Don't cut my throat, sir

Hold your noise! cried a terrible voice, as a man started up from among the graves at the side of the church porch. "Keep still, you little devil, or I'll cut your throat!"

A fearful man, all in coarse gray, with a great iron on his leg. A man with no hat, and with broken shoes, and with an old rag tied round his head. A man who had been soaked in water, and smothered in mud, and lamed by stones, and cut by flints, and stung by nettles, and torn by briars; who limped, and shivered, and glared, and growled; and whose teeth chattered in his head as he seized me by the chin.

"Oh! Don't cut my throat, sir," I pleaded in terror.

—Charles Dickens, Great Expectations

Painting: Jozef Quisthoudt, Belgian (1883-1953); St. Peter's Church in Ypres;   Naïve style


Naïve art is a classification of art that is often characterized by a childlike simplicity in its subject matter and technique; and the artist appears to have little or no formal training. Above, the middle paragraph is loaded with images but lacks a complete sentence.

I knew I had a fever

Phases of the Disease: a brick in a giddy place; a steel beam in a whirling engine; my own person

That I had a fever and was avoided, that I suffered greatly, that I often lost my reason, that the time seemed interminable, that I confounded impossible existences with my own identity; that I was a brick in the house-wall, and yet entreating to be released from the giddy place where the builders had set me; that I was a steel beam of a vast engine, clashing and whirling over a gulf, and yet that I implored in my own person to have the engine stopped, and my part in it hammered off; that I passed through these phases of disease, I know of my own remembrance, and did in some sort know at the time.

—Charles Dickens, Great Expectations

Painting: Amedeo Modigliani, Little Girl in Blue (1918)

A Troublesome Consequence

They hanged at Tyburn, in those days, so the street outside Newgate had not obtained one infamous notoriety that has since attached to it. But, the gaol was a vile place, in which most kinds of debauchery and villainy were practised, and where dire diseases were bred, that came into court with the prisoners, and sometimes rushed straight from the dock at my Lord Chief Justice himself, and pulled him off the bench. It had more than once happened, that the Judge in the black cap pronounced his own doom as certainly as the prisoner's, and even died before him.

For the rest, the Old Bailey was famous as a kind of deadly inn-yard, from which pale travellers set out continually, in carts and coaches, on a violent passage into the other world: traversing some two miles and a half of public street and road, and shaming few good citizens, if any. So powerful is use, and so desirable to be good use in the beginning.

It was famous, too, for the pillory, a wise old institution, that inflicted a punishment of which no one could foresee the extent; also, for the whipping-post, another dear old institution, very humanising and softening to behold in action; also, for extensive transactions in blood-money, another fragment of ancestral wisdom, systematically leading to the most frightful mercenary crimes that could be committed under Heaven.

Altogether, the Old Bailey, at that date, was a choice illustration of the precept, that "Whatever is is right;" an aphorism that would be as final as it is lazy, did it not include the troublesome consequence, that nothing that ever was, was wrong.

— Charles Dickens, A Tale of Two Cities

Painting: James Ensor, The Just Judge (1892)

The Power of Dress

What an excellent example of the power of dress young Oliver Twist was. Wrapped in the blanket which had hitherto formed his only covering, he might have been the child of a nobleman or a beggar;–it would have been hard for the haughtiest stranger to have fixed his station in society.

But now he was enveloped in the old calico robes, that had grown yellow in the same service; he was badged and ticketed, and fell into his place at once–a parish child–the orphan of a workhouse–the humble, half-starved drudge–to be cuffed and buffeted through the world, despised by all, and pitied by none.

–Charles Dickens, Oliver Twist

Painting: William Adolphe Bouguereau (1825 - 1905)

The Art of Reading

A Personal Account of an Ongoing Relationship With Words

I've always been fond of dictionaries for as long as I can remember. As a teenager, one Christmas, I asked a relative for a dictionary as my holiday present. It was a Webster’s Collegiate Dictionary, an edition in hard cover with red cloth.

Words have a life and a history, and just as with people their best attributes can be hidden in nuance. Writers, whose stock-in-trade is words, recognize the importance of giving words their full due. The best writers can make reading a satisfying, delightful and an almost delicious experience, all because of words.

The high school I attended assigned Victorian Era books like Oliver Twist. This was thrown in among other more readable books or what I then considered more “normal” fare. At the time, Hawthorne's The Scarlet Letter seemed to me like an excellent choice to kill a young person’s interest in reading and literature.

Some years ago, at a cocktail party, I ran into someone who, as it turned out, was a high school English teacher. Our conversation led me to wonder out loud the point of assigning The Scarlet Letter to teenagers who don’t have the vocabulary to understand, let alone appreciate, the work. Her reply was something to the effect that the students understood the issues raised by the book and showed great interest in discussing them.

I simply nodded in agreement and left the conversation there. When I was in high school, it was only because of the book’s Monarch Notes, I was able to pick up—nothing distinct mind you, just—faint hints and clues as to what the book was about and the important questions it supposedly addressed.

I’ve now read The Scarlet Letter three times and I’ve formed a deep appreciation for its literary merit. I am also more convinced than ever that assigning it to the average high school freshman class is a disservice to the students.

At some point in college, I decided I wouldn’t let a single word pass me by if I didn’t have a ready definition for it on the tip of my tongue. This is a different standard than having a vague idea what a word means. For a period of what may have been two years, I carried a Little Oxford English Dictionary with me everywhere I went. It had a hard cover and was smaller than an average paperback. It contained the great majority of the words I looked up.

I was looking up words all the time. It’s a wonder I ever finished reading anything. Eventually, looking up so many words must have had some positive effect because I stopped relying on my Little Oxford. It was sometime after this, I had occasion to visit one of my university professors in his office. I was working on a paper and we needed to discuss its progress.

