Oliver Twist

by Charles Dickens, Frederick Busch (Introduction), Edward Le Comte (Afterword)

Overview

One of the great novelist’s most popular works, Oliver Twist is also the purest distillation of Dickens’s genius.

This tale of the orphan who is reared in a workhouse and runs away to London is a novel of social protest, a morality tale, and a detective story. Oliver Twist presents some of the most sinister characters in Dickens: the master thief, Fagin; the leering Artful Dodger; the murderer, Bill Sikes…along with some of his most sentimental and comical characters. Only Dickens can give us nightmare and daydream together.

According to George Orwell, “in Oliver Twist…Dickens attacked English institutions with a ferocity that has never since been approached. Yet he managed to do it without making himself hated, and, more than this, the very people he attacked have welcomed him so completely that he has become a national institution himself.”

With an Introduction by Frederick Busch
and an Afterword by Edward Le Comte


From the Paperback edition.

Customer Reviews

Product Details

ISBN-13:	9781101077696
Publisher:	Penguin Publishing Group
Publication date:	04/05/2005
Sold by:	Penguin Group
Format:	eBook
Pages:	512
File size:	797 KB
Age Range:	18 Years

About the Author

Charles Dickens was perhaps the most popular English novelist of the nineteenth century. Born in Portsmouth, Hampshire, England in 1812, he had a happy early childhood, which was interrupted when his father was sent to debtors' prison. Young Dickens came to know not only hunger and privation but also the evils of child labor when he had to go to work in a factory at age twelve. After a turn of fortune in the shape of a legacy, Dickens was able to work as an attorney's clerk and newspaper reporter until his first novel, The Pickwick Papers (1837), brought him instant success at age twenty-five. Subsequent works were published serially in periodicals  and cemented his reputation as a master of colorful characterization and a harsh critic of social evils and corrupt institutions. His many classic books include Oliver Twist, Great Expectations, A Tale of Two Cities, A Christmas Carol, and Bleak House. Dickens married Catherine Hogarth in 1836, and the couple had nine children before separating in 1858, when he began a long affair with Ellen Ternan, a young actress. Despite the scandal, Dickens remained a public figure, appearing often to read his fiction. He died in 1870, leaving his final novel, The Mystery of Edwin Drood, unfinished.

Distinguished writer, teacher, and critic Frederick Busch is the author of more than twenty works of fiction, including North, Girls, and The Mutual Friend, a novel about Charles Dickens. 

Edward Le Comte (1916-2004) was professor of English at the State University of New York at Albany, and he also taught at Columbia, his alma mater, and the University of California at Berkley. He was the author of more than twenty books, including novels, a biography of John Donne, and two memoirs. His specialty, both in teaching and in numerous influential articles and books, was Milton.


From the Paperback edition.

Date of Birth:

February 7, 1812

Date of Death:

June 18, 1870

Place of Birth:

Portsmouth, England

Place of Death:

Gad's Hill, Kent, England

Education:

Home-schooling; attended Dame School at Chatham briefly and Wellington

Read an Excerpt

Chapter I

Treats of the place where Oliver Twist was Born; and of the Circumstances attending his Birth.

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

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

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

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

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

"Oh, you must not talk about dying yet."

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

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

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

"It's all over, Mrs. Thingummy!" said the surgeon at last.

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

"You needn't mind sending up to me, if the child cries, nurse," said the surgeon, putting on his gloves with great deliberation. "It's very likely it will be troublesome. Give it a little gruel7 if it is." He put on his hat, and, pausing by the bed-side on his way to the door, added "She was a good-looking girl, too; where did she come from?"

