Bleak House Appearances Quotes

How we cite our quotes: Citations follow this format: (Chapter.Paragraph)

Quote #7

There is only one judge in town. Even he only comes twice a week to sit in chambers. If the country folks of those assize towns on his circuit could see him now! No full-bottomed wig, no red petticoats, no fur, no javelin-men, no white wands. Merely a close-shaved gentleman in white trousers and a white hat, with sea-bronze on the judicial countenance, and a strip of bark peeled by the solar rays from the judicial nose, who calls in at the shellfish shop as he comes along and drinks iced ginger-beer! (19.3)

This is what happens to the super-formality of the Court during summer recess. It's interesting to think about how much of the Court's or the Chancellor's authority comes from fancy appearance – the wigs, the clothes, the guys who stand and pretend to guard him. This also gives us a nice separation of the man from the office: see, this judge is just a regular guy who likes to eat shrimp and whose sunburn is peeling. It's only the dehumanized legal figure "Chancellor" who can't acknowledge Gridley's existence.

Quote #8

Mrs. Smallweed, following her usual instinct, breaks out with "Fifteen hundred pound. Fifteen hundred pound in a black box, fifteen hundred pound locked up, fifteen hundred pound put away and hid!" Her worthy husband, setting aside his bread and butter, immediately discharges the cushion at her, crushes her against the side of her chair, and falls back in his own, overpowered. His appearance, after visiting Mrs. Smallweed with one of these admonitions, is particularly impressive and not wholly prepossessing, firstly because the exertion generally twists his black skull-cap over one eye and gives him an air of goblin rakishness, secondly because he mutters violent imprecations against Mrs. Smallweed, and thirdly because the contrast between those powerful expressions and his powerless figure is suggestive of a baleful old malignant who would be very wicked if he could. All this, however, is so common in the Smallweed family circle that it produces no impression. The old gentleman is merely shaken and has his internal feathers beaten up, the cushion is restored to its usual place beside him, and the old lady, perhaps with her cap adjusted and perhaps not, is planted in her chair again, ready to be bowled down like a ninepin. (21.48)


Isn't it strange how often the Smallweeds are compared to inanimate objects? Shmoop's betting it happens more with them than with any of the other characters. They're already sort of repetitive and puppet-like in the things they say: Mrs. Smallweed is always yelling about hidden money, and Mr. Smallweed is constantly calling her a "brimstone beast". Here, though, he is first a goblin, then a pillow. She is first a bowling pin, then a plant.

Quote #9

I went up to the glass upon the dressing-table. There was a little muslin curtain drawn across it. I drew it back and stood for a moment looking through such a veil of my own hair that I could see nothing else. Then I put my hair aside and looked at the reflection in the mirror, encouraged by seeing how placidly it looked at me. I was very much changed--oh, very, very much. At first my face was so strange to me that I think I should have put my hands before it and started back but for the encouragement I have mentioned. Very soon it became more familiar, and then I knew the extent of the alteration in it better than I had done at first. It was not like what I had expected, but I had expected nothing definite, and I dare say anything definite would have surprised me.

I had never been a beauty and had never thought myself one, but I had been very different from this. It was all gone now. Heaven was so good to me that I could let it go with a few not bitter tears and could stand there arranging my hair for the night quite thankfully.

One thing troubled me, and I considered it for a long time before I went to sleep. I had kept Mr. Woodcourt's flowers. When they were withered I had dried them and put them in a book that I was fond of. Nobody knew this, not even Ada. I was doubtful whether I had a right to preserve what he had sent to one so different--whether it was generous towards him to do it. I wished to be generous to him, even in the secret depths of my heart, which he would never know, because I could have loved him--could have been devoted to him. At last I came to the conclusion that I might keep them if I treasured them only as a remembrance of what was irrevocably past and gone, never to be looked back on any more, in any other light. I hope this may not seem trivial. I was very much in earnest. (36.4-7)

There's a nice parallel and echo here between the way Esther talks about the clear line before and after her disfigurement ("it was all gone now") and the way she decides to think about the flowers (a keepsake of "what was irrevocably past and gone"). Now that everything has changed, she feels safe to admit that she is in love with Woodcourt. She also can express her gratitude that she still has a small part of her good looks (her hair).