the quality of goods at that establishment don't please you, you are respectfully invited to favour ME with a call! And the crowning circumstance of the whole delightful catalogue was, that both the fair creatures were so utterly unconscious of all this! They had no idea of it. They no more thought or dreamed of it than Mr. Pecksniff did. Nature played them off against each other; they had no hand in it, the two Miss Pecksniffs. [Chapter 2; Diamond Edition, p. 7-8] References Bentley, Nicolas, Michael Slater, and Nina Burgis. The Dickens Index. Oxford and New York: Oxford U.

P., 1988. Davis, Paul. Charles Dickens A to Z: The Essential Reference to His Life and Work. New York: Checkmark and Facts On File, 1998. Dickens, Charles. The Life and Adventures of Martin Chuzzlewit. Il. Sol Eytinge, Jr. The Diamond Edition. Boston: Ticknor and Fields, 1867. Dickens, Charles. The Life and Adventures of Martin Chuzzlewit (1842-43). Il. Hablot Knight Browne ("Phiz"). London: Chapman and Hall, 1843. Hammerton, J. A. The Dickens Picture-Book. London: Educational Book Co., 1910. Kitton, Frederic G. Dickens and His Illustrators. 1899. Rpt. Honolulu: U. Press of the Pacific, 2004. Lester, Valerie Browne. Phiz: The Man Who Drew Dickens. London: Chatto and Windus, 2004. Steig, Michael. Dickens and Phiz.

Bloomington & London: Martin Chuzzlewit by Charles Dickens: Character Summary Character Summary MAIN CHARACTERS THE ELDER MARTIN CHUZZLEWIT: a bitter gentleman who thinks money is the root of all evil MR. SETH PECKSNIFF: an architect who is admired for his virtue that runs a school that teaches gentlemen his trade, cousin to elder Martin Chuzzlewit MERCY PECKSNIFF: the girlish and gushing younger daughter of Mr. Pecksniff (sometimes called Merry) CHARITY PECKSNIFF: the sensible elder daughter of Mr. Pecksniff (sometimes called Cherry) JOHN WESTLOCK: a handsome man who used to be a student of Mr. Pecksniff until he offended him TOM PINCH: a student, confidante, and assistant of Mr. Pecksniff who worships him MRS.

LUPIN: landlady of the Blue Dragon, a widow who is still in her bloom MARY GRAHAM: an orphan that elder Martin Chuzzlewit takes in and gives a salary to be his companion THE YOUNGER MARTIN CHUZZLEWIT: grandson of elder Martin Chuzzlewit who is out to make his fortune MONTAGUE TIGG: a friend of Chevy’s; later president of the Anglo-Bengalee Disinterested Life Assurance Company ANTHONY CHUZZLEWIT: brother of elder Martin Chuzzlewit who is very cunning JONAS CHUZZLEWIT: Anthony’s son, who is like his father MARK TAPELY: a young man who works at the Dragon that enjoys doing things that make him uncomfortable so that he can have merit in being happy despite them RUTH PINCH: Mr. Pinch’s sister, a governess MADAME TODGERS: owner of a boarding house the Pecksniffs stay at when he is in London BENJAMIN (BAILEY): boot boy for Madame Todgers who is given many names MR. JINKINS: the oldest lodger at Madame Todgers and longest of boarders, a bookkeeper MR.

AUGUSTUS MODDLE: the youngest gentleman lodger at Todgers who often feels misunderstood and abused by Jinkins MR. CHUFFEY: elderly man that is a clerk to Anthony Chuzzlewit who is extremely devoted to him MRS. SAIRAH (SAIREY) GAMP: a mid-wife, nurse, and a watcher of the dead MRS. HARRIS: Mrs. Gamp's friend that she always refers to, but who most people believe doesn't actually exist DOCTOR JOHN JOBLING: a popular physician who took care of Anthony Chuzzlewit and is employed by Tigg. MR. NADGETT: a secretive man that is hired by Tigg to make inquiries about people SUPPORTING CHARACTERS THE MATCHMAKER: A Spanish lady who married a Chuzzlewit in Spain whose son becomes involved in The Gunpowder Plot.

CHUZZLEWIT FAWKES: Chuzzlewit involved in The Gunpowder Plot DIGGORY CHUZZLEWIT: ancestor that constantly dined with Duke Humphrey, and gave away many of his possessions to a man he claimed was his uncle TOBY CHUZZLEWIT: Chuzzlewit whose paternal lineage is considered mean and low, though unknown, and who doesn’t clarify the matter on his deathbed. CHEVY SLYME, ESQUIRE: a member of the Chuzzlewit family that Pecksniff is sorry to know MR. SPOTTLETOE: a bald man with big whiskers, hot-tempered; married into the Chuzzlewit family MRS. SPOTTLETOE: Elder Martin Chuzzlewit’s niece, who had been a favorite. MRS. NED: widow of elder Martin Chuzzlewit’s brother, a disagreeable woman whose outlived three husbands THREE DAUGHTERS OF MRS.

NED: all spinsters and very masculine looking GRAND NEPHEW OF MARTIN CHUZZLEWIT: a very hairy Chuzzlewit FEMALE COUSIN: a very deaf Chuzzlewit who has a constant toothache, but has no problem participating in quarrels—even if she doesn’t know what they are about GEORGE CHUZZLEWIT: corpulent bachelor cousin of Martin Chuzzlewit TOLLMAN: a man who collects tolls on the road to Salisbury TOLLMAN’S WIFE: friendly to Mr. Pinch ORGANIST’S ASSISTANT: a friend of Tom Pinch’s who lets him play the organ at the church MR. TODGERS: Mrs.

