David Copperfield David Copperfield Quotes

Now, the whole place was, or it should have been, quite as delightful a place as ever; and yet it did not impress me in the same way. I felt rather disappointed with it. (10.69)

When David goes to visit Yarmouth after his mother's death and before he goes to London for the first time, he finds the boat house not "quite [as] delightful a place as ever." It looks different because he is different: David is growing up, and is viewing the world through new eyes. At the same time, David can't perceive his own internal changes. So, he thinks the disappointment of the old, familiar boat house must be some flaw in it rather than in him. This is another example of Dickens using the setting to show a character's transition; the location is a powerful tool of characterization in David Copperfield.

As [Uriah Heep] sat on my sofa, with his long knees drawn up under his coffee-cup, his hat and gloves upon the ground close to him, his spoon going softly round and round, his shadowless red eyes, which looked as if they had scorched their lashes off, turned towards me without looking at me, the disagreeable dints I have formerly described in his nostrils coming and going with his breath, and a snaky undulation pervading his frame from his chin to his boots, I decided in my own mind that I disliked him intensely. It made me very uncomfortable to have him for a guest, for I was young then, and unused to disguise what I so strongly felt. (25.107)

Uriah Heep has come to meet with David in David's apartments in Mrs. Crupp's house. David is revolted, as usual, by the sight of Uriah Heep. But he also includes this interesting line almost in passing, that he feels uncomfortable hosting Uriah Heep because he "was young then, and unused to disguise what [he] so strongly felt." Again, we get further evidence that David links childhood with innocence and honesty and adulthood with lies. At the same time, we're not so sure of this distinction – we told a fair number of lies when we were kids....

There is no doubt whatever that I was a lackadaisical young spooney; but there was a purity of heart in all this, that prevents my having quite a contemptuous recollection of [my courtship of Dora], let me laugh as I may. (26.49)

When David is courting Dora, he behaves like a really sentimental fellow, strumming his guitar and writing her love letters. David looks back on this time with some nostalgia, because while he may feel a bit embarrassed, he loved her with a "purity of heart" that seems lost to later David. All right, all right, Dickens, we get it: youth = goodness and innocence!

I had a great deal of work to do, and had many anxieties, but the same considerations made me keep them to myself. I am far from sure, now, that it was right to do this, but I did it for my child-wife's sake. (44.112)

We still feel a little wigged out that David calls Dora his "child-wife" – and at her own request! Dora wants David always to remember that she is trying her best, but that she is simply too childlike to be practical and serious. She may be an adult in years, but Dora seems resigned never to be an adult in mind. And David encourages her childishness by keeping his anxieties to himself, for his "child-wife's sake." How does David's approach to Dora differ from, say, Doctor Strong's approach to the much younger Annie? What are we supposed to make of the difference in the two marriages?

We stood together in the same old-fashioned window at night, when the moon was shining; Agnes with her quiet eyes raised up to it; I following her glance. Long miles of road then opened out before my mind; and, toiling on, I saw a ragged way-worn boy, forsaken and neglected, who should come to call even the heart now beating against mine, his own. (62.76)

As David stands with Agnes, he can look back on the whole trajectory of his life, back to the moment when he was running away to Dover and Miss Betsey Trotwood. David seems to feel that he has achieved everything he wants in life by the end of the book; he has also moved us from his childhood to his adulthood. Are there any plot holes that Dickens fails to tie off to your satisfaction? Do you find all of the endings Dickens gives to his characters equally compelling or believable? Why does Dickens work so hard to resolve every single narrative plot line?

The deep remembrance of the sense I had, of being utterly without hope now; of the shame I felt in my position; of the misery it was to my young heart to believe that day by day what I had learned, and thought, and delighted in, and raised my fancy and my emulation up by, would pass away from me, little by little, never to be brought back any more; cannot be written. (11.5)

When David works in his factory, he's almost in a more pathetic position than the other boys. Mick Walker and Mealy Potatoes don't expect anything different from their lives. But David has been to school. He has experienced another kind of life. So, this sudden slide into a life with no future fills him with "shame" and "misery" that "cannot be written." Still, we have to wonder – do you think that it's truly worse to be disappointed than to have no hopes at all, ever?

'Ah, Steerforth! It's well for you to joke about the poor! You may skirmish with Miss Dartle, or try to hide your sympathies in jest from me, but I know better. When I see how perfectly you understand them, how exquisitely you can enter into happiness like this plain fisherman's, or humour a love like my old nurse's, I know that there is not a joy or sorrow, not an emotion, of such people, that can be indifferent to you. And I admire and love you for it, Steerforth, twenty times the more!' (21.159)

David cannot imagine that Steerforth could "enter into happiness" with Mr. Peggotty or "humour a love like" Peggotty's without feeling something for them. He doesn't see how a person can understand another without sympathizing with them. Yet, Steerforth does recognize their "joy" and "sorrow" and he still decides to destroy the Peggotty family by seducing away Emily. What do you make of this link between understanding and sympathy? Do you agree that to know someone intellectually is to understand them emotionally? In a way, this logic is the whole basis of David Copperfield's style of storytelling: Dickens is asking his readers to get to know David so that we will feel for him and, by extension, the novel as a whole.

