Appearance
Excerpt
Excerpt from Nicholas Nickleby, by Charles Dickens
‘Be mine, be mine,’ cried the old gentleman. ‘Gog and Magog, Gog and
Magog. Be mine, be mine!’
‘It will be sufficient for me to say, sir,’ resumed Mrs. Nickleby, with
perfect seriousness--‘and I’m sure you’ll see the propriety of taking
an answer and going away--that I have made up my mind to remain a widow,
and to devote myself to my children. You may not suppose I am the mother
of two children--indeed many people have doubted it, and said that
nothing on earth could ever make ‘em believe it possible--but it is the
case, and they are both grown up. We shall be very glad to have you for
a neighbour--very glad; delighted, I’m sure--but in any other character
it’s quite impossible, quite. As to my being young enough to marry
again, that perhaps may be so, or it may not be; but I couldn’t think
of it for an instant, not on any account whatever. I said I never would,
and I never will. It’s a very painful thing to have to reject proposals,
and I would much rather that none were made; at the same time this is
the answer that I determined long ago to make, and this is the answer I
shall always give.’
These observations were partly addressed to the old gentleman, partly to
Kate, and partly delivered in soliloquy. Towards their conclusion, the
suitor evinced a very irreverent degree of inattention, and Mrs. Nickleby
had scarcely finished speaking, when, to the great terror both of that
lady and her daughter, he suddenly flung off his coat, and springing on
the top of the wall, threw himself into an attitude which displayed his
small-clothes and grey worsteds to the fullest advantage, and concluded
by standing on one leg, and repeating his favourite bellow with
increased vehemence.
Explanation
Detailed Explanation of the Excerpt from Nicholas Nickleby by Charles Dickens
This passage from Nicholas Nickleby (1838–39) is a prime example of Dickens’ signature blend of humor, social satire, and vivid characterization. The novel follows the misfortunes and triumphs of the Nickleby family—particularly Nicholas, his sister Kate, and their mother—as they navigate financial ruin, exploitative relatives, and eccentric acquaintances. This scene features Mrs. Nickleby, a widow who prides herself on her dignity and maternal devotion, fending off the absurd marriage proposal of an elderly, mentally unstable neighbor.
Context of the Scene
The "old gentleman" is Mr. Mantalini’s uncle, a wealthy but deranged miser who has taken a sudden, obsessive fancy to Mrs. Nickleby. His behavior is erratic—shouting nonsensical phrases ("Gog and Magog," biblical giants often used as symbols of chaos), stripping off his coat, and performing acrobatics on a wall. Mrs. Nickleby, ever proper and self-importantly dramatic, responds with a mix of indignation, vanity, and false modesty. The scene highlights:
- Social expectations of widows (remarriage was often encouraged for financial security, but Mrs. Nickleby clings to a self-righteous refusal).
- The absurdity of romantic pursuits when driven by wealth or lunacy rather than genuine affection.
- Dickens’ critique of vanity and self-delusion, particularly in Mrs. Nickleby, who is both flattered by attention and offended by the idea that she might need to remarry.
Themes in the Excerpt
Marriage as a Social Transaction
- Mrs. Nickleby’s refusal is framed in moral terms ("devote myself to my children"), but her speech betrays vanity ("you may not suppose I am the mother of two children"). Dickens mocks how marriage proposals—even ridiculous ones—are tied to social status and financial security.
- The old gentleman’s proposal is not romantic but possessive and transactional ("Be mine, be mine!"), reducing marriage to an acquisition.
Female Agency and Social Constraints
- Mrs. Nickleby presents herself as a virtuous widow, but her monologue reveals her internal conflict: she enjoys the attention ("I am young enough") but must reject it to maintain her self-image.
- Her insistence that she "never will" remarry is performative—she relishes delivering the refusal as much as the proposal itself.
Madness and Social Absurdity
- The old gentleman’s behavior is grotesque comedy, but it also critiques how wealth and power distort social norms. His antics (stripping, shouting, standing on one leg) parody the theatricality of courtship in high society.
- Dickens often uses eccentric characters to expose the irrationality of social conventions.
Appearance vs. Reality
- Mrs. Nickleby claims to be above such trivialities as marriage, but her speech is riddled with contradictions (she mentions her youth, then denies caring about it).
- The old gentleman’s physical undressing mirrors the emotional undressing of social pretense—his madness strips away the veneer of polite courtship.
Literary Devices
Comic Hyperbole & Exaggeration
- The old gentleman’s over-the-top behavior (shouting, stripping, balancing on a wall) is farce, exaggerating the absurdity of romantic pursuit.
- Mrs. Nickleby’s self-righteous monologue is equally exaggerated, revealing her delusional self-regard ("many people have doubted" she’s a mother).