Todgers husband, who left her to live in another country CAMBERWELL PORTER: servant that works for the family that employs Ruth Pinch CAMBERWELL FOOTMAN: servant that works for the family that employs Ruth Pinch SOPHIA: Thirteen year old that is one of Ruth Pinch's charges PUPIL’S MOTHER: woman who employs Ruth Pinch as governess PROPRIETOR: the pupil’s father GANDER: a witty gentleman who lodges at Madame Todgers boarding house SPORTING GENTLEMAN: a lodger at Todgers boarding house THEATRICAL GENTLEMAN: a lodger at Todgers boarding house DEBATOR: a lodger at Todgers boarding house LITERARY GENTLEMAN: a lodger at Todgers boarding house VOCAL GENTLEMAN: a lodger at Todgers boarding house SMOKER GENTLEMAN: a lodger at Todgers boarding house CONVIVAL GENTLEMAN: a lodger at Todgers boarding house BILL SIMMONS: a coach driver that takes Martin to London in exchange for his silk handkerchief DAVID: a pawnbroker young Martin sells his belongings to who is friendly with Tigg WOMAN WITH

 THREE CHILDREN: a woman Mark Tapely takes under his protection on the voyage to America COLONEL DIVER: sallow gentleman who is the editor of The New York Rowdy Journal.

CAPTAIN OF THE SCREW: Captain of the ship who is generous with champagne with editors of papers to get a good review. JEFFERSON BRICK: war correspondent of The New York Rowdy Journal, who looks much younger than he is MAJOR PAWKINS: owner of a boarding house in America MRS. PAWKINS: wife of Major Pawkins who runs the business side of the boarding house MRS. JEFFERSON BRICK: the wife of Jefferson Brick who looks as much of a child as he does, even after giving birth to two children. PROFESSOR MULLIT: a short gentleman with a red nose who severs ties with his father for having the wrong political opinion MR. BEVAN: a lodger at Pawkins who is ignored by the other gentlemen CICERO: a gray-haired black man that Mark Tapely hires, a former slave MR. NORRIS: an Irish man that is a friend of Mr. Bevan MISS NORRIS THE YOUNGER: Eighteen year old pretty girl MISS NORRIS THE ELDER: Twenty year old pretty girl MRS.

NORRIS: a woman that looks older than she is GRANDMOTHER NORRIS: a sharp-eyed, quick old lady MR. NORRIS JUNIOR: Son of Mr. Norris and brother to the girls GENERAL FLADDOCK: a friend of the Norris family that wears a cumbersome uniform. MR. MOULD: the undertaker Martin Chuzzlewit - Microsoft Store Martin Chuzzlewit Season 1 • 1994 • Drama • English • Unrated CC $10.99 Old Martin Chuzzlewit is nearing his death. Who will inherit his riches? With such a prize to play for, the Chuzzlewit family bring forth all of their cunning, greed and selfishness. Adapted from the novel by Charles Dickens. Buy SD $10.99 More from BBC America TV episodes Old Martin Chuzzlewit is nearing his death. Who will inherit his riches? With such a prize to play for, the Chuzzlewit family bring forth all of their cunning, greed and selfishness. Adapted from the novel by Charles Dickens.

1 Watch now Resume episode Completed Season 1, episode 1, TV-PG CC Old Martin Chuzzlewit is a very rich man, but paranoid that everyone is after his money. His grandson has made the fatal mistake of falling in love with the only person Martin trusts, and finds himself disinherited. Buy SD $1.99 Watch now Resume episode Completed Season 1, episode 2, TV-PG CC Pecksniff returns to Wiltshire to carry out Old Martin's orders. After a tender parting from Mrs. Lupin, Mark Tapley helps Young Martin to a secret rendezvous with Mary Graham, before seeking his fortune in America. Buy SD $1.99 Watch now Resume episode Completed Season 1, episode 3, TV-PG CC Jonas gives his father a lavish funeral and later proposes to Mercy Pecksniff, much to Charity’s anger. Tom Pinch brings news of young Martin to Mary. Old Martin warns Mercy about entering into a marriage without love.

Buy SD $1.99 Watch now Resume episode Completed Season 1, episode 4, TV-PG CC Jonas seeks to insure Mercy's life, Pecksniff offers Mary a permanent position in his home and Charity plans to leave her father and live in London. Tom Pinch finally recognizes his devotion to Pecksniff is misplaced. Buy SD $1.99 Watch now Resume episode Completed Season 1, episode 5, TV-PG CC Tom Pinch finds Mercy has suffered at her husband’s hands. Montague attempts to blackmail Jonas. Young Martin and Mark Tapley return home from America. Young Martin hopes to gain forgiveness from his grandfather. Buy SD $1.99 Watch now Resume episode Completed Season 1, episode 6, TV-PG CC Jonas murders Montague and is exposed, so takes his own life. Old Martin’s senility is seen to be a sham and at a family conference young Martin’s inheritance is restored and a blessing given to wed Mary, while Pecksniff is punished.

Buy SD $1.99 An Overview of Dickens's Picaresque Novel Martin Chuzzlewit An Overview of Dickens's Picaresque Novel Martin Chuzzlewit (serialised in monthly parts January, 1843, to July, 1844) Philip V. Allingham , Faculty of Education, Lakehead University, Thunder Bay, Ontario In the vein of agitation for social reform that characterizes Oliver Twist (1837-8) Dickens is critical of drunken nurses who mistreat their poor patients, but still has a touch of genial warmth for the loquacious Sairey Gamp, identified by her tag line about "Mrs. Harris" and her umbrella (in Cockney slang, a 'gamp'). Martin Chuzzlewit also reflects Dickens's disillusionment resulting from his recent trip to the United States, often referred to as his first American reading tour.

The picaresque novel has three elements essentially: the Pecksniff-Jonas plot, focusing on the destructiveness of selfishness and hypocrisy, and involve a psychological study of a criminal and a crime-and-detection plot; the young Martin-Mark Tapley journey to Eden ('Don Quixote and Sancho Panza' in the Mississippi Valley of the United States), a Swiftian political satire of the young republic; the Sairey Gamp-and-associates plot, that is interwoven with the first. On one level, Dickens is still the preacher of domestic sentiment and social reform, but on another he is an artist reflecting the brutality and creative energy of early Victorian society. As is the case with Paul Sweedlepipes, some of Dickens's best-remembered characters have little to do with the main plots of their respective books. His use of crime-and-detection intrigue (murderer Jonas and swindler Tigg) and suspense (the detective Nadgett), and of a long-lost heir (young Martin) is as intrinsic to his plotting here as in Oliver Twist. The genealogy of the opening chapter seems to reflect the novelist's difficulty in beginning the story.