Or perhaps this is the Desert of Sahara! For, though Julia has a stately house, and mighty company, and sumptuous dinners every day, I see no green growth near her; nothing that can ever come to fruit or flower. What Julia calls "society," I see; among it Mr. Jack Maldon, from his Patent Place, sneering at the hand that gave it him, and speaking to me of the Doctor as "so charmingly antique." But when society is the name for such hollow gentlemen and ladies, Julia, and when its breeding is professed indifference to everything that can advance or can retard mankind, I think we must have lost ourselves in that same Desert of Sahara, and had better find the way out. (64.18)

In David's "Last Retrospect," he finds Julia Mills married to a rich man. But Julia Mills's marriage has drained the life from her, and makes her surroundings completely barren ("nothing that can ever come to fruit or flower"). David tells us that "society" is full of sneering, snide, unproductive people: "hollow gentlemen and ladies." And whatever you may say about the Peggottys, they are certainly neither "indiffer[ent]" nor "hollow."

[Mr. Murdstone] beat me then, as if he would have beaten me to death. Above all the noise we made, I heard them running up the stairs, and crying out—I heard my mother crying out—and Peggotty. Then he was gone; and the door was locked outside; and I was lying, fevered and hot, and torn, and sore, and raging in my puny way, upon the floor.

How well I recollect, when I became quiet, what an unnatural stillness seemed to reign through the whole house! How well I remember, when my smart and passion began to cool, how wicked I began to feel! (4.111-2)

This scene is awful. We have to admit that this is probably the most painful part of the novel for us, when Mr. Murdstone takes a switch and whips his poor, defenseless eight-year-old stepson for the "fault" of not having learned his lessons properly. It's just disgusting. The worst thing about this moment might be that, as David recovers from his beating, he feels "wicked." Beating makes its victim feel evil, as though the only way David can handle being whipped is to try and find ways to blame himself – as though that would make it justified or fair.

What I suffered from that placard, nobody can imagine. Whether it was possible for people to see me or not, I always fancied that somebody was reading it. It was no relief to turn round and find nobody; for wherever my back was, there I imagined somebody always to be. That cruel man with the wooden leg aggravated my sufferings. He was in authority; and if he ever saw me leaning against a tree, or a wall, or the house, he roared out from his lodge door in a stupendous voice, 'Hallo, you sir! You Copperfield! Show that badge conspicuous, or I'll report you!' The playground was a bare gravelled yard, open to all the back of the house and the offices; and I knew that the servants read it, and the butcher read it, and the baker read it; that everybody, in a word, who came backwards and forwards to the house, of a morning when I was ordered to walk there, read that I was to be taken care of, for I bit, I recollect that I positively began to have a dread of myself, as a kind of wild boy who did bite. (5.145)

The experience of having the whole world looking at David's sign – "Take care of him. He bites." – inspires David with this morbid sensitivity about the whole world's interest in him. He suddenly becomes horribly aware that he is seen by many strangers throughout the day. This awareness of social judgment makes David feel unfounded guilt "as a kind of wild boy who did bite." This sense that social judgment increases a sense of guilt gets repeated in the episode of poor Mrs. Annie Strong, who is so aware that the world thinks she is cheating on Doctor Strong.

We thought this intention [of finding the fired Mr. Mell a job] very noble in Steerforth, whose mother was a widow, and rich, and would do almost anything, it was said, that he asked her. [...] But I must say that when I was going on with a story in the dark that night, Mr. Mell's old flute seemed more than once to sound mournfully in my ears; and that when at last Steerforth was tired, and I lay down in my bed, I fancied it playing so sorrowfully somewhere, that I was quite wretched. (7.95)

After Steerforth gets Mr. Mell fired, he convinces the other boys that he plans to find Mr. Mell another job so they'll feel better about the whole thing. But at night, when David is alone, even this comfort can't make his sorrow for Mr. Mell go away. Being alone makes David's guilt and sadness worse, which is perhaps one reason why he values family life and community above all other achievements.

