How we cite our quotes:
Fog everywhere. Fog up the river, where it flows among green aits and meadows; fog down the river, where it rolls defiled among the tiers of shipping and the waterside pollutions of a great (and dirty) city. Fog on the Essex marshes, fog on the Kentish heights. Fog creeping into the cabooses of collier-brigs; fog lying out on the yards and hovering in the rigging of great ships; fog drooping on the gunwales of barges and small boats. Fog in the eyes and throats of ancient Greenwich pensioners, wheezing by the firesides of their wards; fog in the stem and bowl of the afternoon pipe of the wrathful skipper, down in his close cabin; fog cruelly pinching the toes and fingers of his shivering little 'prentice boy on deck. Chance people on the bridges peeping over the parapets into a nether sky of fog, with fog all round them, as if they were up in a balloon and hanging in the misty clouds. [...] The raw afternoon is rawest, and the dense fog is densest, and the muddy streets are muddiest near that leaden-headed old obstruction, appropriate ornament for the threshold of a leaden-headed old corporation, Temple Bar. And hard by Temple Bar, in Lincoln's Inn Hall, at the very heart of the fog, sits the Lord High Chancellor in his High Court of Chancery.
Never can there come fog too thick, never can there come mud and mire too deep, to assort with the groping and floundering condition which this High Court of Chancery, most pestilent of hoary sinners, holds this day in the sight of heaven and earth. (1.2-5)
This is a pretty cool transformation of a literal fog into a metaphorical one. At first the narrator is describing actual fog and how it covers the whole city. But then, slowly, the fog turns into a metaphor of confusion and unintelligibility. Suddenly the narrator describes the Court of Chancery as being in the middle of the thickest fog. Dickens is great at this kind of thing: pulling out some visual detail about a place and turning it into a metaphor for the place as a whole.
Lady Dedlock as one of a class--as one of the leaders and representatives of her little world. She supposes herself to be an inscrutable Being, quite out of the reach and ken of ordinary mortals--seeing herself in her glass, where indeed she looks so. Yet every dim little star revolving about her, from her maid to the manager of the Italian Opera, knows her weaknesses, prejudices, follies, haughtinesses, and caprices and lives upon as accurate a calculation and as nice a measure of her moral nature as her dressmaker takes of her physical proportions. Is a new dress, a new custom, a new singer, a new dancer, a new form of jewelry, a new dwarf or giant, a new chapel, a new anything, to be set up? There are deferential people in a dozen callings whom my Lady Dedlock suspects of nothing but prostration before her, who can tell you how to manage her as if she were a baby, who do nothing but nurse her all their lives, who, humbly affecting to follow with profound subservience, lead her and her whole troop after them. (2.13)
This a great passage describing the different ways Lady Dedlock looks depending on who is doing the looking. To herself, in the mirror, she looks totally aloof, powerful, and mysterious. To her "little world" she is a representative who "leads" her troop. But to the various salespeople and tradesmen who provide goods and services to her, she's a "baby" who is easily fooled into buying whatever it is they want to sell her. They all know what buttons to push to get her to do anything.
But a portrait over the chimney-piece, painted by the fashionable artist of the day, acts upon him like a charm. He recovers in a moment. He stares at it with uncommon interest; he seems to be fixed and fascinated by it.
"Dear me!" says Mr. Guppy. "Who's that?"
"The picture over the fire-place," says Rosa, "is the portrait of the present Lady Dedlock. It is considered a perfect likeness, and the best work of the master."[...]
"It's unaccountable to me," he says, still staring at the portrait, "how well I know that picture! I'm dashed," adds Mr. Guppy, looking round, "if I don't think I must have had a dream of that picture, you know!"
As no one present takes any especial interest in Mr. Guppy's dreams, the probability is not pursued. But he still remains so absorbed by the portrait that he stands immovable before it until the young gardener has closed the shutters, when he comes out of the room in a dazed state that is an odd though a sufficient substitute for interest and follows into the succeeding rooms with a confused stare, as if he were looking everywhere for Lady Dedlock again. (7.37-45)
What do you think about the idea of a painting being "a perfect likeness"? Is that even possible? What does it say about Lady Dedlock that she is able to be painted exactly – unlike Sir Dedlock, for instance, who is later described as hating a particularly bad portrait of himself?