His extensive use of pathetic fallacy in this book begins with his animation of the wind in the second chapter: part of Dickens's comedy is that, while things behave like people (personification), people behave like machines (dehumanization), a double technique seen again in Dickens's Hard Times in particular. The world of this novel is one of steep contrasts: the idyllic countryside near Salisbury contrasting with the slums near Todgers's in London and the swamp of Eden in the United States. Although this novel was written in the railway age, Dickens harkens back to the England of the Regency with its coaches and turnpike roads; nevertheless, as in the case of Tigg's personal carriage and Martin's arrival in America, there is a sense of rapid movement. The description of the wind is characteristic of the humorous style of the early Sketches by Boz , Dickens employing a farcical note to introduce the story's butt, the sham architect Seth Pecksniff. The daughters' names, Mercy and Charity, initially suit "the moral Pecksniff," but prove to be ironic since he is "a direction-post which is always telling the way . . .

, and never gets there." Pecksniff anticipates the sleek, soft, oily hypocrisy of Uriah Heep in David Copperfield . Dickens tendentiously surrounds anything he dislikes with unpleasant connotations. Objects have value only in their positive or negative effects on the human situation. Dickens can charge a situation with either horror or amiability and exuberance. His point of view is often that of an imaginative yet frightened child in an enchanted forest of grotesque and divine shapes. For Dickens only individual acts of generosity can improve human circumstances. Dickens portrays Sairey Gamp the nurse and Seth Pecksniff the architect as frauds and hypocrites, but he gradually loses his indignation as he offers amusing details about their characters, particularly their speech and appearance. More inarticulate characters have little of the high-blown rhetoric Dickens gives these two, but rather reveal themselves through expressive actions (such as Mary Graham's giving young Martin her ring). As in most of his other works, in Martin Chuzzlewit Dickens employs a picaresque journey (often, as in Oliver Twist and The Old Curiosity Shop , involving the flight of a child from danger and conveying that terrified child's point of view).

Young Martin's journey is a reflection of Dickens's own, not only from social naivete and financial insecurity towards self-knowledge and affluence, but also to the United States and back again, a political Odyssey of sorts. In January, 1842, Dickens and his wife entrusted the care of their young family to their great friend, the actor-manager William Macready, and sailed for America. Initially, Dickens proclaimed himself a republican at heart, and longed to visit this classless society founded upon the egalitarian principles of the Enlightenment. His intention was to persuade Americans to honour British copyright, using the lamentable case of Sir Walter Scott to justify his position that American publishers should not be permitted to pirate the works of British authors (America joined the International Copyright Union only in 1896, after Canadians had pirated Twain and other American authors). Astonished at the gross conceit of Americans and their lofty condescension to foreigners, as well as their tendency to use violence instead of compromise to solve disputes, Dickens noted the inconsistencies between American ideals and conduct.

However, while American Notes is essentially a non-fiction account of that visit based on his letters to John Forster , Martin Chuzzlewit is a Swiftian satire of human nature, without the naive persona of Gulliver (instead, Dickens uses the callow Martin as an ironic observer of the American social and political scene). Like his eighteenth-century master, Henry Fielding, Dickens makes editorial intrusions into the action of the novel, emphasizing the theme which runs through all his works, the inhumanity to man inherent in social institutions. Dickens's extensive use of coincidence (notice, for example, that Tigg's confidential detective turns out to be the Pinches' landlord) reflects his feeling that the world is highly changeable and insecure. Despite the weaknesses of the episodic, picaresque plot, Martin Chuzzlewit is saved by its author's sense of the theatrical. Dickens uses the novel as a fantastic stage which teems with action and rings with voices of all classes and conditions. He builds from crisis to crisis in the manner of contemporary melodrama, maintaining interest by tantalizing the reader towards the end of each monthly instalment (part).

Deftly he brings on new characters and settings to re- engage the reader just when interest seems to flag. For example, with the sales of the green-covered, 32-page fifth instalment falling, in the last chapter of the sixth monthly number (June 1843) Dickens adopted the radical expedient of sending his youthful protagonist not merely to London as Fielding had done in Tom Jones , but to America. The book's picaresque technique provides him with a large canvas and plenty of opportunity for farce, melodrama, and social criticism. Martin Chuzzlewit , though highly popular throughout the nineteenth century, is today regarded as something of an artistic failure because its central character is a mere cipher overshadowed by a legion of fascinating, quirky minor characters. To the modern reader as to American novelist and critic Henry James, Martin Chuzzlewit exemplifies the "loose, baggy monster" that was the Victorian novel. Dickens's sense of character and atmosphere is strong, his dialogue is often brilliant in its individualizing the characters, but the plotting seems creaky.

Both David Copperfield (1849-50) and Great Expectations (1861) are more highly regarded today because of their highly integrated plots and introspective, first-person narrative points-of-view. A Bibliography of Suggested Readings Philip V. Allingham's "The Names of Dickens's American Originals in Martin Chuzzlewit " in Dickens Quarterly 7, 3 (Sept., 1990): 329-337. James J. and Patience P. Barnes' entry "Copyright," in Victorian Britain: An Encyclopedia, ed. Sally Mitchell (New York: Garland, 1988): 192-3. Joseph Brogunier's "The Dreams of Montague Tigg and Jonas Chuzzlewit," in the Dickensian , 58 (1962): 165-170. Charles Dickens� Martin Chuzzlewit (1843-4), ed.

