Henry Gowan

Henry Gowan is the fiancé of Pet Meagles, whom Arthur realizes he loves after her engagement (Arthur is quite flexible in love).  The Meagles do not like Gowan personally, though they embrace the match due to the connection it provides to the Barnacles, the corrupt ruling family in the Circumlocution Office.  Nevertheless, the Gowans, though well-connected, are poor themselves, forcing Henry to earn his living.  Henry expresses disappointment that his distant relatives do not give him money so that he doesn't have to work.

'Why,' returned Gowan, 'I belong to a clan, or a clique, or a family, or a connection, or whatever you like to call it, that might have provided for me in any one of fifty ways, and that took it into its head not to do it at all. So here I am, a poor devil of an artist' (Book 1, Ch. 34).

Gowan's choosing art "partly to grieve the souls of the Barnacles-in-chief who had not provided for him" (Book 1, Ch. 17) shows he has no love for art and that he is lazy and wants an easy way to earn money. 

He appeared to be an artist by profession, and to have been at Rome some time; yet he had a slight, careless, amateur way with him—a perceptible limp, both in his devotion to art and his attainments—which Clennam could scarcely understand (Book 1, Ch. 17).

Gowan proves careless not only in his vocation but also in his words.  He repeatedly exhibits "dexterous impudence" through insincere praise.

It appeared, before the breakfast was over, that everybody whom this Gowan knew was either more or less of an ass, or more or less of a knave; but was, notwithstanding, the most lovable, the most engaging, the simplest, truest, kindest, dearest, best fellow that ever lived. The process by which this unvarying result was attained, whatever the premises, might have been stated by Mr Henry Gowan thus: 'I claim to be always book-keeping, with a peculiar nicety, in every man's case, and posting up a careful little account of Good and Evil with him. I do this so conscientiously, that I am happy to tell you I find the most worthless of men to be the dearest old fellow too: and am in a condition to make the gratifying report, that there is much less difference than you are inclined to suppose between an honest man and a scoundrel.' The effect of this cheering discovery happened to be, that while he seemed to be scrupulously finding good in most men, he did in reality lower it where it was, and set it up where it was not; but that was its only disagreeable or dangerous feature (Book 1, Ch. 17).

Though Gowan does not have evil intentions, one learns quickly not to trust his judgment of others.  Dickens furthers this perspective by Gowan's friendship with Rigaud and Sparkler, as well as his relation to the Barnacles.  Rigaud is a murderer and Sparkler is weak-minded and undistinguished.  If a man is defined by the company he keeps, Gowan is bad news.


His relationship to the Barnacles shows he shares sentiments with them.  His opposition to progress is illustrated in the following quote:

'Painters, writers, patriots, all the rest who have stands in the market. Give almost any man I know ten pounds, and he will impose upon you to a corresponding extent; a thousand pounds—to a corresponding extent; ten thousand pounds—to a corresponding extent. So great the success, so great the imposition. But what a capital world it is!' cried Gowan with warm enthusiasm. 'What a jolly, excellent, lovable world it is!'

'I had rather thought,' said Clennam, 'that the principle you mention was chiefly acted on by—'

'By the Barnacles?' interrupted Gowan, laughing. 

'By the political gentlemen who condescend to keep the Circumlocution Office' (Book 1, Ch. 26).

If one impedes progress, one avoids obligation to others for that progress.  Gowan does not believe in work and has no problem impeding the work of others.

A Book of Nobodies

Dickens originally planned to name the novel Nobody's Fault, and though he changed the title, the theme of nobody remains a part of the work.  Many characters struggle with their identity throughout the novel.  One major reason for that struggle is the inability to define oneself through the family entity.  In the case of Miss Wade and Tattycoram, one's family is a mystery and both characters show a reluctance to adapt themselves to a familial unit.  Another cluster of characters deal with the loss of a parent:

*Clennam returns to London after the death of his father.
*Little Dorrit's mother dies soon after her birth
*Flora's mother as well as that of Young Chivery is never identified
*Edmund Sparkler is the son of Mrs. Merdle from a previous relationship

In addition to this, Pet Meagles deals with the loss of a twin sister while Maggy shows her confusion with her identity by calling the younger Little Dorrit "Little Mother."  Mrs. Clennam admits she is not Arthur's mother, a fact he learns after the novel ends.  Because of these issues, many characters have trouble coming to terms with their identity and understanding who they are.