As I remember now, years later, it was a decent-sized office. The only other thing I remember about it is that in the office, up on a stand—or maybe it was an improvised lectern—sat a huge unabridged dictionary. It is the kind of dictionary you only see in the reference section of libraries, always opened somewhere in the middle as if a book like that isn’t meant to remain closed. It is the kind of book that has perhaps a four inch spine and if you had to venture a guess, you might say it easily weighs between 15 and 20 pounds.

Later on, after leaving the professor’s office—and the impression of the over-sized dictionary having settled in—I remember thinking to myself, “So this is how the pros do it.”

I have never owned an unabridged dictionary but I can certainly appreciate its value. I have never lost my fondness for words and their meaning. The habit of constantly looking up words still haunts me and to this day it slows me down when I read.

Ereaders have brought the art of reading to the information age. Today, the definition of 99 percent of all words is only one touch away when we read. You don’t need to lug around a Little Oxford and the Oxford English Dictionary is no longer published in printed editions.

Painting: Henri Matisse (1869 – 1954)

Do you have a special relationship to books, words and reading?

A State of Melancholy Madness

It was a town of machinery and tall chimneys, out of which interminable serpents of smoke trailed themselves for ever and ever, and never got uncoiled. It had a black canal in it, and a river that ran purple with ill-smelling dye, and vast piles of building full of windows where there was a rattling and a trembling all day long, and where the piston of the steam-engine worked monotonously up and down, like the head of an elephant in a state of melancholy madness.

It contained several large streets all very like one another, and many small streets still more like one another, inhabited by people equally like one another, who all went in and out at the same hours, with the same sound upon the same pavements, to do the same work, and to whom every day was the same as yesterday and to-morrow, and every year the counterpart of the last and the next.

—Charles Dickens, Hard Times

Painting: Vincent Van Gogh; Factory in Asnieres (1887)

I Stood in Ignorance on the Shore

A wonderful fact to reflect upon, that every human creature is constituted to be that profound secret and mystery to every other. A solemn consideration, when I enter a great city by night, that every one of those darkly clustered houses encloses its own secret; that every room in every one of them encloses its own secret; that every beating heart in the hundreds of thousands of breasts there, is, in some of its imaginings, a secret to the heart nearest it!

Something of the awfulness, even of Death itself, is referable to this. No more can I turn the leaves of this dear book that I loved, and vainly hope in time to read it all. No more can I look into the depths of this unfathomable water, wherein, as momentary lights glanced into it, I have had glimpses of buried treasure and other things submerged. It was appointed that the book should shut with a spring, for ever and for ever, when I had read but a page. It was appointed that the water should be locked in an eternal frost, when the light was playing on its surface, and I stood in ignorance on the shore.

Charles Dickens, A Tale of Two Cities

Painting: John William Waterhouse, Ophelia (1910)

Unfathomable: adj; 1) Too deep to be measured; 2) Impossible to understand for being mysterious or complicated.

A Ridiculous Exaggeration

Those were drinking days, and most men drank hard.

So very great is the improvement Time has brought about in such habits, that a moderate statement of the quantity of wine and punch which one man would swallow in the course of a night, without any detriment to his reputation as a perfect gentleman, would seem, in these days, a ridiculous exaggeration.


Charles Dickens, A Tale of Two Cities

Painting: Gabriël Metsu (1629 - 1667)

Wine, Brandy, Rum and Sugar

They went into a dingy room lined with books and littered with papers, where there was a blazing fire. A kettle steamed upon the hob, and in the midst of the wreck of papers a table shone, with plenty of wine upon it, and brandy, and rum, and sugar, and lemons.



Charles Dickens, A Tale of Two Cities

Painting: Willem Claeszoon Heda (1594-1680)

Resources of Science

He began by remarking that soda-water, though a good thing in the abstract, was apt to lie cold upon the stomach unless qualified with ginger, or a small infusion of brandy, which latter article he held to be preferable in all cases, saving for the one consideration of expense. Nobody venturing to dispute these positions, he proceeded to observe that the human hair was a great retainer of tobacco-smoke, and that the young gentlemen of Westminster and Eton, after eating vast quantities of apples to conceal any scent of cigars from their anxious friends, were usually detected in consequence of their heads possessing this remarkable property; when he concluded that if the Royal Society would turn their attention to the circumstance, and endeavour to find in the resources of science a means of preventing such untoward revelations, they might indeed be looked upon as benefactors to mankind. These opinions being equally incontrovertible with those he had already pronounced, he went on to inform us that Jamaica rum, though unquestionably an agreeable spirit of great richness and flavour, had the drawback of remaining constantly present to the taste next day; and nobody being venturous enough to argue this point either, he increased in confidence and became yet more companionable and communicative.

Charles Dickens, The Old Curiosity Shop

Painting: Paul Cézanne (1839 - 1906)

Fall from Grace, Michelangelo

At the time when I stood in the churchyard reading the family tombstones, I had just enough learning to be able to spell them out. My construction even of their simple meaning was not very correct, for I read "wife of the Above" as a complimentary reference to my father's exaltation to a better world; and if any one of my deceased relations had been referred to as "Below," I have no doubt I should have formed the worst opinions of that member of the family. Neither were my notions of the theological positions to which my Catechism bound me, at all accurate; for, I have a lively remembrance that I supposed my declaration that I was to "walk in the same all the days of my life," laid me under an obligation always to go through the village from our house in one particular direction, and never to vary it by turning down by the wheelwright's or up by the mill.

—Charles Dickens, Great Expectations

Michelangelo's Fall from Grace is one of the scenes painted on the ceiling of the Sistine Chapel.