Dickens' London — Edition Insights

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Mansfield, M. F. (Milburg Francisco), 1871- Project Gutenberg 2009 Not confirmed
Dickens, Charles, 1812-1870 -- Homes and haunts -- England -- London; Literary landmarks -- England -- London; London (England) -- In literature Readers of public-domain and historical texts
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Edition facts

Words 62,779
Reading time 273 min
Text sections 12

The source record for Dickens' London — Edition Insights measures this digital text at 62,779 words, 4 hr 33 min estimated reading time, and 12 detected text sections.

The text analysis averages about 20.1 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Dickens, Charles, 1812-1870 -- Homes and haunts -- England -- London,” connecting these edition facts with the source record’s subject description.

An informal guide to London locales tied to Charles Dickens, blending historical and topographical facts with literary references. Miltoun traces vanished landmarks like Hungerford Stairs and Warren's Blacking Factory, using period sources and a conversational tone that shifts between antiquarian detail and wry commentary on urban change.
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Editorial Edition Score 4.8/5

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se were parlous times in Grub Street; in the days when the art of letters, though undeniably prolific, was not productive of an income which would assure even a practised hand freedom from care and want. Within a half-mile on either side of this blind alley leading off Fleet Street, from Ludgate Hill on the east--redolent of memories of the Fleet, its Prison, and its "Marriages"--to Somerset House on the west, is that unknown land, that _terra incognita_, whereon so many ships of song are stranded, or what is more, lost to oblivion which is blacker than darkness itself.

In January, 1837, while still turning out "Pickwick" in monthly parts, Dickens was offered the editorship of the already famous _Bentley's Magazine_, which he accepted, and also undertook to write "Oliver Twist" for the same periodical.

In March, of the same year, the three rooms at Furnival's Inn presumably having become crowded beyond comfort, he removed with his wife to his former lodgings at Chalk, where the couple had spent their honeymoon, and where in the following year their son Charles was born.

What memories are conjured up of the past and, it is to be hoped, of future greatness by those who, in taking their walks abroad, find themselves within the confines of the parish of St. Bride's, with its church built by Wren shortly after the great fire, and its queer pointed steeple, like a series of superimposed tabourets overtopped with a needle-like spire?

Here the brazen chimes ring out to all and sundry of the world of journalism and letters, whose vocations are carried on within its sound, the waking and sleeping hours alike. True! there are no sleeping hours in Fleet Street; night is like unto day, and except for the absence of the omnibuses, and crowds of hurrying throngs of city men and solicitors and barristers, the faces of those you meet at night are in no way unlike the same that are seen during the hours in which the sun is supposed to shine in London, but which--for at least five months of the year--mostly doesn't.

Old St. Bride's, destroyed by the great fire of London in the seventeenth century, sheltered the remains of Sackville, who died in 1608, and the printer, Wynken de Worde, and of Lovelace (1658). To-day in the present structure the visitor may see the tomb of Richardson, the author of "Clarissa Harlow," who lived in Salisbury Square, another near-by centre of literary activity. In the adjacent churchyard formerly stood a house in which Milton for a time resided. In later times it has been mostly called to the minds of lion hunters as being the living of the Reverend E. C. Hawkins, the father of our most successful and famed epigrammatic novelist,--Mr. Anthony Hope Hawkins.

Equally reminiscent, and linked with a literary past in that close binding and indissoluble fashion which is only found in the great world of London, are such place names as Bolt Court, where Johnson spent the last years of his life (1776-1784), Wine Office Court, in which is still situated the ancient hostelry, "The Cheshire Cheese," where all good Americans repair to sit, if possible, in the chair which was once graced (?) by the presence of the garrulous doctor, or to buy alleged pewter tankards, which it is confidently asserted are a modern "Brummagem" product "made to sell." Gough Square at the top of Wine Office Court is where Johnson conceived and completed his famous dictionary. Bouverie Street (is this, by the way, a corruption or a variant of the Dutch word _Bouerie_ which New Yorkers know so well?), across the way, leads toward the river where once the Carmelite friary (White Friars) formerly stood, and to a region which Scott has made famous in "Nigel" as "Alsatia." Fetter Lane, and Great and Little New Streets, leading therefrom, are musty with a literary or at least journalistic atmosphere. Here Izaak Walton, the gentle angler, lived while engaged in the vocation of hosier at the corner of Chancery Lane.