Margaret Cardwell (Oxford: Clarendon Press, 1982) for excellent reproductions of Phiz 's plates, "Dickens's Instructions to the Illustrator" (842-5), Dickens's 1868 postscript (855-6). The "Forged Letter" of 3 May, 1842, and the New York Evening Tattler's response to it on 11 August, 1842. The American newspaper Brother Jonathan's unsigned review of the novel: 29 July, 1843, reprinted in the Dickensian , vol, 10 (1914): 97-99. Susan Eilenberg's "Mortal Pages: Wordsworth and the Reform of Copyright," ELH 56, 2 (1989): 351-374. George H. Ford's entry on Dickens in The Dictionary of Literary Biography, Victorian Novelists Before 1885, vol. 21, ed. Ira B. Nadel and William E. Fredeman (Detroit: Gale Research, 1983): 89-124.

T. W. Hill's "Notes on Martin Chuzzlewit in the Dickensian , vol. 42 (1946):141-148, 196-203; vol. 47, 28-35; vol. 49, 167-. Robert L. Patten's "Trouble in Eden: American Notes and Martin Chuzzlewit ," Ch. 7 in Charles Dickens and His Publishers (Oxford: Claredon, 1978): 119-138. Ronald Pearsall's " The Figure of the Governess in Nineteenth-Century Britain" in Night's Black Angels: The Forms and Faces of Victorian Cruelty (London:1975): 45-8. Mary Rosner's "Dickens's Use of Animals in Martin Chuzzlewit," in Dickens Studies Newsletter 10 , 2 (1979): 40-51. Anne Summers� "The Mysterious Demise of Sarah Gamp: The Domiciliary Nurse and Her Detractors, c.

1830-1860," in Victorian Studies (Spring, 1989): 365-386. Michael Steig's "Martin Chuzzlewit's Progress by Dickens and Phiz," in Dickens Studies Annual 2 (1972): 119-149. Kathleen Wales� "The Claims of Kinship: The Opening Chapter of Martin Chuzzlewit ," in the Dickensian 83, 3 (Autumn, 1987): 167-179. Last modified November 18, 2000 Martin Chuzzlewit by Charles Dickens This page presents a summary of the plot and characters of Martin Chuzzlewit, a novel by Charles Dickens . Martin Chuzzlewit The Meekness of Mr. Pecksniff and his Charming Daughters - an illustration by Phiz, taken from Martin Chuzzlewit by Charles Dickens: Martin Chuzzlewit (Full Title: The Life and Adventures of Martin Chuzzlewit) was a novel by Charles Dickens, published immediately after The Old Curiosity Shop. It appeared in serial form, published in 19 instalments.

Dickens said that he considered Martin Chuzzlwit to be his greatest novel, but the book did not enjoy great commercial success. In fact, when the first few instalments were published, the sales were so poor that Dickens' publisher dropped him and demanded repayment of their advance. The novel was illustrated by Phiz , Dickens' longtime illustrator. Martin Chuzzlewit is a picaresue novel, which follows the genre convention of depicting the homorous adventures of a roguish hero of low social class who lives by his wits and corrupts society. As in most picaresque novels, the primary objective is social satire or criticism. Martin Chuzzlewit Plot Summary A Warm Reception for Peksniff by his Venerable Friend Old Martin Chuzzlewit, is very rich and very old; he is convinced that his relatives are only interested in his money and cannot wait for him to die so that they can inherit his fortune. Chuzzlewit develops a scheme to thwart what he thinks are his relatives designs: he takes in an orphan named Mary, whose job is to be his nursemaid.

Mary will be well taken care of and live comfortably only so long as old Martin Chuzzlewit is alive, but as soon as he dies, she will be thrown out onto the streets without a penny. In this way, old Martin Chuzzlewi thinks that he can motivate Mary to take good care of him and help keep him alive, in contrast to his greedy relatives who he thinks want him dead. Chuzzlewit's plans are thwarted when his grandson and heir, Martin Chuzzlewit Junior, falls in love with Mary and wishes to marry her. Fearing that Mary will therefore have a reason to benefit from his death, the old man orders his grandson to break off the engagement, but the younger Martin Chuzzlewit refuses. In a rage, the old man disinherits his grandson, who must then fend for himself in a hostile and greedy society. Martin Chuzzlewit Video The young Martin Chuzzlewit tries to make his way in the world by becoming an apprentice to the villainous Mr. Pecksniff, a relative of his grandfather. Pecksniff is one of Dickens' great villains: he is talentless, full of himself, falsely pious.

He periodically takes in students, offering to teach them architecture and then lives off of their tuition fees while teaching them nothing and stealing their ideas. Pecksniff has two daughters, Mercy (Merry) and Charity (Cherry). Charity is very much like their father and exhibits none of the good qualities for which she is named. Her sister Merry is at first giggly and flighty, but later loses her shine when she marries an abusive man, Jonas Chuzzelwit (who is the nephew of Old Martin Chuzzlewit). Old Martin Chuzzlewit and Mary While in the service of Pecksniff, Chuzzlewit befriends Peksniff's servant Tom Pinch, an idealistic and innocent young man who is in some ways the main character of the novel. When the elder Martin Chuzzlewit hears that his grandson is apprenticing to Mr. Pecksniff, he demands that Pecksniff kick the younger Chuzzlewit out immediately, which he does. The old man then moves in with his relation, together with his nuresemaid Mary, and promptly falls under the complete control of the villainous Pecksniff and his daughters.

Meanwhile Tom Pick also falls in love with Mary (Something About Mary?) but refrains from expressing his feelings because he knows that his friend Martin is in love with her too. Pinch idolizes Mr. Pecksniff, but eventually comes to see him for what he really is: an avaricious user. Pecksniff then dismisses his servant. Pinch eventually finds new employment with the mysterious Mr. Fips, whose true identity is not revealed until the end of the book. Young Martin Chuzzelwit decides to try to make his fortune by travelling to America. He journeys there in the company of his friend Mark Tapley. Tapley is always cheerful and as an experiment decides to see if it is possible for him to remain cheerful under the worst of circumstances: he accompanies you Chuzzlewit to the United States as Martin's unpaid servant and in fact spends all of his savings financing the trip. While in the United States, the pair are taken advantage of by greedy swindlers and charlatans. They eventually try to settly unuccessfully in a malaria infested settlement called Eden in the midst of swampland, before finally giving up and returning to England.

