54 pages • 1 hour read
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Content Warning: This section features discussions of sexual assault, enslavement, domestic abuse, sexism, racism, and fatphobia.
An editor, the narrator of the novel, presents a transcript of a meeting of the Pickwick Club, a group of travelers and self-proclaimed philosophers who meet in London and enjoy observing the places and cultures of other parts of England. The club is led by the club’s founder and chairperson, Mr. Samuel Pickwick, an elderly bespeckled scholar and retired businessperson who is beloved by all of the club’s members and are his closest confidants. Tracy Tupman is a man with the characteristics of a boy who is ruled by “admiration of the fair sex” (13). Augustus Snodgrass is a poet (though the novel pointedly never mentions him writing poetry), and Nathaniel Winkle greatly enjoys sporting (shooting, horseback riding, cricket, and other games and activities). Pickwick comments to the others how fame is important to all men in different ways and is part of their Pickwickian theory. The editor concludes the chapter by explaining that the following text is based on travel letters and manuscripts collected from the Pickwick Club and written in narrative form.
On his way to the coach station, Mr. Pickwick is fascinated by his coach driver and, as is his habit, writes down all he has to say in a notebook. When he gets out of the cab, the driver assumes that Pickwick is an informer because he was taking notes on the stories the driver told. The driver punches him as well as Tupman, Snodgrass, and Winkle, who have met Pickwick on the street. Just as the crowd turns against the Pickwickians, a stranger (later introduced as Alfred Jingle), pulls the men from the crowd. The stranger, who has a habit of speaking quickly in incomplete sentences and is dressed shabbily, happens to be going to Rochester, where the Pickwickians are headed, and befriends them on their coach ride to the town.
Pickwick is fascinated by the stranger’s travels and stories and invites him to dinner, where all the men quickly get drunk. At the inn where they’re dining, Tupman discovers that a ball is underway upstairs and longs to go. He offers the stranger an outfit from Winkle’s wardrobe because the stranger has no other clothes. Winkle, Snodgrass, and Pickwick are all asleep or too intoxicated to notice. Tupman and the stranger enter the ball—unannounced, per the stranger’s wishes—and note the social hierarchy within. A military surgeon named Doctor Slammer is courting a rich, elderly widow, but when the doctor is dancing with someone else, the stranger is introduced to the widow and dances with her before introducing her to Tupman. Slammer is furious with both men and feels especially insulted when the stranger won’t tell him his name.
The next morning, a friend of Slammer’s goes looking for the man whom Slammer saw wearing a coat emblazoned with the initials of the Pickwick Club. The stranger was wearing Winkle’s coat, so the man assumes that Winkle is the one he’s looking for and tells him that he insulted Slammer. Winkle, who was intoxicated the previous night and sees that his coat has been recently worn, assumes that he insulted Slammer unknowingly while he was drunk. Winkle accepts Slammer’s challenge to a duel, thinking that he’ll get Snodgrass to tell Pickwick about the duel and prevent it from happening. Snodgrass, however, is incredibly loyal to Winkle and promises not to betray him. When the men meet for the duel, Slammer sees that Winkle isn’t the man he was looking for, and Winkle says that he knew this and only came to avoid dishonoring the Pickwick Club . The men forgive each other, and Slammer agrees to dine with the Pickwickians.
Once Winkle and Snodgrass reach the inn, they’re about to recount to their party what happened to them but see that a new man called Dismal Jemmy has joined them. The stranger from the previous day mentions that he’s involved in the theater and so is Dismal Jemmy, adding that the latter was just about to tell the group a story about another actor. The story, called “The Stroller’s Tale,” concerns a roguish clown who abuses his family and suddenly contracts a terminal fever. Jemmy knows the story because he was at the man’s deathbed and thought his transformation from the fever was remarkable. Just as Pickwick is about to comment on the story, Dr. Slammer and his friends Lieutenant Tappleton and Dr. Payne arrive. Slammer recognizes Tupman and the stranger, and Tupman is forced to reveal the whole story. Tappleton recognizes the stranger as a strolling actor who is performing in a play that a local regiment is seeing tomorrow, so he convinces Slammer to ignore them, and the three militia men leave. Pickwick is incensed and goes after the men to fight them, but the others hold him back and their gathering quickly returns to how it was before Jemmy’s story.