Interestingly, two of the strongest family units in the novel are opposites.  On one hand are the Barnacles, a strong family, though corrupt, that runs England and never relinquishes power.  All positions of power remain within the family.  Though Dickens portrays this family and politically corrupt, he uses the Barnacles to show the power possible to a strong family unit.

On the other hand are the Plornishs, an extremely poor, though honest, family that lives in Bleeding Heart Yard.  Mr. Plornish is a hard-working plasterer, who has trouble finding work in order to feed his wife and many kids.  Nevertheless, the family is always happy and willing to help others.

Ultimately, the novel is about a bunch of nobodies trying to find their role in the world.  Dickens shows that the lack of knowledge about one's identity makes finding that role difficult.

Imprisonment in Little Dorrit, Part Two

Tattycoram feels she is imprisoned as a part of the Meagles household, only to learn true subjugation when she runs away to live with Miss Wade.  Adopted by the Meagles to serve as a maid to their daughter Pet, Tattycoram feels jealous of the attention Pet receives, forgetting the attention she herself receives.  Tattycoram's past of neglect and abandonment fuels her anger and fear of a similar future, though she acknowledges that she knows that the Meagles are good to her.  Miss Wade preys on the vulnerable Tattycoram, possibly as a love interest, and strengthens the cords of her imprisonment by making "Harriet" (her given name) totally dependent on her.  Tattycoram misses the Meagles, visiting their residence in their absences and eventually returns to them.

Miss Wade herself is imprisoned by her past, in which she was an orphan.  As a result, she seeks to control everyone she grows close to.  As a young girl, she suspects her peers are only nice to her because she is an orphan and she rejects their benevolent condescension.  She becomes upset when her one true friend makes friends with others.  She becomes engaged to a young man and provokes him to jealousy by flirting with Henry Gowan, later ending the engagement though nothing developed with Gowan.  She uses a similar past of uncertain birth to attract Tattycoram, only to make the life of the latter more miserable than previously perceived.  Miss Wade's past prevents her from developing proper relationships with others.

The residents of Bleeding Heart Yard are unknowingly imprisoned by Mr. Casby, their landlord.  BHY is a poor area of London in which live the Plornish's, a hard-working and honest, though impoverish family.  Casby hires Pancks to collect the rents, which causes the latter to be viewed as the antagonist of the residents while Casby is envisioned as philanthropic .  Pancks bleeds the residents of their money, though Casby pushes him to bleed them further, being unsatisfied with the results.  Casby knows but ignores the poverty of his tenants and only concerns himself with obtaining more money.

Almost all of society is imprisoned by the Barnacles, who run the Circumlocution Office.  Controlling the country through a hereditary oligarchy of sorts, the Barnacles prevent anything of significance from happening in the country.  Through exaggerated bureaucratic means, they follow the philosophy "How not to do it" in their governance.  As a result, society is prevented from making any progress, which is portrayed in the case of Doyce being denied for no reason a patent for his inventions.  Only Merdle is too rich to be under their control.

Ironically, Little Dorrit is imprisoned by the society outside of the walls of the Marshalsea.  She was born and grew up in the prison and she understand the role she is expected to perform there.  Nevertheless, once Mr. Dorrit receives his freedom and wealth, Little Dorrit no longer knows how to function in her family or in society.  She does not want to give up her old, tattered clothing and often has dreams of her days at the Marshalsea.  She cannot function in a false society and finds comfort when Clennam goes to jail and she can return to the role she once performed for her father.   She is only able to leave in peace when she leaves with Clennam.

Imprisonment in Little Dorrit, Part One

A recurring theme in Little Dorrit is imprisonment.  Obviously, the Marshalsea has an dominating presence in Part One of the novel.  Mr. Dorrit is imprisoned there over 20 years and sees his youngest child Amy born there.  Even after he is released, Mr. Dorrit is still haunted by the pervasive nature of the prison, as much as he tries to banish it from his memory.  Mr. Dorrit tries to maintain his dignity while in prison, acquiring the title of "Father of the Marshalsea," which is considered a moniker of respect.  Also, he pretends to be ignorant of his children's attempts to earn money for the family, so that the pang of his failure towards them will lessen.  The effect of the prison on its inhabitants is a role reversal.