On his return, young Chuzzlewit begs his grandfather for forgiveness but the old man rejects him coldly. Young Martin Chuzzlwit and his Friend Tapley In the meantime, Mr. Pecksniff has become involved in a pyramid scheme involving Tigg Montague. Montague is a low life petty thief, who pretends to be a gentlemen, having financed the purchase of fine clothes by stealing a watch from young Chuzzlwit. Montague's phoney appearance of success is enough to convince investors that he is legitimate, and in the end many are ruined. Montague also blackmails Jonas Pecksniff, because he knows that Jonas murdered his father (Old Martin Chuzzlewit's brother). Withe the Monatgue pyramid scheme failing, Jonas murders Montague in order to hide the secret that he also murdered his own father. Young Martin Chuzzlewit is reunited with his friend Tom Pinch. Meanwhile, Tom Pinch discovers that his mysterious benefactor/employer is old Martin Chuzzlewit. The elder Chuzzlewit reveals that when he realized what greed could make people do, he decided to pretend to be senile in order to give everyone enough hope to hang themselves.

In a soap operish type ending which is unworthy of a great novel, the group confronts Mr. Peksniff about his true character. It is also revealed that Jonas did not actually murder his father (although he thought he had). In fact Jonas's father died of a broken heart when he discovered that his greedy son wanted him dead. Old Martin Chuzzlewit also reveals that he was angry at the angagement between Mary and his grandson because he had wanted to arrange the match himself but felt insulted that the credit and glory had been stolen from him by the two making their own plans. At this point Martin and Mary are married. The good Tom Pinch never reveals his love for Mary, he never marries, and remains a good friend to both, and genuinely happy that his friends are happy. The end. You can read the full text of the novel here . Martin Chuzzlewit by Charles Dickens: Summary Chapter 2 Summary Chapter 2 CHAPTER 2 Mr. Pecksniff is entering his home when the wind blows the door closed and knocks him down. His daughters are relieved that he is unhurt and help him into the house. They tend to his abrasions and make tea.

The daughters are very affectionate to their widowed father. The sisters get along well, even though they are total opposites in personality. Mercy Pecksniff, the youngest, is girlish. Charity Pecksniff is sensible. Mr. Pecksniff is admired as a very virtuous man. He appears to live up to his reputation, though he falls a little short in actual practice. He is an architect that has never built anything. He takes in students and teaches them the trade. He also is the sort of person that likes to use words that sound impressive on the tongue, but he doesn’t always use them correctly. Mr. Pecksniff, after tea, reflects on how every pleasure is temporary—and how you can’t over indulge without suffering illness or inebriation. He then announces that he has another student. Charity is interested in how much money they will receive from this student’s family for his education, and Mercy is interested in whether the youth is handsome. Their father’s reply to both inquiries is disappointing. This is a charity case. Mr. Pecksniff asks if John Westlock is gone. The daughters reply in the negative. He asks why.

One daughter replies that he dined with Mr. Pinch and stayed the night at the Dragon. Mercy adds that Mr. Pinch smelled of smoke and punch. He looked worse for wear when she saw him this morning. Mr. Pecksniff is offended that Mr. Pinch chose to be friendly with someone who had wounded his feelings. Charity points out that one can’t expect much from Pinch. Her father replies they should always expect people to develop their better qualities. He thinks a less of Mr. Pinch for failing to do so. Charity mentions that she hears Pinch and Westlock coming to fetch his box now. Mr. Pecksniff bids the knocker to enter. Mr. Pinch beckons Mr. Westlock inside, and Mr. Pecksniff rounds to face them. Pinch says that Westlock desires to leave on good terms, despite his disagreement with Pecksniff. The young ladies exclaim on how he downplays the situation. Confused, Pinch flounders. Westlock comes forward and says he bears no ill will and is sorry if he offended Mr. Pecksniff. Pecksniff claims he bears no grudge, but he won’t shake his hand.

He says he has forgiven him, and that is better than a handshake. Westlock walks away in disgust, saying he won’t have his forgiveness. Pecksniff claims he will—he won’t remember any wrong Westlock has done to him. Westlock retorts he has done no wrong. Mr. Pecksniff has charged him a lot of money for a service he has not rendered him. Pecksniff says money is the root of all evil and has taken hold of Westlock. He forgives him, though, misguided person as he is—even though he has wounded him. Westlock goes away in contempt, telling Pinch he was wrong. They gather Westlock’s box and leave. Pinch is miserable because he thinks Pecksniff believes him to be ungrateful. Westlock counters that Pecksniff has not given anything that they want—employment, instruction, money, or food. Pinch is grateful to Pecksniff because he took him as a pupil for less than he originally asked. His grandmother, who had been a housekeeper, died happy. He’s grown up in the house, been a confidante and assistant to Pecksniff, and gets a salary.

Pinch was born poor, and he isn’t good at the business or anyone else’s. Westlock says Pinch is one of the finest people in the world. Westlock sarcastically points out what Pecksniff hasn’t done—though it makes it sound like he is making accusations to the contrary. Mr. Pecksniff didn’t take Pinch’s grandmother’s hard savings. Pecksniff didn’t make promises of an advancement that would never happen. He took all she could give him. Westlock claims that Mr. Pecksniff keeps Pinch because Pinch admires him. Pinch’s honesty makes Pecksniff look honest. Pinch’s learning, which he does on his own, makes it look like Mr. Pecksniff look intelligent. Tom Pinch is better than an advertisement. How valuable he is to Mr. Pecksniff because he doesn’t recognize his own value and trusts one who doesn’t deserve it. The coach comes before Pinch can reply to this. Westlock promises to write. Pinch thinks well of Westlock, but he thinks he has been horribly unjust to Mr. Pecksniff.