The Doctor was very fond of music. Agnes sang with great sweetness and expression, and so did Mrs. Strong. They sang together, and played duets together, and we had quite a little concert. But I remarked two things: first, that though Annie soon recovered her composure, and was quite herself, there was a blank between her and Mr. Wickfield which separated them wholly from each other; secondly, that Mr. Wickfield seemed to dislike the intimacy between her and Agnes, and to watch it with uneasiness. And now, I must confess, the recollection of what I had seen on that night when Mr. Maldon went away, first began to return upon me with a meaning it had never had, and to trouble me. The innocent beauty of her face was not as innocent to me as it had been; I mistrusted the natural grace and charm of her manner; and when I looked at Agnes by her side, and thought how good and true Agnes was, suspicions arose within me that it was an ill-assorted friendship. (19.79)

David suddenly stops trusting Annie, when he notices that Mr. Wickfield suspects her and that Annie herself is aware of Mr. Wickfield's suspicions. Blame appears to be contagious, and it's the easy spread of blame that keeps Doctor Strong and Annie apart needlessly for so long. We're also interested in the fact that sin also seems to be contagious – David remarks that Mr. Wickfield doesn't like "the intimacy between [Annie] and Agnes," perhaps because he worries that Annie will be a bad influence on Agnes. This protective instinct echoes Mr. Peggotty and Ham Peggotty's concern when Emily meets with Martha Endell (before Emily runs away). At the same time, we later discover that Agnes visits Emily repeatedly before she sails to Australia. Sure, people can influence you to do the wrong thing, but Agnes's morals are so firmly grounded that we seriously don't think just talking to Annie, Emily, or Martha Endell is going to change them. Do women appear to be particularly vulnerable to certain kinds of social crimes? What does it say about the society in the book that it thinks that women are so easily "corrupted?"

It rarely happened now that Mr. Maldon accompanied them. Sometimes my aunt and Dora were invited to do so, and accepted the invitation. Sometimes Dora only was asked. The time had been, when I should have been uneasy in her going; but reflection on what had passed that former night in the Doctor's study, had made a change in my mistrust. I believed that the Doctor was right, and I had no worse suspicions. (45.16)

David's mind is so easily changed: he suspects Annie of being a cheater when Mr. Wickfield shows his suspicions, but he changes his mind about Annie when Doctor Strong refuses to doubt her. What are we to make of this social component of blame? Why can't David make his moral judgments of Annie on his own, without input from those around him? Does David make any moral judgments without looking to the responses of his friends? Does David ever disagree with the moral judgments of his friends? And do you ever disagree with David's assessments?

I heard that Mr. Creakle had a son [...] who, assisting in the school, had once held some remonstrance with his father on an occasion when its discipline was very cruelly exercised, and was supposed, besides, to have protested against his father's usage of his mother. I heard that Mr. Creakle had turned him out of doors, in consequence; and that Mrs. and Miss Creakle had been in a sad way, ever since. (6.50)

Schools are hotbeds for gossip. We are sure you guys are aware of that. Here, these gossips speculate that Mr. Creakle had a son who he disowned for protesting Mr. Creakle's abuse of his family and the students. How seriously do you think we are supposed to take this bit of gossip about Mr. Creakle's family? Is there evidence elsewhere in the book that Mr. Creakle has a son?

What is natural in me, is natural in many other men, I infer, and so I am not afraid to write that I never had loved Steerforth better than when the ties that bound me to him were broken. In the keen distress of the discovery of his unworthiness, I thought more of all that was brilliant in him, I softened more towards all that was good in him, I did more justice to the qualities that might have made him a man of a noble nature and a great name, than ever I had done in the height of my devotion to him. (32.1)

David finds that, once he discovers Steerforth's betrayal, he thinks all the more of his brilliance. David's generosity to Steerforth's memory provides pretty much the only example we ever get of a truly grey character, nearly purely good nor totally bad. Steerforth is like family to David before he runs away with Emily. This means we have some attachment to him too, even though we know he's done terrible things.

I gazed upon the schoolroom into which he took me, as the most forlorn and desolate place I had ever seen. I see it now. A long room with three long rows of desks, and six of forms, and bristling all round with pegs for hats and slates. Scraps of old copy-books and exercises litter the dirty floor. Some silkworms' houses, made of the same materials, are scattered over the desks. Two miserable little white mice, left behind by their owner, are running up and down in a fusty castle made of pasteboard and wire, looking in all the corners with their red eyes for anything to eat. A bird, in a cage very little bigger than himself, makes a mournful rattle now and then in hopping on his perch, two inches high, or dropping from it; but neither sings nor chirps. There is a strange unwholesome smell upon the room, like mildewed corduroys, sweet apples wanting air, and rotten books. There could not well be more ink splashed about it, if it had been roofless from its first construction, and the skies had rained, snowed, hailed, and blown ink through the varying seasons of the year. (5.135)

This is David's first encounter with Salem House. This also could not be a more beautiful illustration of the way David uses setting and scenery to establish mood and character development. We know that Salem House is going to be a bad school because it is filled with a "strange unwholesome smell." We know that it is going to be like a restrictive trap for its students because there is a bird "in a cage very little bigger than himself" who won't even sing. We also know that the emphasis of this school sure isn't going to be on learning, because the schoolroom smells of "rotten ink."

