How we cite our quotes: Citations follow this format: (Chapter.Paragraph)
Quote #7
[Mrs. Woodcourt] was such a sharp little lady and used to sit with her hands folded in each other looking so very watchful while she talked to me that perhaps I found that rather irksome. Or perhaps it was her being so upright and trim, though I don't think it was that, because I thought that quaintly pleasant. Nor can it have been the general expression of her face, which was very sparkling and pretty for an old lady. I don't know what it was. Or at least if I do now, I thought I did not then. Or at least--but it don't matter. (30.2)
Esther's waffling over the Woodcourt issue is sometimes confusing, sometimes unrealistic, and generally too much for Shmoop. There, we said it.
Quote #8
We knew afterwards what we suspected then, that [Jarndyce] did not trust to time until he had often tried to open Richard's eyes. That he had written to him, gone to him, talked with him, tried every gentle and persuasive art his kindness could devise. Our poor devoted Richard was deaf and blind to all. If he were wrong, he would make amends when the Chancery suit was over. If he were groping in the dark, he could not do better than do his utmost to clear away those clouds in which so much was confused and obscured. Suspicion and misunderstanding were the fault of the suit? Then let him work the suit out and come through it to his right mind. This was his unvarying reply. Jarndyce and Jarndyce had obtained such possession of his whole nature that it was impossible to place any consideration before him which he did not, with a distorted kind of reason, make a new argument in favour of his doing what he did. (43.4)
Richard's new penchant for being really argumentative and circular in his logic is a fascinating development. It makes sense when you realize that his thoughts are now being shaped by Chancery (known for its circular and nonsensical arguments) and Skimpole's sophistry. This discussion with Jarndyce is a neat mixture of the two.
Quote #9
But [Jarndyce] did not hint to me that when I had been better looking he had had this same proceeding in his thoughts and had refrained from it. That when my old face was gone from me, and I had no attractions, he could love me just as well as in my fairer days. That the discovery of my birth gave him no shock. That his generosity rose above my disfigurement and my inheritance of shame. That the more I stood in need of such fidelity, the more firmly I might trust in him to the last. [...] Still I cried very much, not only in the fullness of my heart after reading the letter, not only in the strangeness of the prospect-- for it was strange though I had expected the contents--but as if something for which there was no name or distinct idea were indefinitely lost to me. I was very happy, very thankful, very hopeful; but I cried very much.
By and by I went to my old glass. My eyes were red and swollen, and I said, "Oh, Esther, Esther, can that be you!" I am afraid the face in the glass was going to cry again at this reproach, but I held up my finger at it, and it stopped. (44.36-40)
Dickens is very interested in the psychology of repression and the way people manage to totally dissociate themselves from feelings they don't want to acknowledge having. Here it feels like Jarndyce kind of knows that Esther is going to need a time-out after he proposes. He does it by letter rather than face to face so he doesn't have to see her initial reaction. And sure enough, she gets herself under control by talking to her reflection as though it were a totally different person: check out how "it stopped" crying when "I held up my finger."