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Oliver Twist (CLASSICS ILLUSTRATED)

De (autor) Ilustrat de Reed Crandall, George Evans
Notă GoodReads:
en Limba Engleză Carte Paperback – 25 Oct 2008

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Listen Up (2010)
Dickens's tale of the young orphan, Oliver Twist, and his experiences in London. Classics Illustrated tells this wonderful tale in colorful comic strip form, providing an excellent introduction for younger readers. Also includes theme discussions and study questions.
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Specificații

ISBN-13: 9781906814038
ISBN-10: 1906814031
Pagini: 48
Ilustrații: Fully Illustrated
Dimensiuni: 165 x 244 x 3 mm
Greutate: 0.14 kg
Editura: Classics Illustrated Comics
Seriile CLASSICS ILLUSTRATED , Classics Illustrated

Locul publicării: United Kingdom

Extras

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."


From the Trade Paperback edition.

Recenzii

"The image of little Oliver Twist victimised by poverty, almost seduced by the specious excitement of crime, and then offered the possibility of a lucrative career in authorship is always compelling."
Guardian
 
"We leave him most reluctantly, and so will every reader who has any capacity to see and feel whatsoever is most loveable, hateful, or laughable, in the character of the everyday life about him."
Examiner
 
"He deals truly with human nature, which never can degrade; he takes up everything, good, bad, or indifferent, which he works up into a rich alluvial deposit. He is natural, and that never can be ridiculous."
Quarterly Review

Notă biografică

Charles Dickens was born on February 7, 1812, in Portsmouth, England, where his father was a naval pay clerk. When he was five, the family moved to Chatham, near Rochester, another port town. He received some education at a small private school but this was curtailed when his father's fortunes declined.When Dickens was ten, the family moved to Camden Town, and this proved the beginning of a long, difficult period. When he had just turned twelve, Dickens was sent to work for a manufacturer of boot blacking, where for the better part of a year he labored for ten hours a day, an unhappy experience that instilled him with a sense of having been abandoned by his family. Around the same time Dickens's father was jailed for debt in the Marshalsea Prison, where he remained for fourteen weeks. After some additional schooling, Dickens worked as a clerk in a law office and taught himself shorthand; this qualified him to begin working in 1831 as a reporter in the House of Commons, where he became known for the speed with which he took down speeches.By 1833 Dickens was publishing humorous sketches of London life in the Monthly Magazine, which were collected in book form as Sketches by "Boz". These were followed by the publication in installments of the comic adventures that became The Posthumous Papers of the Pickwick Club, whose unprecedented popularity made the twenty-five-year-old author a national figure. In 1836 he married Catherine Hogarth, who would bear him ten children over a period of fifteen years. Dickens's energies enabled him to lead an active family and social life, including an indulgence in elaborate amateur theatricals, while maintaining a literary productiveness of astonishing proportions. He characteristically wrote his novels for serial publication and was himself the editor of many of the periodicals in which they appeared, including Bentley's Miscellany, the Daily News, Household Words, and All the Year Round. Among his close associates were his future biographer John Forster and the younger Wilkie Collins, with whom he collaborated on fictional and dramatic works. In rapid succession he published Oliver Twist, Nicholas Nickleby, The Old Curiosity Shop, and Barnaby Rudge, sometimes working on several novels simultaneously.Dickens's celebrity led to a tour of the United States in 1842. There he met Henry Wadsworth Longfellow, Washington Irving, William Cullen Bryant, and other literary figures, and was received with an enthusiasm that was dimmed somewhat by the criticisms Dickens expressed in his American Notes and in the American chapters of Martin Chuzzlewit. The appearance of A Christmas Carol in 1843 sealed his position as the most widely popular writer of his time; it became an annual tradition for him to write a story for the season, of which the most memorable were The Chimes and The Cricket on the Hearth. He continued to produce novels at only a slightly diminished rate, publishing Dombey and Son in 1848 and David Copperfield in 1850.From this point on, his novels tended to be more elaborately constructed and harsher and less buoyant in tone than his earlier works. These late novels include Bleak House, Hard Times, Little Dorrit, A Tale of Two Cities, and Great Expectations. Our Mutual Friend, published in 1865, was his last completed novel and perhaps the most somber and savage of them all. Dickens had separated from his wife in 1858-he had become involved a year earlier with a young actress named Ellen Ternan-and the ensuing scandal had alienated him from many of his former associates and admirers. He was weakened by years of overwork and by a near-fatal railroad disaster during the writing of Our Mutual Friend. Nevertheless, he embarked on a series of public readings, including a return visit to America in 1867, which further eroded his health. A final work, The Mystery of Edwin Drood, a crime novel much influenced by Wilkie Collins, was left unfinished upon his death on June 9,1870, at the age of 58. Simon Vance, a former BBC Radio presenter and newsreader, is a full-time actor who has appeared on both stage and television. He has recorded over four hundred audiobooks and has earned over twenty Earphones Awards from AudioFile magazine, including one for his narration of Scaramouche by Rafael Sabatini. A twelve-time Audie finalist, Simon has won Audie Awards for The King's Speech by Mark Logue and Peter Conradi, The Life and Adventures of Nicholas Nickleby by Charles Dickens, Great Expectations by Charles Dickens, Market Forces by Richard K. Morgan, and The Tao of Pooh by Benjamin Hoff. Winner of the 2008 Booklist Voice of Choice Award, Simon has also been named an AudioFile Golden Voice as well as an AudioFile Best Voice of 2009.

Textul de pe ultima copertă

Charles Dickens's famous second novel recounts the story of a boy born in the workhouse and raised in an infant farm as he tries to make his way in the world. Intended to raise feeling against the Poor Law Amendment Act of 1834 (which had emphasized the workhouse as an appropriate means of dealing with the problem of poverty), Oliver Twist also provides a sweeping portrait of London life in the 1830s--including the life of the criminal elements in society.

Oliver Twist was first published in serialised form (with illustrations by George Cruikshank) in Bentley's Miscellany between February 1837 and April 1839. It was issued with some corrections and revisions in ten numbers in 1846 by Bradbury and Evans (which then also issued the same text in a single volume). Each of these ten numbers, including the Cruikshank illustrations and the advertisements, is included in this facsimile reprint of the 1846 edition.

This is one of a series from Broadview Press of facsimile reprint editions--editions that provide readers with a direct sense of these works as the Victorians themselves experienced them.

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