How we cite our quotes:
Quote #4
'I am told,' said Bishop magnate to Horse Guards, 'that Mr. Merdle has made another enormous hit. They say a hundred thousand pounds.'
Horse Guards had heard two.
Treasury had heard three.
Bar, handling his persuasive double eye-glass, was by no means clear but that it might be four. It was one of those happy strokes of calculation and combination, the result of which it was difficult to estimate. It was one of those instances of a comprehensive grasp, associated with habitual luck and characteristic boldness, of which an age presented us but few. But here was Brother Bellows, who had been in the great Bank case, and who could probably tell us more. What did Brother Bellows put this new success at?
Brother Bellows was on his way to make his bow to the bosom, and could only tell them in passing that he had heard it stated, with great appearance of truth, as being worth, from first to last, half-a-million of money. (1.21.10-14)
Here is the elite playing the same kind of game of one-upmanship about Merdle's money that Mrs. Plornish and the Bleeding Heart Yard people play about Dorrit's losses. Snobbery doesn't really discriminate, apparently – and regardless of where you are, it's all about who you know.
Quote #5
'And to think of Doyce and Clennam, and who Doyce can be,' said Flora; 'delightful man no doubt and married perhaps or perhaps a daughter, now has he really? then one understands the partnership and sees it all, don't tell me anything about it for I know I have no claim to ask the question the golden chain that once was forged being snapped and very proper.' [...] 'I am very happy to see you,' said Clennam, 'and I thank you, Flora, very much for your kind remembrance.'
'More than I can say myself at any rate,' returned Flora, 'for I might have been dead and buried twenty distinct times over and no doubt whatever should have been before you had genuinely remembered Me or anything like it in spite of which one last remark I wish to make, one last explanation I wish to offer--' [...] A diversion was occasioned here, by Mr. F.'s Aunt making the following inexorable and awful statement:
'There's mile-stones on the Dover road!'
With such mortal hostility towards the human race did she discharge this missile, that Clennam was quite at a loss how to defend himself; the rather as he had been already perplexed in his mind by the honour of a visit from this venerable lady, when it was plain she held him in the utmost abhorrence. He could not but look at her with disconcertment, as she sat breathing bitterness and scorn, and staring leagues away. Flora, however, received the remark as if it had been of a most apposite and agreeable nature; approvingly observing aloud that Mr. F.'s Aunt had a great deal of spirit. Stimulated either by this compliment, or by her burning indignation, that illustrious woman then added, 'Let him meet it if he can!' And, with a rigid movement of her stony reticule (an appendage of great size and of a fossil appearance), indicated that Clennam was the unfortunate person at whom the challenge was hurled. (1.23.30-40)
This might be the moment when Dickens changed from having Mr. F.'s Aunt be simply a crazy old woman who says random things about the Dover road because she hates "the human race" to becoming the angry voice of Flora's inner self, whose anger and verbal challenges are directed only at Arthur. (For more on this, see "Characters.")
Quote #6
Mrs. Plornish was as proud of her father's talents as she could possibly have been if they had made him Lord Chancellor. She had as firm a belief in the sweetness and propriety of his manners as she could possibly have had if he had been Lord Chamberlain. The poor little old man knew some pale and vapid little songs, long out of date, about Chloe, and Phyllis, and Strephon being wounded by the son of Venus; and for Mrs. Plornish there was no such music at the Opera as the small internal flutterings and chirpings wherein he would discharge himself of these ditties, like a weak, little, broken barrel-organ, ground by a baby. On his 'days out,' those flecks of light in his flat vista of pollard old men,' it was at once Mrs. Plornish's delight and sorrow, when he was strong with meat, and had taken his full halfpenny-worth of porter, to say, 'Sing us a song, Father.' Then he would give them Chloe, and if he were in pretty good spirits, Phyllis also--Strephon he had hardly been up to since he went into retirement--and then would Mrs. Plornish declare she did believe there never was such a singer as Father, and wipe her eyes [...]
Mr. Dorrit was in the habit of receiving this old man as if the old man held of him in vassalage under some feudal tenure. He made little treats and teas for him, as if he came in with his homage from some outlying district where the tenantry were in a primitive state.
It seemed as if there were moments when he could by no means have sworn but that the old man was an ancient retainer of his, who had been meritoriously faithful. When he mentioned him, he spoke of him casually as his old pensioner. He had a wonderful satisfaction in seeing him, and in commenting on his decayed condition after he was gone. It appeared to him amazing that he could hold up his head at all, poor creature. 'In the Workhouse, sir, the Union; no privacy, no visitors, no station, no respect, no speciality. Most deplorable!' (1.31.4-8)
These feelings about Old Nandy both take the form of pride, but of very different kinds. Mrs. Plornish's pride is aspirational and hopeful – she imagines Old Nandy is a very gifted singer. Dorrit's pride, on the other hand, just runs Old Nandy down – he imagines him a feudal vassal and is psyched to find evidence of him growing physically debilitated.