At the corner of Bouverie Street are the _Punch_ offices, to which mirthful publication Dickens made but one contribution,--and that was never published. Further adown the street is still the building which gave shelter to the famous dinners of the round-table when all the wits of _Punch_ met and dined together, frequently during the London season.

In Mitre Court, until recently, stood the old tavern which had, in its palmier if not balmier days, been frequently the meeting-place of Johnson, Goldsmith, and Boswell; while but a short distance away we are well within the confines of the Temple which not only sheltered and fostered the law, but literature as well.

Miltoun opens by framing his book as an informal gathering of historical, topographical, and literary facts about the London locales most closely associated with Charles Dickens. He explicitly disclaims any intention of being exhaustive, acknowledging that a moderate-sized volume cannot do full justice to the subject. The tone is that of an enthusiast addressing fellow enthusiasts, and the prose moves between precise description and a dry, sometimes amused, awareness of how much has changed since Dickens's day.

A Voice Between Guidebook and Memoir

Miltoun’s narrative voice is neither that of a detached historian nor a sentimental pilgrim. He writes as a knowledgeable companion who has walked the streets himself, checking old maps against modern views. When he describes Westminster Bridge, he quotes an antiquary’s claim that a whisper could be heard across the recesses, then adds dryly that such details are now accepted “if not with credulity, at least with indifference.” This blend of antiquarian relish and mild skepticism gives the prose a distinctive, slightly ironic texture.

The author also inserts personal asides—for instance, calling the railway station that replaced Hungerford Market “crude” and doubting it is an improvement. These judgments are rare but pointed, and they remind the reader that this is not a neutral reference work but a selective, opinionated tour.

Pacing Through Vanished Landmarks

The book’s pace is deliberately unhurried, matching its aim to “remind” rather than to exhaust. Miltoun lingers over details that might seem trivial: the precise length of Westminster Bridge (1,066 feet), the rent paid to the Archbishop of Canterbury for a ferry, the fact that Hungerford Stairs “has disappeared for ever.” These specifics anchor the reader in a lost geography.

Yet the rhythm is not uniform. When Miltoun reaches Warren’s Blacking Factory—where Dickens worked as a boy—the prose tightens. He names it without elaboration, trusting the reader to supply the emotional weight. This shift from expansive description to terse reference creates a subtle change of pace, marking places of particular biographical gravity.

The Evidence of Change in the Excerpts

The excerpts reveal a recurring structural pattern: Miltoun states what existed in Dickens’s time, then notes what replaced it. The suspension bridge Hungerford Bridge gave way to a railway bridge; Hungerford Market became a station; the Embankment Gardens now contain Inigo Jones’s York Stairs, “set about with greensward.” This before-and-after rhythm is the book’s main argumentative move, and it depends on concrete evidence—dates, dimensions, patents, rents.

Miltoun also draws on period sources, such as Addison’s observation that St. James’s inhabitants were “a people distinct” from those in the City. These quotations are woven in without heavy analysis, letting the historical voices speak for themselves. The effect is to create a layered sense of time, where Dickens’s London is itself already layered with earlier Londons.

Readers should approach Dickens’ London as a period piece as much as a guide. Miltoun’s voice—conversational, opinionated, fond of odd facts—belongs to 1903, and his assumptions about what his audience knows may differ from ours. The book rewards those who read slowly, checking the street names against a modern map, and who enjoy the quiet irony of a writer who knows that even his own descriptions will soon be outdated.

I keep thinking about how Miltoun walks you through Dickens' London, showing you the exact spot where something vanished—like Warren's factory—and you feel the absence more than the building. That same lingering ache came back reading The Miracle of the Great St. Nicolas 1920 — Text and Context, where a lost world whispers through old texts. It's a quiet kind of haunting, the way places and stories outlive their moment.

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