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The motivations behind Dickens' novels and the poverty-stricken world of 19th century London.
As the daughter of the most famous writer of the time, Katey Dickens enjoyed a high profile in Victorian society. She pursued her love of painting, acted in her father’s plays, socialized with the Thackerays, and modeled for painter John Everett Millais. This riveting biography finally sheds light on her extraordinary life both as a Dickens and an artist. The turbulent family life in the Dickens household drove Katey to marry young. Her first husband was the chronically ailing Charlie Collins, brother of the famous author Wilkie Collins. After Charlie’s untimely demise, the widowed Katey fell in love and married the handsome Italian artist Carlo Perugini. Charles Dickens lovingly nicknamed Katey “Lucifer Box” because of her fiery temper. In many ways, Katey was ahead of her time; she refused to be eclipsed by her father and fought to establish herself as an artist. She became renowned as a portrait painter and exhibited regularly at the Royal Academy. Katey lived to be almost ninety and her artistic prestige, which flourished during her lifetime, still persists to this day.
When a murder is staged at magnificent Knebworth House, Victorian writer-sleuths, Charles Dickens and Wilkie Collins investigate. August, 1856. Wilkie Collins and Charles Dickens are spending the summer at Knebworth House, the magnificent Hertfordshire home of fellow writer Lord Edward Bulwer-Lytton, where they are putting on a charity performance of one of Lord Edward's most successful plays, The Lady of Lyon. But the dress rehearsal is disrupted by the discovery of a body lying in the centre of the stage, shot to death. With everyone involved in the play coming under suspicion, the two writer-sleuths feel compelled to investigate. Their enquiries unearth a number of scandalous secrets lurking among the writers, artists and actors assembled at Knebworth. Secrets that stretch back more than twenty years. Secrets that will have devastating repercussions for the present.
Catherine Hogarth, who came from a cultured Scots family, married Charles Dickens in 1836, the same year he began serializing his first novel. Together they traveled widely, entertained frequently, and raised ten children. In 1858, the celebrated writer pressured Catherine to leave their home, unjustly alleging that she was mentally disordered-unfit and unloved as wife and mother. Constructing a plotline nearly as powerful as his stories of Scrooge and Little Nell, Dickens created the image of his wife as a depressed and uninteresting figure, using two of her three sisters against her, by measuring her presumed weaknesses against their strengths. This self-serving fiction is still widely accepted. In the first comprehensive biography of Catherine Dickens, Lillian Nayder debunks this tale in retelling it, wresting away from the famous novelist the power to shape his wife's story. Nayder demonstrates that the Dickenses' marriage was long a happy one; more important, she shows that the figure we know only as "Mrs. Charles Dickens" was also a daughter, sister, and friend, a loving mother and grandmother, a capable household manager, and an intelligent person whose company was valued and sought by a wide circle of women and men. Making use of the Dickenses' banking records and legal papers as well as their correspondence with friends and family members, Nayder challenges the long-standing view of Catherine Dickens and offers unparalleled insights into the relations among the four Hogarth sisters, reclaiming those cherished by the famous novelist as Catherine's own and illuminating her special bond with her youngest sister, Helen, her staunchest ally during the marital breakdown. Drawing on little-known, unpublished material and forcing Catherine's husband from center stage, The Other Dickens revolutionizes our perception of the Dickens family dynamic, illuminates the legal and emotional ambiguities of Catherine's position as a "single" wife, and deepens our understanding of what it meant to be a woman in the Victorian age.
Paul Dombey is a cold, unbending, pompous merchant, and a widower with two children - Paul and Florence. His chief ambition is to perpetuate the firm-name. He dreams of passing his business on to his son. Dombey dotes on his son, and neglects and mistreats his daughter.The "son" in the title of the book is incapable of ever joining the firm. A sickly and odd child, Paul dies at the age of six. Dombey pours his resentment and anger out on his daughter, whom he pushes away despite her efforts to earn her father's love.Eventually Dombey remarries, after literally acquiring his new wife from her father in a commercial transaction. Dombey is as bad a husband as he is a father and his marriage is loveless. His new bride hates Dombey and eventually runs off with Canker, his business manager. Dombey characteristically blames Florence for this reversal, and strikes her, causing Florence to run away as well.Abandoned by everyone, Dombey loses his business and goes half insane, living in his decaying house. Dombey is eventually reconciled to his daughter, who always a doormat forgives her father........