One way in which this effect is illustrated is through the relationships Little Dorrit develops with her father and Little Maggy.  To her father Little Dorrit becomes the provider, making money for the family while guaranteeing that Mr. Dorrit has his meals.  With Maggy, though Little Dorrit is much younger, her maternal actions towards the Maggy causes the latter to call the former "Little Mother."  Mr. Meagles notices the stifling, suffocating atmosphere of the prison, causing him to have trouble breathing.  Dickens portrays that stifling dimension of the prison in Maggy's inability to conceive of herself as older than ten, and in Little Dorrit's small stature, despite her obvious maturity.  Tip, Little Dorrit's brother, leaves the prison on multiple occasions, only to return every time.  The prison refuses to relinquish its hold on him, in spite of his attempts to escape its grasp.  However, few are able to escape, including the turnkey who dies in the prison only to have his son succeed him.  The only persons to escape successfully are Arthur and Amy, and they do it together.  After Arthur becomes a victim of Merdle's scheme and is sent to prison, Amy with the help of Meagles, frees Arthur.  The shared trait between Arthur and Amy is that neither bows at the altar of Mammon and both show a willingness to sacrifice everything they have for just reasons.   Therefore, neither of the two remain within the hold of a prison whose inhabitants were jailed for debts, symbolizing greed.

Nevertheless, the Marshalsea is not the only prison on which those in Little Dorrit find themselves.  Others are imprisoned figuratively.  One example is Mrs. Clennam, who is a prisoner in her own house.  Bound to a wheelchair, Mrs. Clennam never leaves her room, though she receives visitors.  Everything about the house reminds one of a prison; it is an old, dilapidated edifice, always dark and airless, like the Marshalsea.  Mrs. Clennam's self-imposed sentence reflects her guilt over the unjust treatment of the Dorrit family at the hands of the Clennams.  Consequently, her imprisonment is an act of penance though she is only truly released from her prison when she decides to reveal the truth about the past.  Only then does she leave the premises (to go to the Marshalsea, ironically). 

Nevertheless, she is partly responsible for Affery's imprisonment in the same domicile.  Forced to marry the butler, Affery is trapped in a loveless relationship with an abusive husband.  She sees a lot that she is not supposed to see but is told that he has dreamed it.  Affery is stuck in a dream world and is only released when the truth is revealed at the end.

A Rebuttal to George Eliot

In contrast to Eliot's assertion (quoted in the previous post) that Dickens rarely gives an internal examination of his characters to the extent that he illustrates external traits, Alan Palmer, in Social Minds in the Novel, explains in a chapter on Little Dorrit that Dickens' examination of the private thoughts of his characters is more subtle but not absent.  Dickens uses the external perspective to explore the internal workings of the mind.  Palmer uses examples of facial expression and nonverbal communication to show how the thoughts of characters are perceived by others.

Palmer uses the term "visible thought" to characterized one way in which a character's thoughts are discerned by those around him.  Palmer uses the example of Merdle's worrying, stating "Even a solipsistic character such as Mr. Dorrit is able to notice when Merdle is out of sorts" (108).  The reticent Merdle is one character about whom the reader learns more from other characters than from himself.  Facial expressions often offer opportunity to see these "visible thoughts, such as the "shade of disappointment" Clennam sees on Mrs. Plornish's face.  For this reason, many characters (e.g. Miss Wade) adopt stolid expressions to avoid detection of their thoughts.  Palmer uses this outward display of the inner life to refute claims of a lack of internal examination by Dickens.

Nonverbal communication between characters who know each other well provides an opportunity to know the thoughts of others.  For example, Fanny gives Amy a warning frown that stops Amy from speaking.  Palmer also gives examples of how just a look from different characters can communicate different things.  The look is used to give or get info, as a warning, to intimidate, and to thank someone, all of which communicate ideas with words.

Ultimately, I think Eliot wins the argument, though Palmer makes valid points.  Dickens does not make a psychological approach to his characters in Little Dorrit, which is, essentially, Eliot's contention.  Knowing the thoughts of a character does give an internal view, though only in a limited way.  Eliot, however, would want to know, not just the thoughts, but also exactly how one's mind works.