Irony & Satire
- Dramatic Irony: The reader sees that Mrs. Nickleby is flattered by the proposal, despite her protestations.
- Verbal Irony: She claims it’s "very painful" to reject proposals, yet she clearly enjoys the drama of doing so.
- Social Satire: Dickens mocks Victorian propriety—Mrs. Nickleby’s refusal is less about morality and more about performing virtue.
Repetition for Comic Effect
- The old gentleman’s "Be mine, be mine!" and "Gog and Magog" are mantra-like, emphasizing his obsession and madness.
- Mrs. Nickleby’s "I never will" is a defiant refrain, but her hesitations ("it may be so, or it may not be") undercut her certainty.
Physical Comedy & Visual Humor
- The image of the old man flinging off his coat and standing on a wall is pure slapstick, contrasting with Mrs. Nickleby’s stiff propriety.
- His display of "small-clothes and grey worsteds" (tight breeches and stockings) is both ridiculous and vaguely obscene, mocking the undignified side of desire.
Free Indirect Discourse
- The narration blurs the line between Mrs. Nickleby’s spoken words and her internal thoughts, revealing her vanity and insecurity without her admitting it.
- Example: "indeed many people have doubted it, and said that nothing on earth could ever make ‘em believe it possible"—this is her own insecurity disguised as others’ skepticism.
Significance of the Scene
Characterization of Mrs. Nickleby
- This moment defines her as a comically self-absorbed figure who craves admiration but rejects responsibility.
- Her selective morality (she won’t remarry, but she enjoys the attention) makes her a satirical portrait of Victorian widowhood.
Dickens’ Social Critique
- The scene exposes the hypocrisy of polite society, where marriage is an economic transaction and women’s choices are limited.
- The old gentleman’s madness is a distorted reflection of how society treats women as property ("Be mine!").
Tone & Style
- The shift from serious refusal to absurd physical comedy is classic Dickens—blending pathos with humor.
- The contrasts (Mrs. Nickleby’s stiff dignity vs. the old man’s wild antics) create dynamic tension in the scene.
Foreshadowing & Plot Development
- The old gentleman’s obsession foreshadows later predatory figures in the novel (e.g., Sir Mulberry Hawk, who pursues Kate).
- Mrs. Nickleby’s refusal to face reality (financial struggles, her children’s needs) sets up future conflicts in the story.
Line-by-Line Breakdown of Key Moments
"‘Be mine, be mine,’ cried the old gentleman. ‘Gog and Magog, Gog and Magog. Be mine, be mine!’"
- Repetition ("Be mine") = possessive, childlike demand.
- "Gog and Magog" = biblical giants, symbols of chaos and destruction—hints at his unhinged nature.
- His lack of coherent speech makes him more animalistic than human.
"I have made up my mind to remain a widow, and to devote myself to my children."
- Self-righteous declaration, but immediately undercut by her vanity ("you may not suppose I am the mother of two children").
- The contradiction reveals her true motivation: pride, not maternal devotion.
"We shall be very glad to have you for a neighbour--very glad; delighted, I’m sure--but in any other character it’s quite impossible, quite."
- Polite but firm rejection, yet the hesitation ("very glad... but") shows she enjoys the attention.
- "Quite impossible, quite" = repetition for emphasis, but also a performative refusal.
"As to my being young enough to marry again, that perhaps may be so, or it may not be..."
- False modesty—she wants to be told she’s young, but pretends indifference.
- The uncertainty ("may be so, or it may not be") betrays her vanity.
"...to the great terror both of that lady and her daughter, he suddenly flung off his coat, and springing on the top of the wall, threw himself into an attitude which displayed his small-clothes and grey worsteds to the fullest advantage..."
- Physical comedy—his undressing is both ridiculous and unsettling.
- "Displayed his small-clothes" = Victorian euphemism for breeches, making the moment vaguely indecent.
- The sudden shift from verbal to physical absurdity escalates the humor.
"...and concluded by standing on one leg, and repeating his favourite bellow with increased vehemence."
- Final absurd image—like a deranged bird of prey.
- "Favourite bellow" = reduces his proposal to a noise, dehumanizing him further.
Conclusion: Why This Scene Matters
This excerpt is a microcosm of Dickens’ genius—blending humor, satire, and social critique in a single, memorable scene. Through Mrs. Nickleby’s self-delusion and the old gentleman’s madness, Dickens:
- Mocks Victorian marriage customs (where love is secondary to money and status).
- Exposes female hypocrisy (Mrs. Nickleby’s performative virtue vs. her hidden vanity).
- Uses physical comedy to undermine social decorum.
- Foreshadows larger themes of exploitation, obsession, and survival in the novel.
The scene is both hilarious and biting, showcasing Dickens’ ability to entertain while critiquing the absurdities of his time.