Introduction chapter one. Analysis of charles dickens’s bleak house

The object of the research: Analysis of Charles Dickens’s Bleak House.
The subject of the research: Analysis of Charles Dickens’s Bleak House.
The aim of the research: to review the features of Analysis of Charles Dickens’s Bleak House,elaborate factors affecting the learning of English vocabulary, and discuss and also is to present an overview of Analysis of Charles Dickens’s Bleak House.
The practical value is in using theoretical and practical aspects of the research.
The tasks of the investigation include:
- to review Bleak House, along with Copperfield and Expectations, is one of the books most often described as Dickens’s best novel;
- to analysis The other metaphor that underlies the novel is disease;
- to review Badger, Bayham and others;
- to analysis Divinities of Albion, or Galaxy Gallery of British Beauty;
The main language material of the work has been gathered from the Internet sources, literary works and the textbooks in English literature of various authors. Thus, writers, their works, the evidence of modernity in words, their definitions and examples in which the words are used, are taken from the authentic English sources, so that the evidence of the research results could be doubtless.
The theoretical and practical value of the paper lies in its applicability to the English literature, General Linguistics and practical English classes.
The structure of the work consists of the Introduction, two chapters,four plans, conclusion and references..

CHAPTER ONE. ANALYSIS OF CHARLES DICKENS’S BLEAK HOUSE
1.1.Bleak House, along with Copperfield and Expectations, is one of the books most often described as Dickens’s best novel
Dickens’s ninth novel, published in monthly parts in 1852–53, with illustrations by Hablot Knight Browne, issued in one volume in 1853. Often characterized as the first of the late novels, Bleak House describes England as a bleak house, devastated by an irresponsible and self-serving legal system, symbolically represented by the Lord Chancellor ensconced in foggy glory in the Court of Chancery. Dickens uses two narrators, a thirdperson narrator who reports on the public life in the worlds of law and fashion and a first-person narrator, Esther Summerson, a young woman who tells her personal history. By this double narration, he is able to connect and contrast Esther’s domestic story with broad public concerns. Esther’s narrative traces her discovery of her identity as the illegitimate child of Lady Dedlock. Abandoned in infancy and raised by an abusive aunt, Esther is a self-denying, unassertive young woman, grateful for any recognition she receives from the patriarchal society around her. Her situation encapsulates that of the larger society, in which traditions of aristocratic privilege deny human needs and desires and patriarchal institutions like the courts make orphans of society’s children, enable slums and disease to flourish, and suppress individual autonomy by a “philanthropy” that makes dependents of its recipients.¹
Bleak House, along with Copperfield and Expectations, is one of the books most often described as Dickens’s best novel. A volumninous body of criticism attests to its academic popularity. Published in 1852–53, Bleak House is often considered the first of the late novels, coming just after the autobiographical Copperfield, which divides Dickens’s career. Though there are some comic characters and humorous scenes, it is a dark novel that presents England as diseased and apocalyptically warns of a coming day of judgment. Like the other late novels, it is focused around a central theme and dominant symbol, the fog that represents the pervasive influence of the Court of Chancery in all aspects of British life. Dickens began this social critique with a contemporary scandal: In 1850, the Times published a series of articles exposing the court, with its endless delays, repetitive proceedings, and interminable cases. They cited several cases that had gone on for years and, like Jarndyce, ended by exhausting all the resources in court costs. Dickens began with this scandal and turned it into a story, symbolically anatomizing the condition of England in 1852.
The most notable technical feature in Dickens’s conception is the use of two contrasting narrations, a third-person narration marked by the usual Dickensian hyperbole and rhetorical effects and a first-person narration by Esther Summerson. Critics have debated at length about why Dickens used this narrative strategy and just how successful it is, particularly in telling Esther’s story.
The third-person narration that opens the novel is a generalizing, present tense, highly rhetorical voice with a panoramic view of the world. In the famous description of the fog that begins the first chapter, the narrator links London’s present fogginess to Noah’s flood, suggesting that it is far more than a weather condition, and then to the Court of Chancery, where the foggy wigs of the judges and lawyers symbolize the pervasive confusion that they bring to the condition of England. Then, in the second chapter, he moves to Lincolnshire and finds that the “waters are out” there as well. Satirical, symbolic, authoritative, these opening chapters present a public view; they are highly stylized reportage of the worlds of Chancery and fashion by a very capable reporter, sure of his effects. The voice is clearly male.