The Pickwickians attend a military review in which a mock storming of the citadel will take place. At one point, Pickwick, Snodgrass, and Winkle, having lost sight of Tupman, are surrounded by the cavalry, which shoots at them with blanks, forcing them to flee. Running away, Pickwick loses his hat and chases it until it stops at the wheel of a carriage, which happens to contain Tupman. The men are invited into the barouche carriage by a Mr. Wardle, Tupman’s friend who once attended a meeting of the Pickwick Club. The men climb into the carriage and, along with Wardle’s friend Mr. Trundle, Wardle’s sister Rachael, his daughters Isabella and Emily, and their servant Joe (often derogatively called the “fat boy”) who has narcolepsy watch the military performance. They eat and drink together, Tupman flirting with Rachael and Snodgrass with Emily. Wardle invites them to dinner the next evening at his nearby estate Manor Farm at Dingley Dell.
The inn where the Pickwickians are staying doesn’t have a carriage for four, so Pickwick must drive a carriage for Snodgrass and Tupman while Winkle rides a horse (things that neither of them have much experience doing) to travel to Dingley Dell. On their way, Winkle loses his horse, and when Pickwick climbs down from the carriage to help him, the horse attached to the carriage breaks free from the carriage, leaving Snodgrass and Tupman in the wreckage. The men try to leave one horse at a local public house, but the owners think it was stolen, so they walk the seven miles to Manor Farm in a state of disarray and with one horse following them. When they arrive at Dingley Dell, Wardle welcomes them and has his servants help the men clean up.
In the parlor at Manor Farm, the Pickwickians meet Mr. Wardle’s mother along with the cleric of Dingley Dell and a few other ladies and gentlemen. The group cheerfully plays cards and eats supper, and Snodgrass asks to hear a poem that the cleric wrote as a young man. The cleric also tells a story about a man who, like the clown from Dismal Jemmy’s story, abused his family. The man’s wife is pious and works hard for her family, but her son, John Edmunds, turns to crime and violence like his father. Only once he’s arrested and sentenced does John realize how much he wronged his mother, who becomes ill and dies. After 14 years of imprisonment, John returns to his home in England, not knowing of his mother’s death and forgotten by his former neighbors. He finds his father, whom he begins to strangle but, before he stops himself, his father bursts a blood vessel and dies. John Edmunds then works for the cleric for three years before dying a humble and penitent man.
The Pickwickians and Mr. Wardle go out to shoot rooks, having heard that Winkle is a good shot, but Winkle ends up accidentally shooting Tupman in the arm. Leaving Tupman with the ladies of the house (including Rachael, who faints when learning of his minor injury), the other men attend a local cricket match. At the match, the Pickwickians see the stranger from Rochester, who finally introduces himself as Alfred Jingle. Their party, along with other spectators and players of the match, all go out to dinner together and joyously toast one another.
Tupman professes his love for Rachael, and Joe observes this event. Pickwick, Snodgrass, Winkle, Wardle, and Jingle return to Manor Farm at a late hour, extremely intoxicated, and all the women notice how attractive Jingle is. Mrs. Wardle (Wardle and Rachael’s mother) is walking in the garden when Joe sees her and tells her he saw Rachael and Tupman kissing, while Jingle, nearby, eavesdrops on the conversation. Within five minutes of entering Manor Farm, Jingle had planned to seduce Rachael and finds her alone, telling her about what he heard. He implies that he loves her and says that Tupman only wants her money and is really in love with Emily. Shortly after this, Jingle asks Tupman to say that Joe dreamed his encounter with Rachael and to pay attention to Emily rather than Rachael at dinner. In addition, Jingle borrows 10 pounds from Tupman. Tupman pays attention to Emily for several nights, calming the fears of Mr. and Mrs. Wardle but angering Rachael and Snodgrass.
At dinner one night, no one can find Rachael or Jingle, and a servant says that they’ve run away together. Wardle and Pickwick go after them for several hours, but just as they catch up with the couple, their carriage overturns. Jingle stops to mock them, which angers Pickwick more than anything else that has happened, and he threatens Jingle to beware if he ever sees him again.