My aunt was a tall, hard-featured lady, but by no means ill-looking. There was an inflexibility in her face, in her voice, in her gait and carriage, amply sufficient to account for the effect she had made upon a gentle creature like my mother; but her features were rather handsome than otherwise, though unbending and austere. I particularly noticed that she had a very quick, bright eye. Her hair, which was grey, was arranged in two plain divisions, under what I believe would be called a mob-cap; I mean a cap, much more common then than now, with side-pieces fastening under the chin. Her dress was of a lavender colour, and perfectly neat; but scantily made, as if she desired to be as little encumbered as possible. I remember that I thought it, in form, more like a riding-habit with the superfluous skirt cut off, than anything else. She wore at her side a gentleman's gold watch, if I might judge from its size and make, with an appropriate chain and seals; she had some linen at her throat not unlike a shirt-collar, and things at her wrists like little shirt-wristbands. (13.109)

This first extended description of Miss Betsey fascinates us. Why? Well: look how different Miss Betsey's physical appearance is compared to soft, fair Mrs. Copperfield or Dora. Miss Betsey is the only woman in the novel who successfully raises a family (well, David) by herself (as opposed to Mrs. Steerforth, Mrs. Copperfield, and Mrs. Heep). What distinguishes her from these other women is that she keeps getting marked as masculine: she is "hard-featured," with "unbending and austere" features. Her dress is plain and "more like a riding-habit with the superfluous skirt cut off, than anything else." In other words, she is remarkably plainly dressed, to be "as little encumbered as possible." She even wears "a gentleman's gold watch." Miss Betsey's power in the household seems to be the result of her unusually independent, firm ways – and this independence demonstrates itself in her masculine appearance. So, there's a subtle equation here: feminine = weak; masculine = strong.

There was dust, I believe. There was a good deal of dust, I believe. I have a faint impression that Mr. Spenlow remonstrated with me for riding in it; but I knew of none. I was sensible of a mist of love and beauty about Dora, but of nothing else. He stood up sometimes, and asked me what I thought of the prospect. I said it was delightful, and I dare say it was; but it was all Dora to me. The sun shone Dora, and the birds sang Dora. The south wind blew Dora, and the wild flowers in the hedges were all Dora's, to a bud. My comfort is, Miss Mills understood me. Miss Mills alone could enter into my feelings thoroughly. (33.62)

David falls in love with Dora pretty much at first sight. When the three of them drive to some green space to have a birthday picnic for Dora with a bunch of friends, David is totally consumed by the sight of her. We're not too surprised that David's main attention is on Dora's appearance, which he keeps comparing to various lovely aspects of the natural world. If he talked to Dora a little more before they got married, and listened a bit more to the warning signs that they weren't made for each other, they both could have avoided a lot of heartbreak.

I thought I had killed her, this time. I sprinkled water on her face. I went down on my knees. I plucked at my hair. I denounced myself as a remorseless brute and a ruthless beast. I implored her forgiveness. I besought her to look up. I ravaged Miss Mills's work-box for a smelling-bottle, and in my agony of mind applied an ivory needle-case instead, and dropped all the needles over Dora. (37.47-8)

What's freaking out Dora here is that David has asked her to read a cookbook and study some accounts now and then, so that they can keep house without necessarily relying on servants. Dora flips out and David totally blames himself for just springing all of this on her. But seriously, this is a truly unflattering image of womanhood as being connected to weakness, childishness, and so on. Does Dora's characterization represent a more general assessment of the quality of women throughout the novel? Does Agnes Wickfield seem like a better or fairer model of womanhood to you? Are there problems with Agnes's depiction as well?

And we fell back on the guitar-case, and the flower-painting, and the songs about never leaving off dancing, Ta ra la! and were as happy as the week was long. I occasionally wished I could venture to hint to Miss Lavinia, that she treated the darling of my heart a little too much like a plaything; and I sometimes awoke, as it were, wondering to find that I had fallen into the general fault, and treated her like a plaything too—but not often. (41.151)

Because David is quite childish himself, he willfully ignores the signs that he and Dora are actually not in perfect sympathy with each other. But we also find it intriguing that David treats Dora just the same way all the other people around Dora do: like a "plaything." Dora loves the guitar and the flower-painting because all she knows how to do is play; she can't work and she won't work. But this isn't just a problem of gender. It's also a problem of having too much money. None of the poorer women in this novel can afford to spend all day singing "songs about never leaving off dancing."