BUY IT Overall Package ����Charles Dickens wrote 14 complete novels between Pickwick Papers in 1836 and Our Mutual Friend in 1865. He charted the social course of Great Britain and played a part in bringing the injustices of the system to light. His works were revered by critics and the public alike. Released in serial form they were priced cheaply enough to be bought by the poorest labourer ensuring that his genius was recognised across class barriers. ����Seven of Dickens novels and his short novel A Christmas Carol are gathered in their mini-series form in the Dickens Collection . These comprise a formidable 33 hours of blacksmiths and orphans, toffs and conmen. Whilst this may present a serious challenge to the sanity of a reviewer charged with analysing the films within a timeframe, for the dedicated Dickens fan this is a collection to be treasured and watched at leisure with a guarantee of many hours of enjoyment. ����There are no duds amongst this collection. I found A Tale of Two Cities to be perhaps the most dated in style although it is not without its charms.

It was good to get a chance to see the rare dramatisation of Our Mutual Friend although the transfer was a little poor by comparison with the others in the collection, judged by the year of production. ����There are some moments that I will treasure from the collection. One is seeing young Harry Potter, Daniel Radcliffe, as David Copperfield. Another is seeing a little known book like Martin Chuzzlewit elevated in status by some exceptional performances from Tom Wilkinson and Paul Schofield. Despite its faults the final moments of A Tale of Two Cities are unforgettable. ����Suitable for casual dipping as well as a dedicated Dickens Weekend this is a collection destined to bring joy into many a household. VUDU - Martin Chuzzlewit: Season 1 Martin Chuzzlewit: Season 1 More Info Martin Chuzzlewit: Season 1 Old Martin Chuzzlewit is nearing his death. Who will inherit his riches? With such a prize to play for, the Chuzzlewit family bring forth all of their cunning, greed and selfishness. Adapted from the novel by Charles Dickens. Drama Charles Dickens (1812-1870). Pecksniff at the Boarding-House. Lionel Strachey, et al., eds.

1906. The World's Wit and Humor: An Anthology in Fifteen Volumes By Charles Dickens (18121870) From Martin Chuzzlewit THE USUAL Sunday dinner-hour at Todgerss was two oclocka suitable time, it was considered, for all parties; convenient to Mrs. Todgers, on account of the bakers; and convenient to the gentlemen, with reference to their afternoon engagements. But on the Sunday which was to introduce the two Misses Pecksniff to a full knowledge of Todgerss and its society, the dinner was postponed until five, in order that everything might be as genteel as the occasion demanded. 1 When the hour drew nigh, Bailey junior, testifying great excitement, appeared in a complete suit of cast-off clothes several sizes too large for him, and, in particular, mounted a clean shirt of such extraordinary magnitude that one of the gentlemen (remarkable for his ready wit) called him Collars on the spot. At about a quarter before five a deputation, consisting of Mr.

Jinkins and another gentleman whose name was Gander, knocked at the door of Mrs. Todgerss room, and, being formally introduced to the two Misses Pecksniff by their parent, who was in waiting, besought the honour of conducting them up-stairs. 2 The drawing-room at Todgerss was out of the common style; so much so, indeed, that you would hardly have taken it to be a drawing-room, unless you were told so by somebody who was in the secret. It was floor-clothed all over; and the ceiling, including a great beam in the middle, was papered. Besides the three little windows, with seats in them, commanding the opposite archway, there was another window looking point-blank, without any compromise at all about it, into Jinkinss bedroom. And high up, all along one side of the wall, was a strip of panes of glass, two deep, giving light to the staircase.

There were the oddest closets possible, with little casements in them like eight-day clocks, lurking in the wainscot, and taking the shape of the stairs; and the very door itself (which was painted black) had two great glass eyes in its forehead, with an inquisitive green pupil in the middle of each. 3 Here the gentlemen were all assembled. There was a general cry of Hear, hear! and Bravo, Jink! when Mr. Jinkins appeared with Charity on his arm, which became quite rapturous as Mr. Gander followed, escorting Mercy, and Mr. Pecksniff brought up the rear with Mrs. Todgers. 4 Then the presentations took place.

They included a gentleman of a sporting turn, who propounded questions on jockey subjects to the editors of Sunday papers, which were regarded by his friends as rather stiff things to answer; and they included a gentleman of a theatrical turn, who had once entertained serious thoughts of coming out, but had been kept in by the wickedness of human nature; and they included a gentleman of a debating turn, who was strong at speech-making; and a gentleman of a literary turn, who wrote squibs upon the rest, and knew the weak side of everybodys character but his own. There was a gentleman of a vocal turn, and a gentleman of a smoking turn, and a gentleman of a convivial turn; some of the gentlemen had a turn for whist, and a large proportion of the gentlemen had a strong turn for billiards and betting. They had all, it may be presumed, a turn for business, being all commercially employed in one way or other, and had, every one in his own way, a decided turn for pleasure to boot. Mr. Jinkins was of a fashionable turn, being a regular frequenter of the parks on Sundays, and knowing a great many carriages by sight.

He spoke mysteriously, too, of splendid women, and was suspected of having once committed himself with a countess. Mr. Gander was of a witty turn, being indeed the gentleman who had originated the sally about collars, which sparkling pleasantry was now retailed from mouth to mouth, under the title of Ganders Last, and was received in all parts of the room with great applause. Mr. Jinkins, it may be added, was much the oldest of the party, being a fish salesmans book-keeper, aged forty. He was the oldest boarder also, and, in right of his double seniority, took the lead in the house, as Mrs. Todgers had already said. 5 There was considerable delay in the production of dinner, and poor Mrs. Todgers, being reproached in confidence by Jinkins, slipped in and out at least twenty times to see about it, always coming back as though she had no such thing upon her mind, and hadnt been out at all.