Jingle and Rachael stay at the White Hart Inn, where a servant named Samuel Weller cleans their shoes. Jingle goes to get a marriage license, and Pickwick and Wardle arrive at the inn with a lawyer and ask Sam about the couple. Sam leads the men up to their room just as Jingle presents the marriage license to Rachael. The lawyer, Mr. Perker, tells them that they have no power over Rachael given her age but also tells Jingle that Rachael won’t have money until her mother dies and bribes him to leave her. Jingle leaves much richer and without Rachael, who returns the next day to Manor Farm, heartbroken.
The morning after his return to Dingley Dell, Pickwick learns that Tupman has gone to an inn not too far away and goes there to convince Tupman to return to their traveling party, which he does. On their way back to the inn, Pickwick discovers a stone with engravings on it, which he excitedly takes to the inn with him, convinced that it’s an important item of antiquity. Unable to sleep, Pickwick remembers a manuscript that the cleric gave him at Dingley Dell and reads it. In this story, called “A Madman’s Manuscript,” a man hides his mental illness and revels in concealing his secret. One day, he decides to kill his wife so that she won’t bear a child who could inherit his condition, but she sees him coming with a razor, and he stops. However, the doctors consider her to have a mental health condition afterward.
The Pickwickians travel to London to display Pickwick’s antique stone, which results in historical societies revering Pickwick despite their inability to decipher the stone’s inscription.
The first chapters of The Pickwick Papers introduce the novel’s format and style while illuminating its framework and context. When it was first published by Chapman and Hall, The Pickwick Papers was said to be “edited by ‘Boz,’” a pen name Dickens previously used to publish similar short stories. The novel’s first paragraph introduces Boz, or the editor, setting up the novel as a curated collection of stories rather than a traditional work of fiction. Although the editor gives little context about who he is or how he came to collect the papers of the Pickwick Club, he often inserts his opinions and beliefs about what the characters are thinking into the narrative, using a narration style known as free and indirect discourse. Another stylistic element that is apparent in the novel’s first few chapters is its episodic style, which tends toward long and distinct stories rather than a united plot. Although longer plotlines—such as the villainy of Mr. Jingle and the romances at Dingley Dell—emerge in the first chapters, several stories unfold and resolve within a chapter or two and are never mentioned again in the novel. This style not only enhances the novel’s comic tone and its focus on sketches of the characters but also is representative of its original format of serial publishing. Serial publishing was intended to hook large audiences into repeatedly returning to follow their favorite characters, and the episodic style of The Pickwick Papers let audiences enjoy one or two stories without needing the context of the entire novel. In addition, the novel’s serialization led to the proliferation of a plot device often attributed to Dickens: the cliffhanger. Although original readers of The Pickwick Papers could be entertained by that month’s edition of the novel, cliffhanger endings ensured that readers would return for the continuing story in the next month’s printing to learn how the suspended storyline resolved.
Another major element of The Pickwick Papers that this first group of chapters introduces is the extensive use of irony, especially in representing the Pickwick Club and its members. Building on the comic tone established by the novel’s style and genre, Dickens presents the Pickwick Club as an inherently ironic institution. The goals of the members of the Pickwick Club are to travel and to observe the habits and behaviors of foreign cultures. However, this goal is inherently ironic because its members travel only to neighboring areas of Britain and often engage with people similar to themselves. The club’s main members are immediately introduced in one way but are quickly shown to be quite the opposite. The novel portrays Tupman as a flirt and a romantic, but throughout the novel he never finds success in romance, and he gives up on love by the novel’s conclusion. Although the novel depicts Snodgrass as a poet, he never writes poetry throughout the novel or shows his friends any of his poetry. Winkle, the sportsman of the group, is awful at all sporting activities he attempts and ends up shooting his friends whenever he’s given a gun. Pickwick is known for his even temper and scholarly prowess, yet he loses his temper several times throughout this section, and no one can figure out why his supposedly great scholarly discovery of the antique stone is actually important. In certain ways, this extensive use of irony might be seen as an attack on the characters and the club, yet its main impact is that it adds to the novel’s comedic tone. The Pickwick Papers is foremost a comedy meant to entertain its audience, and its use of irony establishes a lighthearted tone that continues for the remainder of the novel.
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