Esther Summerson’s voice is just as clearly female. Her narration, which begins in chapter 3, is hesitant, self-deprecating, personal, an account related in the past tense of her life and of the narrow world she inhabits. From her opening sentence—“I have a great deal of difficulty in beginning to write my portion of these pages, for I know I am not clever” (3)—she counters the assurance and objectivity of the male narrator. Philip Collins (1990) has pointed out that Esther’s style and language still have many characteristic Dickensian traits, but many readers have nonetheless found her a tiresome bore. Esther is too passive, too deferential to others, too repressed, too coy; she conceals or withholds her feelings about her mother and about Alan Woodcourt, and she dutifully accepts the role of “little woman.” Commentators disagree on whether Dickens was celebrating Esther as a feminine ideal or using her to show the oppressiveness of patriarchal institutions.²
Esther has much in common with Dickens’s other “orphan” heroes. Like Oliver Twist, she bears a name that does not indicate her parentage, and her godmother oppresses her psychologically much as Oliver is oppressed by parish authorities. Like David Copperfield, Esther has a host of nicknames, indicative of her uncertainty about her identity and her willingness to accept the identities others give her. Her situation as a woman exaggerates the identity crisis faced by these Dickensian orphans, for the opportunities available to her are fewer than those available to David or Pip. Yet for all her reticence, Esther is not totally passive. She does, for example, resist Mr. Guppy’s attempts to claim her and her story.
Esther’s “progress” is like that of the title character in Charlotte Bronte’s Jane Eyre (1847), a popular novel published just a few years before Bleak House, which described the stages in Jane’s life, from orphanhood through an abusive childhood in the care of an aunt to a position as governess and ultimately a marriage to her master. Like Jane, Esther passes through a series of symbolic bleak houses. She begins in the house of a cruel aunt who tells her, “It would have been far better . . . that you had never been born” (3) and teaches her to use “submission, self-denial, [and] diligent work” as ways to compensate for her guilty presence. After a respite at Greenleaf—a marked contrast to Jane’s unhappy Lowood School—Esther is called to be the housekeeper at Bleak House, where she will also be tempted to marry the master of the house. On the way there, she stays at the house of Mrs. Jellyby, whose “telescopic philanthropy” leads to her preoccupation with Africa and to her neglect of her own children. Mrs. Jellyby represents the bleak house of imperial England, engaged around the world but out of touch with the problems at home. Krook’s rooming house is another emblem of such waste and neglect. In his rag and bottle shop, he hoards the detritus of legal London that surrounds him, and his apartments house the victims of Chancery, little Miss Flite and the dying law writer Nemo.
In sharp contrast to the poverty and decay in the urban slums is Chesney Wold, the opulent country estate of Sir Leicester Dedlock, but it too has been wasted by the flood that has fogged in London. The floodgates have been opened, Sir Leicester repeatedly complains, and the waters are out in Lincolnshire. Lady Dedlock, “bored to death,” acts out the devastation that has been wrought on the landed aristocracy, and the legend of the Ghost’s Walk foretells the judgment that will fall upon the house.
Removed from the neglect and decay in London, the actual Bleak House seems far from bleak. Located in ST. ALBANS, an old settlement well away from the city, it provides a refuge in its irregular rooms and gardens where its owner, John Jarndyce, has withdrawn to escape the city and the Jarndyce case. But the devastation of Chancery reaches St. Albans; Jarndyce’s attempt to escape to the country proves as illusory as Skimpole’s charade as an irresponsible child. Jarndyce must have the Growlery to retreat to when the east wind blows, for the ills of London appear at Bleak House as Skimpole’s parasitism, Mrs. Pardiggle’s oppressive philanthropy, the sufferings of the brickmakers, and the smallpox that Jo, the diseased child of urban neglect, brings from Tom-All-Alone’s to the suburbs.
The bleakness that afflicts all of these houses is in various ways connected to the law and the system of injustice that serves itself but ignores the human effects of its operations. The law is represented by the Lord Chancellor, the interminable Jarndyce suit, and the many lawyers in the novel, especially Tulkinghorn, whose house in Lincoln’s Inn Fields is the bleak house of the law: “Formerly a house of state . . . it is let off in sets of chambers now; and in those shrunken fragments of its greatness, lawyers lie like maggots in nuts. . . . Here, among his many boxes labelled with transcendent names, lives Mr. Tulkinghorn. . . . Everything that can have a lock has got one; no key is visible” (10). The significance of Tulkinghorn is indicated by the ominous figure of Allegory painted on the ceiling of his rooms. Locked up and secretive as an oyster, dressed in rusty black like an agent of fate, his motives for acting are never clear. He seems not to serve the best interests of his clients but rather to seek power for its own sake. His machinations are part of a legal system that simply serves itself, and in doing so wreaks havoc on society. Allegorically, all of England is a bleak house devastated by the law.³