How we cite our quotes: (Book.Chapter.Paragraph)
Quote #7
Uncle [Frederick] suddenly fixed the attention of all three by rising out of his chair, striking his hand upon the table and saying, 'Brother! I protest against it! [...] Brother!' said the old man, conveying a surprising energy into his trembling voice, 'I protest against it! I love you; you know I love you dearly. In these many years I have never been untrue to you in a single thought. Weak as I am, I would at any time have struck any man who spoke ill of you. But, brother, brother, brother, I protest against it! [...] How dare you,' said the old man, turning round on Fanny, 'how dare you do it? Have you no memory? Have you no heart?'
'Uncle?' cried Fanny, affrighted and bursting into tears, 'why do you attack me in this cruel manner? What have I done?'
'Done?' returned the old man, pointing to her sister's place, 'where's your affectionate invaluable friend? Where's your devoted guardian? Where's your more than mother? How dare you set up superiorities against all these characters combined in your sister? For shame, you false girl, for shame! [...] Brother, I protest against pride. I protest against ingratitude. I protest against any one of us here who have known what we have known, and have seen what we have seen, setting up any pretension that puts Amy at a moment's disadvantage, or to the cost of a moment's pain. We may know that it's a base pretension by its having that effect. It ought to bring a judgment on us. Brother, I protest against it in the sight of God!' (2.5.105-114)
The language here is amazing – such a contrast to the kinds of words this family usually uses to talk to each other. Frederick brings up the associations of home: "memory," "heart," "mother" – precisely the kind of thoughts the Dorrits try to never invoke and to aggressively forget.
Quote #8
[Arthur] slowly walked in the direction of that grim home of his youth.
It always affected his imagination as wrathful, mysterious, and sad; and his imagination was sufficiently impressible to see the whole neighbourhood under some tinge of its dark shadow. As he went along, upon a dreary night, the dim streets by which he went, seemed all depositories of oppressive secrets. The deserted counting-houses, with their secrets of books and papers locked up in chests and safes; the banking-houses, with their secrets of strong rooms and wells, the keys of which were in a very few secret pockets and a very few secret breasts; the secrets of all the dispersed grinders in the vast mill, among whom there were doubtless plunderers, forgers, and trust-betrayers of many sorts, whom the light of any day that dawned might reveal; he could have fancied that these things, in hiding, imparted a heaviness to the air. The shadow thickening and thickening as he approached its source, he thought of the secrets of the lonely church-vaults, where the people who had hoarded and secreted in iron coffers were in their turn similarly hoarded, not yet at rest from doing harm; and then of the secrets of the river, as it rolled its turbid tide between two frowning wildernesses of secrets, extending, thick and dense, for many miles, and warding off the free air and the free country swept by winds and wings of birds.
The shadow still darkening as he drew near the house, the melancholy room which his father had once occupied, haunted by the appealing face he had himself seen fade away with him when there was no other watcher by the bed, arose before his mind. Its close air was secret. The gloom, and must, and dust of the whole tenement, were secret. At the heart of it his mother presided, inflexible of face, indomitable of will, firmly holding all the secrets of her own and his father's life, and austerely opposing herself, front to front, to the great final secret of all life. (2.10.3-5)
Wow, what a horrible family Arthur grew up in! It's a wonder that he turned out as normal as he did. Check out the imagery of the shadow popping up here – soon it will be the shadow of the prison wall – and all the different kinds of locks, keys, and prisons that Arthur pictures. We've got treasure chests, money safes, vaults, coffins – and at the heart of it, his mother's face. Well, that's a nice little ominous image right there – and a nice preview of the novel's big reveal.
Quote #9
Now I [Amy] am going to tell you [Arthur] all I can about [the Gowans], because I know that is what you most want to hear. Theirs is not a very comfortable lodging [...]. Of course it is a far, far better place--millions of times--than any I have ever been used to until lately; and I fancy I don't look at it with my own eyes, but with hers. For it would be easy to see that she has always been brought up in a tender and happy home, even if she had not told me so with great love for it. Well, it is a rather bare lodging up a rather dark common staircase, and it is nearly all a large dull room, where Mr. Gowan paints. The windows are blocked up where any one could look out [...] She is very much alone. Very much alone indeed. (2.11.3-8)
It's amazing how much this place tells us about the kind of marriage the Gowans have. The apartment is all about Gowan's terrible art, and Pet is basically trapped there and unable to ever think about getting out. Also, what do you make of the passive-aggressive-sounding "that's what you most want to hear," and the great little detail that Amy is looking at the room through Pet's eyes and not her own. Is she trying on a little bit of Pet knowing that this is who Arthur fell in love with?