But there was no hitch in the conversation, nevertheless; for one gentleman, who travelled in the perfumery line, exhibited an interesting knick-knack, in the way of a remarkable cake of shaving soap, which he had lately met with in Germany; and the gentleman of a literary turn repeated (by desire) some sarcastic stanzas he had recently produced on the freezing of the tank at the back of the house. These amusements, with the miscellaneous conversation arising out of them, passed the time splendidly, until dinner was announced by Bailey junior in these terms: 8 Mr. Pecksniff said gracea short and pious grace, invoking a blessing on the appetites of those present, and committing all persons who had nothing to eat to the care of Providence, whose business (so said the grace, in effect) it clearly was to look after them.

This done, they fell to with less ceremony than appetite, the table groaning beneath the weight, not only of the delicacies whereof the Misses Pecksniff had been previously forewarned, but of boiled beef, roast veal, bacon, pies, and abundance of such heavy vegetables as are favourably known to housekeepers for their satisfying qualities. Besides which, there were bottles of stout, bottles of wine, bottles of ale, and divers other strong drinks, native and foreign. 9 All this was highly agreeable to the two Misses Pecksniff, who were in immense request, sitting one on either hand of Mr. Jinkins at the bottom of the table, and who were called upon to take wine with some new admirer every minute. They had hardly ever felt so pleasant and so full of conversation, in their lives. Mercy, in particular, was uncommonly brilliant, and said so many good things in the way of lively repartee that she was looked upon as a prodigy.

In short, as that young lady observed, they felt now, indeed, that they were in London, and for the first time too. 10 Their young friend Bailey sympathised in these feelings to the fullest extent, and, abating nothing of his patronage, gave them every encouragement in his power, favouring them, when the general attention was diverted from his proceedings, with many nods and winks and other tokens of recognition, and occasionally touching his nose with a corkscrew, as if to express the bacchanalian character of the meeting. In truth, perhaps, even the spirit of the two Misses Pecksniff, and the hungry watchfulness of Mrs. Todgers, were less worthy of note than the proceedings of this remarkable boy, whom nothing disconcerted or put out of his way. If any piece of crockerya dish or otherwisechanced to slip through his hands (which happened once or twice), he let it go with perfect good-breeding, and never added to the painful emotions of the company by exhibiting the least regret.

Nor did he, by hurrying to and fro, disturb the repose of the assembly, as many well-trained servants do; on the contrary, feeling the hopelessness of waiting upon so large a party, he left the gentlemen to help themselves to what they wanted, and seldom stirred from behind Mr. Jinkinss chair, where, with his hands in his pockets, and his legs planted pretty wide apart, he led the laughter, and enjoyed the conversation. 11 The dessert was splendid. No waiting either. The pudding-plates had been washed in a little tub outside the door while cheese was on, and though they were moist and warm with friction, still there they were againup to the mark, and true to time. Quarts of almonds; dozens of oranges; pounds of raisins; stack of biffins; soup-plates full of nuts. Oh, Todgerss could do it when it chose! Mind that.

12 Then more wine came on, red wines and white wines, and a large china bowl of punch, brewed by the gentleman of a convivial turn, who adjured the Misses Pecksniff not to be despondent on account of its dimensions, as there were materials in the house for the concoction of half a dozen more of the same size. Good gracious, how they laughed! How they coughed when they sipped it, because it was so strong; and how they laughed again when somebody vowed that but for its colour it might have been mistaken, in regard of its innocuous qualities, for new milk! What a shout of No! burst from the gentlemen when they pathetically implored Mr. Jinkins to suffer them to qualify it with hot water; and how blushingly, by little and little, did each of them drink her whole glassful down to its very dregs! 13 Now comes the trying time. The sun, as Mr. Jinkins says (gentlemanly creature, Jinkinsnever at a loss), is about to leave the firmament. Miss Pecksniff! said Mrs.

Todgers softly, will you Oh, dear, no more, Mrs. Todgers! Mrs. Todgers rises; the two Misses Pecksniff rise; all rise. Miss Mercy Pecksniff looks downward for her scarf. Where is it? Dear me, where can it be? Sweet girl, she has it onnot on her fair neck, but loose upon her flowing figure. A dozen hands assist her. She is all confusion. The youngest gentleman in company thirsts to murder Jinkins. She skips and joins her sister at the door. Her sister has her arm about the waist of Mrs. Todgers. She winds her arm around her sister. Diana, what a picture! The last things visible are a shape and a skip. Gentlemen, let us drink to the ladies! 14 The enthusiasm is tremendous. The gentleman of a debating turn rises in the midst, and suddenly lets loose a tide of eloquence which bears down everything before it. He is reminded of a toasta toast to which they will respond.

There is an individual presenthe has him in his eyeto whom they owe a debt of gratitude. He repeats ita debt of gratitude. Their rugged natures have been softened and ameliorated that day by the society of lovely woman. There is a gentleman in company whom two accomplished and delightful females regard with veneration, as the fountain of their existence. Yes, when yet the two Misses Pecksniff lisped in language scarce intelligible, they called that individual Father! There is great applause. He gives them Mr. Pecksniff, and God bless him! They all shake hands with Mr. Pecksniff as they drink the toast. The youngest gentleman in company does so with a thrill; for he feels that a mysterious influence pervades the man who claims that being in the pink scarf for his daughter. 15 What saith Mr. Pecksniff in reply? Or rather let the question be, What leaves he unsaid? Nothing. More punch is called for, and produced, and drunk. Enthusiasm mounts still higher. Every man comes out freely in his own character. The gentleman of a theatrical turn recites.

The vocal gentleman regales them with a song. Gander leaves the Gander of all former feasts whole leagues behind. He rises to propose a toast. It is, The Father of Todgerss. It is their common friend Jinkit is Old Jink, if he may call him by that familiar and endearing appellation. The youngest gentleman in company utters a frantic negative. He wont have ithe cant bear itit mustnt be. But his depth of feeling is misunderstood. He is supposed to be a little elevated, and nobody heeds him. 16 Mr. Jinkins thanks them from his heart. It is, by many degrees, the proudest day in his humble career. When he looks around him on the present occasion, he feels that he wants words in which to express his gratitude. One thing he will say. He hopes it has been shown that Todgerss can be true to itself; and, an opportunity arising, that it can come out quite as strong as its neighboursperhaps stronger.

