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“... the case was not finally resolved until the early 19th century, and was one of the models used by Dickens for the case of Jarndyce v. Jarndyce in Bleak House. Sir John was coarse, choleric, semi-literate and probably epileptic, and tended to resolve family disputes by means of a blunderbuss. On 18 January 1741 he was abducted in the dockside streets of ...”

“... into rationalism. Here he is close to the Roman Catholic mystery-writers. G.K. Chesterton wrote of Dickens’s mystery stories: ‘The secrecy is sensational; the secret is tame’; the villains in Dickens are ‘keeping something back from the author as well as from the reader. When the book closes we do not know their real ...”

“... the side galleries. The back gallery, intended for visitors, was mostly taken up by the press. Dickens remembered wearing out his knees ‘by writing on them on the old back row of the old gallery of the old House of Commons’. Women visitors (a maximum of 14) were banished to the attic, which had a small circular opening in the floor. They could hear ...”

“... because this flawless corner of Victoria’s England is so very unlike what we know of it from Dickens and Mayhew, George Eliot and Mrs Gaskell, it seems rather an unreal landscape. Quite fortuitously, while reading the book, I found in a Victorian journal telling criticism of one of the landed proprietors whose garden is described here in glowing ...”

“... rapidly making it the unchallenged capital of the world. Involved, because, like Dr Johnson and Charles Lamb, Scharf was a tireless London perambulator who desired no more from life (apart from a decent income) than to savour and capture the variety and energy of city living. Scharf (1788-1860) was an itinerant Bavarian artist whom the fortunes of war ...”

“... Movement were too sophisticated to succeed financially is in most cases a simplification, as Charles Harvey and Jon Press have made clear in the case of Morris and Alan Crawford in his work on Ashbee. It would be interesting to know how justified De Morgan was in feeling that now he could ‘make beautiful things ... nobody wants them’. His grief at ...”

“... handing back Yorick’s skull to the gravedigger, an inspired prankster yells out: ‘Wai-ter.’ Charles Baudelaire had, it might be argued, a more authentic claim to the inky cloak and cosmic melancholy of the troubled prince than any other writer of the era. His much loved father, Joseph-François Baudelaire, died when he was only five, and for a blissful ...”

“... of Gore Vidal. Kaplan, a professor of English in New York whose taxidermies include Henry James, Dickens and Carlyle (they hardly get deader than Carlyle), understands that it’s much easier to get the paperwork done if you don’t have the living-breathing item second-guessing you at every turn or trying to use you as a ventriloquist’s dummy. It’s also ...”

“... Jonathan Franzen​ has been compared to 19th-century greats: to Tolstoy, to Dickens. In respect of his best and most successful book, The Corrections, the praise carries a false hint of the retrograde, of revival of old forms or subject matter. Published at the turn of the millennium, The Corrections is a work of its time, not for its topical themes of dementia, the medicated society or stock market chicanery but for its approach to family ...”

“... ce qu’ on pisse. Madame de Sévigné’s tribulations invite comparison with the experiences of Charles Darwin at Malvern, described here by Dr Janet Browne. This was the period of the heroic cold-water cure popularised by the peasant Vincenz Priessnitz at Gräfenberg in Silesia and profitably taken up by the doctors James Manby Gully and James ...”

“... rootless lives. Enough of midnight phonecalls. Carolyn doted on Ackroyd. Hawksmoor the novel and Dickens the life. Peter was surely joshing her when he said that he was no initiate, had no knowledge of, or interest in, magical systems. He was the pivot, the man who had, single-handedly, made the arcane popular. A trip through the States visiting the Beat ...”

“... and ‘denials successfully sustained’? ‘A truly refined mind,’ says Mrs General in Dickens’s Little Dorrit, ‘will seem to be ignorant of the existence of anything that is not perfectly proper, placid and pleasant.’ How conscious was Dickens of the implications, for Victorian art generally, of that ...”

“... Dickens complained that ghosts ‘have little originality, and “walk” in a beaten track’. They are reducible, he said, ‘to a very few general types’: the chain-rattler; the ghostly walker or horseman; the forlorn-looking child; the pale doppelgänger; the wronged maid; the spirit of an evil ancestor whose painting hangs in a gloomy panelled hall; the friend or relative who is dying far away ...”

“... more Gothic or Romantic than realist. They are closer in sensibility to the histrionic, hyperbolic Dickens, who took the games he played with his children with alarming seriousness. The violence set in early with the Brontës. In a fragment by Charlotte reprinted here, the protagonist, irritated by the presence of a grubby urchin in a house to which he has ...”