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

Table of Contents

Introdução, por Ricardo Lísias . . . . . . . . . . . . . . . . . . . . . 9 OLIVER TWIST 25 1 Do lugar em que Oliver Twist nasceu e das circunstâncias que ocorreram nessa ocasião . . . . . . . 27 2 Como Oliver Twist cresceu e foi educado . . . . . . . 31 3 De como Oliver Twist escapou de um emprego que não era sinecura . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 4 Oliver acha um emprego e faz a sua entrada no mundo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 5 Oliver trava novos conhecimentos; assiste a um enterro e fica com uma má ideia do ofício . . . . . . 58 6 Luta e vitória . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 7 Oliver prossegue em sua rebelião . . . . . . . . . . . . . . . 76 8 Oliver vai a Londres e encontra em caminho um rapaz misterioso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 9 Novos pormenores acerca do amável ancião e seus discípulos, rapazes das mais altas esperanças 92 10 Oliver estreita as suas relações com os novos amigos e adquire experiência à sua custa. A pequenez deste capítulo não impede que seja um dos mais importantes da história do nosso herói. . . . . . . . . .100 11 Trata-se de um Sr. Fang, comissário de polícia, e dá-se uma amostra de sua maneira de julgar. . . .106 12 Oliver é tratado como nunca; novas informações a respeito do amável ancião e seus discípulos . . .115 13 Apresentação de alguns personagens novos que não são estranhos a certos particulares interessantes desta história . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 14 Profecia de um certo Sr. Grimwig a respeito de Oliver na ocasião em que ele foi dar um recado .134 15 Vê-se o amor que o jocoso judeu e Miss Nancy tinham a Oliver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .145 16 O que foi feito de Oliver depois de ser levado por Nancy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .153 17 A má estrela de Oliver traz a Londres um grande personagem expressamente para lhe marear a reputação . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .164 18 Como Oliver passava o tempo na sociedade de seus respeitáveis amigos . . . . . . . . . . . . . . . . . . . . . . . 174 19 Adoção de um plano de campanha . . . . . . . . . . . . .182 20 Oliver é entregue ao Sr. Guilherme Sikes . . . . . . . 192 21 A expedição. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .202 22 Arrombar para roubar. . . . . . . . . . . . . . . . . . . . . . . . . .209 23 De como um bedel pode ter bom sentimentos. Curiosa conversa do Sr. Bumble e uma senhora. 218 24 Pormenores dolorosos, mas curtos, cujo conhecimento é necessário para a inteligência desta história . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .227 25 Encontramos outra vez Fagin e a sua troça. . . . . .234 26 Entra em cena um personagem misterioso. Importantes pormenores estreitamente ligados com esta história. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .242 27 Para reparar uma descortesia de outro capítulo em que se abandonou sem mais cerimônia uma senhora. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .255 28 Prosseguem as aventuras de Oliver . . . . . . . . . . . . .264 29 Em que se apresentam os habitantes da casa que recolhera Oliver. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .276

Reading Group Guide

1. Oliver Twist has been called a social satire, a melodrama, a cheaply sentimental novel, and a masterpiece. How would you categorize the novel and why?

2. Some critics have observed that Oliver Twist is merely a passive pawn in the deadly match between good and evil. It is further stipulated that the “good” characters, such as Mr. Brownlow and the Maylies, pale in comparison to the villains Fagan and Bill Sikes. Do you agree? Which characters are the most vivid and why?

3. According to the novelist George Gissing, “Oliver Twist had a twofold moral purpose: to exhibit the evil working of the Poor Law Act, and to give a faithful picture of the life of thieves in London.” How effective is Dickens in capturing these two worlds and what is the relationship between them? How does the author use social satire to advocate social reform?

4. In The Author’s Preface to the Third Edition Dickens staunchly defends his decision to depict low-life characters in a realistic manner. Drawing on the author’s arguments, what can you glean about Victorian sensibilities at the time Oliver Twist was published?

5. In 1863, a reader chided Dickens for his anti-Semitic portrayal of Fagin. Dickens responded, “If there be any general feeling on the part of the intelligent Jewish people, that I have done them what you describe as ‘a great wrong,’ they are a far less sensible people than I have always supposed them to be . . . Fagin, in Oliver Twist, is a Jew, because it unfortunately was true of the time to which that story refers, that that class of criminal almost invariably was a Jew.” Should novelists be held accountable for invoking negative stereotypes? Can you think of additional examples of stereotypes in classic literature? Discuss.

Editorial Reviews

The inimitable Martin Jarvis brings his talents to bear on Charles Dickens's classic in an audiobook that will delight listeners with its superb recreations of gritty 19th-century London. To escape Mr. Bumble and life in the workhouse, Oliver flees to London where he meets the Artful Dodger and becomes embroiled with Fagin's ragtag band of thieves. Jarvis simply dazzles: his performance captures both the humor and sorrow of the text, his narration is crisp, and his characterizations--his rendition of the terrifying district magistrate, Mr. Fang, is particularly memorable--are as varied as they are energetic, befitting, and enjoyable. (June)

Publishers Weekly

"The power of [Dickens] is so amazing, that the reader at once becomes his captive, and must follow him whithersoever he leads."
—William Makepeace Thackeray

From the Publisher

Gr6–8—A graphic retelling of the classic, Great Expectations is rushed, confusing, and an unpleasant read. At times it is difficult to tell the characters apart, mainly because of the lack of depth in the secondary players, and because the artwork is flat and impassive. The plot is without focus, so struggling readers will have an issue with continuity. Oliver Twist has similar problems. The flow is choppy, characterization is nonexistent, and the compression of the story line adds to the confusion. The artwork, black-and-white rough sketching, is inconsistent. Panels range from clean and distinct to dark and busy. As in the first book, some characters are indistinguishable from page to page. The combination of story and artwork will not create new fans of graphic novels.—Mariela Siegert, Westfield Middle School, Bloomingdale, IL

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