He reminds them, amidst thunders of encouragement, that they have heard of a somewhat similar establishment in Cannon Street, and that they have heard it praised. He wishes to draw no invidious comparisons; he would be the last man to do it; but when that Cannon Street establishment shall be able to produce such a combination of wit and beauty as has graced that board that day, and shall be able to serve up (all things considered) such a dinner as that of which they have just partaken, he will be happy to talk to it. Until then, gentlemen, he will stick to Todgerss. 17 More punch, more enthusiasm, more speeches. Everybodys health is drunk, saving the youngest gentleman in company. He sits apart, with his elbow on the back of a vacant chair, and glares disdainfully at Jinkins. Gander, in a convulsing speech, gives them the health of Bailey junior, hiccoughs are heard, and a glass is broken. Mr. Jinkins feels that it is time to join the ladies. He proposes, as a final sentiment, Mrs. Todgers. She is worthy to be remembered separately. Hear, hear.

So she is; no doubt of it. They all find fault with her at other times; but every man feels, now, that he could die in her defence. 18 They go up-stairs, where they are not expected so soon; for Mrs. Todgers is asleep, Miss Charity is adjusting her hair, and Mercy, who has made a sofa of one of the window-seats, is in a gracefully recumbent attitude. She is rising hastily, when Mr. Jinkins implores her, for all their sakes, not to stir; she looks too graceful and too lovely, he remarks, to be disturbed. She laughs, and yields, and fans herself, and drops her fan, and there is a rush to pick it up. Being now installed, by one consent, as the beauty of the party, she is cruel and capricious, and sends gentlemen on messages to other gentlemen, and forgets all about them before they can return with the answer, and invents a thousand tortures, rending their hearts to pieces. Bailey brings up the tea and coffee. There is a small cluster of admirers round Charity, but they are only those who cannot get near her sister.

The youngest gentleman in company is pale, but collected, and still sits apart; for his spirit loves to hold communion with itself, and his soul recoils from noisy revellers. She has a consciousness of his presence and his adoration. He sees it flashing sometimes in the corner of her eye. Have a care, Jinkins, ere you provoke a desperate man to frenzy! 19 Mr. Pecksniff had followed his younger friend up-stairs, and taken a chair at the side of Mrs. Todgers. He had also spilled a cup of coffee over his legs without appearing to be aware of the circumstance; nor did he seem to know that there was muffin on his knee. 55 To parents and guardians, repeated Mr. Pecksniff. An eligible opportunity now offers, which unites the advantages of the best practical architectural education with the comforts of a home, and the constant association with some, who, however humble their sphere and limited their capacityobserveare not unmindful of their moral responsibilities. 56 Mrs.

Todgers looked a little puzzled to know what this might mean, as well she might; for it was, as the reader may perchance remember, Mr. Pecksniffs usual form of advertisement when he wanted a pupil, and seemed to have no particular reference, at present, to anything. But Mr. Pecksniff held up his finger as a caution to her not to interrupt him. 57 Do you know any parent or guardian, Mrs. Todgers, said Mr. Pecksniff, who desires to avail himself of such an opportunity for a young gentleman? An orphan would be preferred. Do you know of any orphan with three or four hundred pounds? 63 She was almost beside herself. So was her sister. Jinkins consoled them both. They all consoled them. Everybody had something to say except the youngest gentleman in company, who with a noble self-devotion did the heavy work, and held up Mr. Pecksniffs head without being taken any notice of by anybody. At last they gathered round, and agreed to carry him up-stairs to bed.

The youngest gentleman in company was rebuked by Jinkins for tearing Mr. Pecksniffs coat! Ha, ha! But no matter. 64 They carried him up-stairs, and crushed the youngest gentleman at every step. His bedroom was at the top of the house, and it was a long way; but they got him there in course of time. He asked them frequently upon the road for a little drop of something to drink. It seemed an idiosyncrasy. The youngest gentleman in company proposed a draught of water. Mr. Pecksniff called him opprobrious names for the suggestion. 65 Jinkins and Gander took the rest upon themselves, and made him as comfortable as they could, on the outside of his bed; and when he seemed disposed to sleep, they left him. But before they had all gained the bottom of the staircase, a vision of Mr. Pecksniff, strangely attired, was seen to flutter on the top landing. He desired to collect their sentiments, it seemed, upon the nature of human life. 70 This is very soothing, said Mr. Pecksniff, after a pause. Extremely so.

Cool and refreshing, particularly to the legs! The legs of the human subject, my friends, are a beautiful production. Compare them with wooden legs, and observe the difference between the anatomy of nature and the anatomy of art. Do you know, said Mr. Pecksniff, leaning over the balusters, with an odd recollection of his familiar manner among new pupils at home, that I should very much like to see Mrs. Todgerss notion of a wooden leg, if perfectly agreeable to herself! 71 As it appeared impossible to entertain any reasonable hopes of him after this speech, Mr. Jinkins and Mr. Gander went up-stairs again, and once more got him into bed. But they had not descended to the second floor before he was out again; nor, when they had repeated the process, had they descended the first flight, before he was out again. In a word, as often as he was shut up in his own room, he darted out afresh, charged with some new moral sentiment, which he continually repeated over the balusters, with extraordinary relish, and an irrepressible desire for the improvement of his fellow-creatures that nothing could subdue.

72 Under these circumstances, when they had got him into bed for the thirtieth time or so, Mr. Jinkins held him, while his companion went down-stairs in search of Bailey junior, with whom he presently returned. That youth, having been apprised of the service required of him, was in great spirits, and brought up a stool, a candle, and his supper, to the end that he might keep watch outside the bedroom door with tolerable comfort.

Question: Charity and Mercy Pecksniff appear in which novel by Charles Dickens?
Answer: Martin Chuzzlewit